E
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Table of Contents
Creating and recording RPPR (Realtime Pattern Play/
Sampling in Program, Combination, or Sequencer
Playing and editing programs
Master Effect and Valve Force settings
Settings for the entire TRITON Extreme
Playing and editing combinations
Timbre 1–8 program, pan and volume
Settings for status, MIDI channel, and pitch parameters
Effect and Valve Force settings ................ 103
Layer, split, and velocity switch settings/ Controller
Loading and saving data, creating audio CDs,
(Media mode, etc.).................................. 113
Master Effect and Valve Force settings
File copying, deleting, and formatting
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Use sampled Wave files to create an audio CD and play
Viewing information about media: Media,
Setting the B-mode functions of REALTIME
Adjusting the contrast (brightness) of the
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Introduction
Alternate Modulation and
Effect Dynamic Modulation:
Main features
•
The synthesis section (filter etc.) provides Alternate
Modulation capabilities, and the effect section
provides Effect Dynamic Modulation. This allows you
to freely apply modulation to parameters that affect
the pitch, filter, amp, EG, LFO, and effects etc.
LFO, delay time and other effect parameters can be
synchronized to an external MIDI clock. You can also
synchronize sounds and effects to the tempo of the
internal sequencer or the arpeggiator.
The TRITON Extreme is a music workstation/ sampler
that features the HI (Hyper Integrated) synthesis system
as its tone generator.
It provides high-quality preset multisamples/ programs/
combinations together with a broad range of integrated
features such as an effect section, 16-track MIDI
sequencer, sampling, dual polyphonic arpeggiators,
RPPR, four-channel audio input/ six-channel audio out-
put, and song play functionality.
You can modify the sound in realtime by using a wide
range of performance controllers such as the joystick, rib-
bon controller, REALTIME CONTROLS and ARPEGGIA-
TOR knobs, and pedals that you connect.
You can also expand the TRITON Extreme’s capabilities
by installing the MOSS modeling synthesizer or by add-
ing more sample memory (RAM).
•
Valve Force circuit:
•
This section includes an analog low-frequency boost
circuit plus a vacuum tube amp that uses a 12AU7
(ECC82) vacuum tube. One vacuum tube is used to
support stereo-in/ stereo-out. Proprietary Korg
technology is used to generate warm and powerful
sound with the rich overtones and smooth distortion
typical of vacuum tubes, while retaining clarity and
definition.
The TRITON Extreme music workstation is a powerful
tool for music production or live performance.
Programs and combinations
HI (Hyper Integrated) synthesis system
The HI (Hyper Integrated) synthesis system is a PCM tone
generator system with full digital signal processing that
guarantees pristine sound, and featuring enormous flexi-
bility in musical expression, modulation, and effect rout-
ing.
Programs:
•
In addition to 1,536 user programs, 256 programs (and
9 drum kits) for GM2 compatibility are provided as
ROM presets.
You can use a rich array of editing parameters, effects,
Valve Force, and the arpeggiator to modify the 1,536
user programs and create your own original programs.
When the TRITON Extreme is shipped from the fac-
tory, user memory contains 1,344 high-quality pro-
grams that cover a wide range of needs. When the
EXB-MOSS option is installed, 128 programs for use
with the Korg MOSS tone generator will also be avail-
able.
*
The TRITON Extreme contains an analog vacuum tube
circuit (Valve Force). When you use Valve Force, the
signal is converted into analog form at that point.
Tone generator section:
•
160 Mbytes of preset PCM ROM contains 962
multisamples and 1,175 drumsamples.
•
The TRITON Extreme is shipped with 16 Mbytes of
RAM (you can expand this to a maximum of 96
Mbytes), letting you use samples or multisamples you
sampled/ resampled or loaded in Media mode.
The sampling frequency is 48 kHz, and the maximum
polyphony is 60 voices (a maximum of 120 voices can
be used depending on the PCM sounds you use).
•
The TRITON Extreme provides 144 user drum kits as
well as 9 ROM drum kits compatible with GM2. The
factory settings contain 50 preloaded drum kits that
cover a wide range of musical styles.
•
You can create your own drum kits by assigning each
key to any one of the 1,175 drum samples or to an orig-
inal sample that you sampled or loaded in from media.
For the sound assigned to each key, you can make filter
and amp settings, and even route the sound to effects
or individual audio outputs.
Filter/ synthesis section:
•
Either a 24 dB/ oct Resonant Low Pass or a 12 dB/ oct
Low Pass & High Pass type filter 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.
•
You can easily create programs using multisamples or
samples that you yourself sampled/ resampled or
loaded in Media mode. You can then use these
programs in combinations and songs. You can also use
samples as drum instruments in a drum kit.
•
A broad range of editing parameters gives you precise
control over every aspect of the sound.
Combinations:
Effect section:
•
The TRITON Extreme provides 1,536 user
combinations. Each combination can combine up to
eight layered/ split/ velocity-switched programs,
together with settings for effects, the Valve Force
circuit, and the two arpeggiators. Combinations let
you create very complex sounds that could not be
produced by a program alone. You can also use an
external sound module as part of a combination.
When the TRITON Extreme is shipped, user memory
contains a versatile range of 1,280 preloaded
combinations.
•
Five insert 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 and edit any of 102
types of effect algorithms.
•
The effect routing is highly flexible. Effects can be
routed freely to the individual inputs and outputs.
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drum phrases (using the “Fixed Note Mode” that is
ideal for drums), bass phrases, or guitar and keyboard
backing riffs. The arpeggiator is also effective for use
with subtly moving pads, synth sounds, or sound
effects.
In Combination mode, Sequencer mode, and Song
Play mode, the TRITON Extreme 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 velocity to switch between arpeggio patterns
for an even more dynamic performance.
Sequencer
A sophisticated 16-track MIDI sequencer is built in.
•
The TRITON Extreme combines dual arpeggiators,
RPPR, time slice, in-track sampling, and many other
functions, giving you an integrated music production
environment with even more potential than an
external sequencer would provide. MIDI exclusive
message recording/ playback is also supported.
The Cue List function lets you play up to 99 songs in
the order you specify. For example you could create
separate songs for the intro, melody A, melody B, and
the break, etc., and easily try out different song
structures using the same material. You can also
specify the number of times that each song will repeat.
Songs can also be played back consecutively in jukebox
style.
•
•
RPPR
•
The TRITON Extreme features Korg’s RPPR (Realtime
Pattern Play/ Recording) function.
In Sequencer mode, this function allows you to assign
preset patterns or user patterns (with a specified play-
back track) to individual notes of the keyboard, and
playback that pattern in realtime simply by pressing
the assigned note. Numerous preset patterns, includ-
ing patterns ideal for drum tracks, are built into the
internal memory.
•
A completed song can be resampled as a Wave file
and burned to a CD-R/ RW drive (sold separately)
connected to the USB A connector to create an original
audio CD.
Sampling
The TRITON Extreme features our Open Sampling Sys-
tem that allows sampling and resampling to be performed
not only in Sampling mode, but also in Program, Combi-
nation, or Sequencer modes.
4-channel audio input/
6-channel audio output
•
Both analog (2 channel) and digital (2 channel) audio
inputs are standard, allowing you to record stereo
samples.
The analog inputs have a MIC/ LINE level select
switch and a level knob, accommodating a wide range
of audio sources from mic level to line level.
The built-in digital input supports 48 kHz S/ P DIF for-
mat digital audio.
48 kHz 16-bit linear mono/ stereo sampling is supported.
•
Sample memory (RAM) of 16 Mbytes is factory-
installed, allowing approximately 2 minutes 54
seconds of mono sampling (or approximately 1 minute
27 seconds of stereo sampling). Sample memory can
be expanded to a maximum of 96 Mbytes, which
allows you to record up to six samples of
approximately 2 minutes 54 seconds each (mono) or
approximately 1 minute 27 seconds each (stereo), for a
total 17 minutes 28 seconds of sampling time.
The media (Option) lets you record up to 80 minutes
as a single sample file in either mono or stereo
(monaural: approximately 440 Mbytes, stereo:
approximately 879 Mbytes). This will create a WAVE
file. (In order to play a media sample from the
TRITON Extreme’s keyboard, it must be able to be
loaded into the sampling memory (RAM).)
The audio input can be routed through effects and/ or
Valve Force. During sampling, you can apply effects or
Valve Force, use the TRITON Extreme as a 4-in/ 6-out
effect processor, or use a vocoder effect that combines
the audio input with internal sounds.
Six channels of audio output are provided.
For analog output, you have the L/ MONO and R main
stereo output, as well as four independent audio out-
puts (INDIVIDUAL) 1, 2, 3, and 4. Individual oscilla-
tors, drums, timbres/ tracks, or the output of an insert
effect can be freely routed to any of these outputs.
For digital output, there’s an S/ P DIF connector (two
channels; L/ MONO and R) that supports a sampling
frequency of 48 kHz.
•
•
In order to sample to media on the TRITON Extreme,
you will need to obtain media of the recommended
Song Play
TouchView user interface
In Song Play mode you can play SMF (Standard MIDI
File) data directly from media. You can also play the key-
board along with the SMF playback, and use the arpeggia-
tor in synchronization with the playback tempo of the
SMF. Format 0 and 1 are supported, and you can also use
the Jukebox function to edit the playback order of the
songs.
As its user interface, the TRITON Extreme features the
TouchView system with a large 320 × 240 pixel LCD
touch-panel that lets you perform functions simply by
touching the screen – a revolutionary leap in operability
and practicality.
USB connectors allow connection to a CD-R/
RW drive and computer
The TRITON Extreme provides a USB A connector and a
USB B connector, allowing you to save data on USB stor-
age media (hard disks, removable disks, CD-R/ RW
drives).
You can back-up data from media in the CF card slot to
your computer, or edit data on your computer and load it
into the TRITON Extreme.
Dual polyphonic arpeggiator
•
Five preset arpeggio patterns (UP, DOWN, ALT1,
ALT2, RANDOM) and 507 user arpeggio patterns are
built-in.
•
•
With the factory settings, these contain a wide variety
of preload user patterns (489).
In addition to providing conventional arpeggiator
functions, the polyphonic arpeggiator of the TRITON
Extreme 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 variety of
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Front and rear panel
Front panel
8
5
6
9
16 17
4
12
1
2
3
18
7
10 11
13
14
15
Use the [REALTIME CONTROLS] key to select either the
the A mode, B mode or VALVE FORCE functions for the
realtime controllers, and use knobs [1]–[4] to control the
tone, effects, MIDI control changes and Valve Force in
1. [SW1] key, [SW2] key
These keys are on/ off switches, their function can be
assigned in Program, Combination, Sequencer, Song Play,
2. Joystick
[REALTIME CONTROLS] key
This key selects either A, B or Valve Force mode for the
realtime controllers. The selected mode will light.
Various program parameters and effect parameters will
determine what is being controlled by the joystick.
Move the joystick up/ down and left/ right (+Y, –Y, –X,
VALVE FORCE [ON/ OFF] key
Switches the Valve Force function on/ off. When on, this
key will light.
3. Ribbon controller
Various program parameters and effect parameters will
determine what is controlled by the ribbon controller.
Slide your finger to the left or right on this ribbon control-
[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 was
assigned to it in the Program, Combination, Sequencer,
Song Play, or Sampling modes.
4. [VOLUME] slider
This adjusts the volume that is output from the AUDIO
OUTPUT (MAIN) L/ MONO, R jacks and the headphone
jack.
5. REALTIME CONTROLS
The Valve Force functions of the knobs are fixed; knob [1]
controls the input level to Valve Force, knob [2] controls
the mix level of the Valve Force analog ultra-low boost cir-
cuit, knob [3] controls input gain to the vacuum tube, and
knob [4] controls the output level from Valve Force.
Depending on the sound you are using, you may hear
noise if you turn the Valve Force knobs or edit Valve
Force parameters while sound is being produced.
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6. Mode keys
Use these keys to enter the desired mode.
Numeric keys [0] – [9], [ENTER] key, [–] key
[./ 10’s HOLD] key
When you press a key, the key will light, and you will
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.
[COMBI] key
Combination mode will be selected.
[PROG] key
Program mode will be selected.
The [./ 10’s HOLD] key is also used when you wish to
hold the 10’s place while selecting programs or combina-
tions.
By holding down the [ENTER] key while you press a
numeric key [0]–[9] you can select up to ten page menu
commands from the current page. In Program and Combi-
nation modes, you can hold down the [ENTER] key and
press the SEQUENCER [REC/ WRITE] key to turn on the
[SEQ] key
Sequencer mode will be selected.
[SAMPLING] key
Sampling mode will be selected.
[S.PLAY] key
Song Play mode will be selected.
9. LCD screen
The TRITON Extreme features our exclusive TouchView
graphic interface, based on a touch-panel LCD screen.
By touching on objects that are shown in the LCD screen,
you can select pages, tabs, and parameters, and set values
[GLOBAL] key
Global mode will be selected.
[MEDIA] key
Media mode will be selected.
10. [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 set-
tings made in the dialog box and close the dialog box (cor-
responds to the Cancel button). If a popup menu or page
menu is open, pressing [EXIT] will close the menu.
7. [COMPARE] key
Use this key when you wish to compare the sound of the
program or combination that you are currently editing
with the un-edited sound already in memory. You can also
use this key to make “before and after” comparisons
8. VALUE controllers
11. [MENU] key
The following VALUE controllers are used to set the value
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 hold-
ing down the [MENU] key and pressing the correspond-
[VALUE] slider
Use this to modify the value of a parame-
ter. This controller is convenient when
you wish to make large changes in the
value.
12. BANK keys
This slider can also be used as a modula-
tion source.
These keys are used to switch the program/ combination
bank.
[
][
] keys
These are used to increase or decrease the parameter
value in steps of one. These keys are convenient for mak-
ing fine parameter adjustments.
PROG BANK:
[A], [B], [C], [D], [E] (SMPL), [F] (MOSS), [G] (GM), [H],
[I], [J], [K], [L], [M], [N]
COMBI BANK:
[A], [B], [C], [D], [E], [H], [I], [J], [K], [L], [M], [N]
In Program mode, these keys select the program bank.
In Combination mode, these keys select the combination
bank. When assigning a program to the various timbres in
a combination, then these keys will select the program
bank. In this case, the key of the program bank selected
for the timbre will light.
[VALUE] dial
Use this dial to modify the value of the parameter.
In Sequencer and Song Play modes when the edit cell
(highlighted area) is located on the program name of a
track, these keys will select the program bank, just as in
Combination mode.
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Each time you press the [G] key when selecting a pro-
gram, the bank selection will step to the next GM(2) bank
or GM drum bank in the following order: G, g(1), g(2)–
g(8), g(9), g(d), G, g(1) etc ...
14. ARPEGGIATOR
These knobs control the performance of the arpeggiator in
realtime (☞QS p.11).
The F bank can be only be selected in Program mode, and
only if the EXB-MOSS option is installed.
13. SEQUENCER
[TEMPO] knob
This adjusts the base tempo of the arpeggiator and
sequencer. The LED will blink at quarter-note intervals of
the current tempo.
[GATE] knob
[PAUSE] key
This adjusts the gate time (note duration) of the arpeggi-
ated 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.
In Sequencer mode, this key pauses the playback of the
song or cue list. In Song Play mode, this key pauses SMF
playback. When paused, the key will light. Press [PAUSE]
once again to resume playback; the key will turn off.
[<<REW] key
In Sequencer mode, this key will rewind the song or cue
list. When you press and hold this key, the key will light,
and the playback will rewind. (This key will not function
during recording.)
[VELOCITY] knob
This adjusts the velocity (playing strength) of the arpeggi-
ated notes. At the center position (12 o’clock), the velocity
will be the same as the “Velocity” parameter of the arpeg-
giator. Rotating the knob toward the left will decrease the
velocity, and rotating it toward the right will increase the
velocity.
[FF>>] key
In Sequencer mode, this key will fast-forward the song or
cue list. When you press and hold this key, the key will
light, and the playback will fast-forward. (This key will
not function during recording.)
[ON/ OFF] key
This switches the Arpeggiator function on/ off. When on,
the key will light.
[LOCATE] key
In Sequencer mode, this key will advance or rewind the
song or cuelist playback to a specified point. In Song Play
mode, this key moves to the specified playback location
within the SMF data.
15. SAMPLING
SAMPLING [REC] key
SEQUENCER [REC/ WRITE] key
In Sampling, Program, Combination, and Sequencer
modes, pressing this key will make the key light, and
when you continue by pressing the SAMPLING [START/
STOP] key, sampling will either begin or you will enter
the sample-ready mode.
In Sequencer mode, pressing this key will make the key
light, and if you then press the SEQUENCER [START/
In Program, Combination and Global modes, pressing this
key will open a dialog box, and if you then press the OK
In Program or Combination mode, you can hold down the
[ENTER] key and press this key to turn on the Auto Song
SAMPLING [START/ STOP] key
In Sampling, Program, Combination, and Sequencer
modes, pressing this key after pressing the SAMPLING
[REC] key will either cause sampling to begin, or it will
access the sample-ready mode.
In the Sampling P1: Sample Edit page, pressing this key
will sound the selected sample.
This key is also used to play back a WAVE file from the
media. This function can be used in the directory window
of various Media mode pages, in the Media mode Make
Audio CD page, and in the “Select Directory” page menu
dialog box of the Program, Combination, Sequencer, and
Sampling modes.
SEQUENCER [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 recording and playback, the key will blink at the
current tempo.
These keys are also used to play an audio CD in the USB-
connected CD-R/ RW drive.
16. Valve cover
SEQUENCER [START/ STOP] key : Play/ Stop
[FF>>] key
: Fast-forward
: Rewind
: Pause
: Move to the specified
location
A 12AU7 (ECC82) vacuum tube (a.k.a. “valve”) is built-in.
[<<REW] key
[PAUSE] key
[LOCATE] key
The valve cover may break if subjected to impact. Be
particularly careful not to subject it to direct impact,
since this may also break the vacuum tube. If the
valve cover breaks, have it repaired immediately,
since failing to do so may cause the vacuum tube or
other parts to malfunction.
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17. Sample memory (RAM) slot cover
Rear panel
You can open this cover and install SIMM boards to
expand the sample memory (RAM). A maximum of three
32 Mbyte SIMM boards can be installed as sample mem-
ory (RAM). (☞PG p.321)
1. AC power supply connector
Connect the included power supply cable here.
After connecting the power supply cable to the TRITON
18. Headphone jack
A set of headphones can be connected here (stereo 1/ 4"
jack).
This allows stereo monitoring of the same signal as the
OUTPUT L/ MONO and R jacks.
2. [POWER] switch
3. 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 Extreme provides four indi-
vidual audio outputs. The sound from each oscillator,
drum, timbre/ track, or insert effect can be freely routed to
(MAIN) L/ MONO, R
These are unbalanced phone jacks.
These are the main audio output jacks. By setting “BUS
Select” to L/ R, the output from an oscillator, an insert
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 connections in mono, use the L/ MONO
jack.
(INDIVIDUAL) 1, 2, 3, 4
These are unbalanced phone jacks.
These are individual (independent) audio output jacks. By
setting the “BUS Select” to 1, 2, 3(Tube), 4(Tube), 1/ 2, or
3/ 4(Tube), an oscillator, an insert 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
[VOLUME] slider.
4. AUDIO INPUT
These two audio inputs are used when recording a mono/
stereo sample from a mic or external audio source, or
when applying the TRITON Extreme’s internal effects to
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, ranging
from mic level to line level.
AUDIO INPUT 1/ 2 jacks
These are unbalanced phone jacks.
[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.
5. S/ P DIF
OUT(MAIN) jack
This is an optical type S/ P DIF format (IEC60958, EIAJ
CP-1201) digital output jack.
It outputs a digital version of the same audio signal as the
AUDIO OUTPUT (MAIN) L/ MONO and R jacks, at sam-
pling rates of 48 kHz.
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2
1
6
7 8 9 10
11
5
4
3
Use an optical cable to connect this to the optical digital
input jack of a DAT or MD, etc.
The [VOLUME] slider does not adjust the output level of
this jack.
8. DAMPER jack
An optional 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 connected, it will
function as a damper switch. In order to ensure that the
pedal functions correctly, please adjust the polarity and
the half-damper sensitivity (☞PG p.157, 165).
IN jack
This is an optical S/ P DIF format (IEC 60958, EIAJ CP-
1201) digital input jack.
Digital audio at a sample rate of 48 kHz can be input here.
Use an optical cable to connect this jack to the optical digi-
tal output jack of a DAT or other device.
9. ASSIGNABLE
SWITCH jack
An optional on/ off foot switch such as the Korg PS-1 foot
switch can be connected here.
In Global mode you can specify the function of this
switch. For example, you can use it as a modulation con-
troller, to select programs or combinations, to start/ stop
6. USB
USB A connector (for connecting a CD-R/ RW drive,
etc.)
You can connect an external USB device to this connector.
Use this connector to connect storage media such as a
hard disk, MO, or CD-RW drive. (☞PG p.325)
PEDAL jack
USB B connector (for connecting to a computer)
An optional Korg EXP-2 or XVP-10 expression pedal can
be connected here.
Its function can be assigned in Global mode, allowing you
You can connect your computer to this connector. This lets
you use your computer to access data on the TRITON
Extreme’s CompactFlash (Microdrive) card. This connec-
tion also lets you send and receive MIDI data between the
TRITON Extreme and your computer. (☞PG p.325)
10. [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
as necessary.
What is USB?
USB stands for Universal Serial Bus, and is an interface
for transferring data between a computer, a keyboard
and/ or peripheral devices.
11. CF card slot
7. MIDI
You can insert a CompactFlash or Microdrive into this
slot. The power must be off when inserting or removing
media. For details on how to handle these types of media,
MIDI THRU connector
Musical data and sound settings etc. that are received at
the MIDI IN connector are re-transmitted without change
from the MIDI THRU connector.
Eject button
You can use this to connect multiple MIDI devices (☞PG
p.288).
After making sure that the TRITON Extreme’s power is
turned off, press this button to remove the media. If the
media does not eject when you press this button, do not
attempt to remove the media by force. Contact a nearby
musical instrument dealer.
MIDI OUT connector
Musical data and sound settings etc. are transmitted from
this connector.
Use this to control another MIDI device connected via this
port to the TRITON Extreme (☞PG p.288).
MIDI IN connector
Musical data and sound settings etc. are received at this
connector.
Use this to play the TRITON Extreme from another MIDI
device connected to this port (☞PG p.288).
7
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* Popup menu
Pin
Names and functions of objects in
the LCD screen
The TRITON Extreme uses Korg’s TouchView graphical
user interface.
By touching objects displayed in the LCD screen, you can
select pages, set parameter values, rename programs and
combinations, write data, and perform many other opera-
tions.
References in the TRITON Extreme’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 Extreme.
Scroll bar
Pin
This switches the popup menu display between locked
and unlocked.
e: (category) Popup button
i: Page menu button
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 parameter value.
a: Current page
b: Edit cell
d: Popup button (2)
Scroll bar
f: Check box
Use this when you wish to see parameter values that
extend beyond what can be displayed in the screen at one
time.
c: Popup button (1)
Press here to scroll to left or right.
g: Radio buttons
h: Tab
Press here and slide to left
or right to scroll to the
desired location.
Press here to scroll to
the corresponding
location.
a: Current page
This indicates the selected page within the current mode.
From the left, this shows the mode name, page number,
and page name.
d: Popup button (2)
When you press this button, a tabbed popup menu will
Mode name
Page number
Page name
appear, allowing you to perform the following 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)
b: Edit cell
•
When you press a parameter in the LCD screen, the
parameter or parameter value will sometimes be high-
lighted (displayed in inverse video). This is called the edit
cell, and the highlighted item will be subject to editing.
The parameter value of the edit cell can be modified using
ton in the LCD screen. For parameters that accept a note
number or a velocity value, you can also hold down the
[ENTER] key and play a note on the keyboard to enter the
note number or velocity value.
•
“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.
e: (Category) popup button
When you press this button, a tabbed popup menu will
appear, allowing you to perform the following 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.
c: Popup button (1)
When this button is pressed, a popup menu will appear,
showing the parameter values that are available for selec-
tion.
To input the parameter value, press the desired value in
the popup menu.
When a popup menu is displayed, operating a VALUE
popup menu is unlocked (☞“Pin”), it will close if you
touch a location outside the popup menu.
8
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f: Check box
* Page jump menu
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.
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 you were in before 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].)
i: Page menu button
When this button is pressed, a list of page menu com-
mands will appear.
The page menu commands that appear will depend on
the currently selected page.
You can also select up to ten page menu commands by
holding down the [ENTER] key and pressing a numeric
key [0]–[9].
When you press the [EXIT] key, P0 will be displayed.
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.
* 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 buttons similar to the OK button
and Cancel button explained in “* dialog box” which exe-
cute an operation when they are pressed and released,
such as the Done button, Copy button, and Insert button.
* Dialog box
The dialog box that appears will depend on the currently
selected page menu command.
When selecting a program or combination number in a
the number.
To execute, press the OK button. To cancel without execut-
ing, press the Cancel button. (The operation will occur
when you press and release the button.) The dialog box
will close. The [EXIT] key corresponds to the Cancel but-
ton, Done button, and Exit 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
Text edit button
ON/ OFF button for Insert Effect and Mas-
ter Effect
Cancel button
OK button
After some commands are executed, the previously-
locked page menu will be unlocked automatically,
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,
9
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The following multisamples are available for the oscil-
lator.
Overview of the TRITON
Extreme’s modes
•
•
962 internal multisamples (160 Mbytes)
Multisamples (RAM) that you sampled on the
TRITON Extreme or loaded in from media
(maximum of 96 Mbytes)
The TRITON Extreme has a large number of functions
that let you play and edit programs and combinations,
record and play sequence data, record and play back sam-
ples, and manage data on media. The largest unit used to
organize these functions is called a mode.
•
Create drum programs using a drum kit (created in
Global mode)
Combination mode
The TRITON Extreme has seven modes.
•
Select and play combinations
A combination is a set of two or more programs (up to
a maximum of eight), and allows you to produce com-
plex sounds that could not be created by an individual
program.
You can choose combinations from rewritable banks
A–E and H–N which contain a total of 1,536 combina-
tions.
Program mode
•
Select and play programs
You can choose programs from rewritable banks A–F
and H–N which contain a total of 1,664 programs, 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.)
•
•
Sample or resample.
For example you can sample an external audio source
while listening to the performance of the arpeggiators,
or resample a performance you play using a combina-
tion.
•
•
Sample or resample.
For example you can sample an external audio source
while listening to the performance of the arpeggiator,
or resample a performance you play using a program.
Edit a combination
Edit a program
Make settings for volume, pan, layer/ split etc. for each
timbre (program), and make settings for effects, valve
force and the two arpeggiators.
Make settings for the oscillator, filter, amp, EG, LFO,
effects, valve force, and arpeggiator.
SAMPLING MODE
AUDIO INPUT AUDIO INPUT
1
2
S/P DIF IN
L
S/P DIF IN
R
PROGRAM
Multisample
OSC 1
Insert / Master Effect /
Valve Force
Multisample - H
Drum Kit
Sample
IFX 1
IFX 2
IFX 3
IFX 4
IFX 5
MFX 1
Insert Effect / Valve Force
Resampling
Multisample - L
Sample
Sample
MFX 2
IFX 1
IFX 2
IFX 3
IFX 4
IFX 5
PITCH1 FILTER1 AMP1
MEQ
Valve Force
OSC 2
Valve Force
Multisample - H
Multisample - L
Arpeggiator
Sample
PITCH2 FILTER2 AMP2
COMBINATION
GLOBAL MODE
DRUM KIT
Insert / Master Effect /
Valve Force
TIMBRE 1
TIMBRE 2
TIMBRE 3
TIMBRE 4
TIMBRE 5
TIMBRE 6
TIMBRE 7
TIMBRE 8
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
Key
Assign
Drumsample / Sample - H
Drumsample / Sample - L
IFX 1
IFX 2
IFX 3
IFX 4
IFX 5
MFX 1
MFX 2
MEQ
Valve Force
ARPEGGIATOR PATTERN
CD-R/RW
Ripping
Preset Arpeggio
Pattern: P0 - 4
Arpeggiator - A
User Arpeggio
Pattern: U00 - 506
Arpeggiator - B
CD-ROM
Write Audio CD
SEQUENCER / SONG PLAY
MEDIA MODE
Insert / Master Effect /
Valve Force
TRACK 9
TRACK 10
TRACK 11
TRACK 12
TRACK 13
TRACK 14
TRACK 15
TRACK 16
TRACK 1 PROGRAM
TRACK 2 PROGRAM
PROGRAM
PROGRAM
IFX 1
IFX 2
IFX 3
IFX 4
IFX 5
MFX 1
MFX 2
TRACK 3
TRACK 4
TRACK 5
TRACK 6
TRACK 7
TRACK 8
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
MEQ
Only SEQ
Valve Force
Media
Arpeggiator - A
Arpeggiator - B
PROGRAM
PROGRAM
Resampling
10
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Sequencer mode
Global mode
•
Use the 16-track MIDI sequencer to record and play
songs.
•
Make settings that affect the entire TRITON Extreme,
such as master tune and global MIDI channel.
•
Record onto the sixteen MIDI tracks individually or all
sixteen tracks at once. Exclusive messages can also be
recorded and edited.
•
Create user drum kits (144 kits), user arpeggio
patterns (507 patterns), and user scales (16 one-octave
scales and 1 all-note scale).
•
Perform sampling/ resampling.
•
Create drum kits using the 1,171 internal drum
samples (ROM). You can also use RAM samples that
you created on the TRITON Extreme or loaded from
media.
An external audio input source can be sampled in syn-
chronization with the song playback. When doing so,
you can automatically create a note event that will be
used to trigger the resulting sample, letting you record
an external audio source just as if you were recording
onto an audio track. (This is called the “In-track Sam-
pling” function.)
•
•
Rename program and combination categories.
Set the function of the assignable pedals and
assignable switches.
•
Transmit data dumps of MIDI exclusive data.
You can also resample the playback of a song. After
resampling your song to media, you can then use
Media mode to write the song to a CD-R/ RW drive
connected to the TRITON Extreme’s USB A connector,
creating your own audio CD.
Media mode
•
•
•
Data of each mode can be saved and loaded using
CompactFlash or Microdrive media.
Format the above types of media. You can also
manage data by copying it, etc.
•
•
Make effect and Valve Force settings for a song.
You can record a performance that uses the
arpeggiator(s) into a song or pattern.
Korg, AKAI, AIFF, and WAVE format sample data can
be loaded. Sample data can also be saved in Korg
format, or exported in AIFF or WAVE formats.
•
•
You can use a cue list to create an arrangement using
individual songs for each verse, chorus, bridge, etc.,
and specify the number of repeats for each song.
•
•
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 a maximum of 20 cue lists, 200 songs, and
100 preset patterns. One song can use as many as 100
patterns.
You can use the Data Filer function (to save/ load
MIDI exclusive data).
•
•
The TRITON Extreme can be used as a 16-part
multitimbral tone generator.
•
•
Edit Wave files.
Specify the song order of Wave files and use a CD-R/
RW drive connected to the USB A connector to create
an audio CD. You can also play back audio CDs.
Perform using the RPPR (Realtime Pattern Play/
Recording) function, and adjust the various settings.
Song Play mode
•
Use a computer connected to the USB B connector to
manage (e.g., copy or delete) data on media inserted in
the TRITON Extreme’s CF card slot. (USB storage
mode)
•
SMF (Standard MIDI File) data can be played back
from a media, and you can perform along with the
playback.
•
•
•
Make effect and valve force 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 external audio sources (i.e., record samples).
Insert effects, valve force can be applied to the external
input sound while you sample.
•
Edit the waveform data you sampled or waveform
data that you loaded in from media, 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 the Program, Combination, Sequencer, or Song
Play modes.
•
“Rip” (directly sample) digital data from an audio CD
in a CD-R/ RW drive connected to the USB A
connector. You can also play back audio CDs.
11
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Number of voices in each mode
About polyphony
The maximum number of voices that can be played simul-
taneously will depend on the oscillator mode of the pro-
gram.
Tone generators and oscillators
•
For a Single/Drum-mode program, 1 oscillator = 1
voice
Each oscillator in the TRITON Extreme is sounded by one
of two Tone Generators.
•
For a Double-mode program, 2 oscillators = 1 voice
Each tone generator is connected to the various PCM
memories as shown in the diagram below.
Program mode
Single/ Drums (“Oscillator Mode”)
Tone Generator 1
Normally, 60 voices can be used.
However a maximum of 120 voices will be available if, for
example, ROM or RAM is used for the High MS, and
Piano–Synth is used for the Low MS, and you use velocity
switching to play the two tone generators.
•
•
ROM: Internal PCM ROM (32 Mbytes)
RAM: User sample memory (16 Mbytes, expandable
to a maximum of 96 Mbytes)
Tone Generator 2
Double (“Oscillator Mode”)
Normally, 30 voices can be used.
•
•
•
•
•
•
•
•
Piano:
New1:
New2:
Best:
OrchS:
OrchB:
Vint:
Synth:
However if OSC1 is sounded by one tone generator and
OSC2 is sounded by the other tone generator (e.g.,
OSC1=ROM, OSC2=Piano–Synth), a maximum of 60
voices can be used. If OSC1 and OSC2 use one tone gener-
ator (e.g., OSC1=ROM, OSC2=ROM), then a maximum of
30 voices can be used.
This can also be increased by velocity switch and velocity
zone settings.
Internal PCM ROM (128 Mbytes)
Combination, Sequencer, and Song Play modes
PCM memory
PCM memory
Depending on the oscillator mode of the programs you
are using, the maximum number will vary between 60
voices and 120 voices.
Piano (Internal PCM ROM) 16 Mbytes
ROM (Internal PCM ROM) 32 Mbytes
New1
New2
Best
(
(
(
"
"
"
)
)
)
16 Mbytes
16 Mbytes
16 Mbytes
(Example)
RAM
96 Mbytes*
For single-mode programs that use ROM or RAM, a total
maximum of 60 voices
For single-mode programs that use Piano–Synth, a total
maximum of 60 voices
(User sample memory)
OrchS (
OrchB (
"
"
"
"
)
)
)
)
16 Mbytes
16 Mbytes
16 Mbytes
16 Mbytes
Vint
(
(
Synth
Total 120 voices
Total 128 Mbytes
* = Expandable to a maximum.
Factory settings is 16 Mbytes
For double-mode programs that use ROM or RAM, a total
maximum of 30 voices
For double-mode programs that use Piano–Synth, a total
maximum of 30 voices
Total 60 voices
Tone Generator 1
Tone Generator 2
Sampling mode
Tone generator 1 is always used in Sampling mode.
Mono samples/multisamples
60 voices.
Maximum 60 oscillators
Maximum 60 oscillators
Stereo samples/multisamples
30 voices.
Total maximum 120 oscillators
Each tone generator is able to simultaneously sound up to
60 oscillators (i.e., to play the PCM data connected to that
tone generator). Together, the two tone generators are able
to sound up to 120 oscillators.
For example up to 60 oscillators can use the ROM, and up
to 60 oscillators can use the Piano, making a total of 120
oscillators. However, you can’t play 61 or more oscillators
from the ROM alone.
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In Media mode there is only one page, so the page
jump menu will not appear.
Basic operation
3In the LCD screen, press the desired page.
You will jump to the selected page, and it will appear
in the display. As an example here, press P1: Edit-Basic.
1. Selecting modes
•
•
•
As a reminder, the page that was selected before 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.
In order to use a particular function on the TRITON
Extreme, you must first select the appropriate mode.
Press one of the front panel mode keys ([COMBI] key
– [MEDIA] key) to enter the corresponding mode.
[COMBI] key:
[PROG] key:
[SEQ] key:
[SAMPLING] key:
[S.PLAY] key:
[GLOBAL] key:
[MEDIA] key:
Combination mode
Program mode
Sequencer mode
Sampling mode
Song Play mode
Global mode
Media mode
COMBI
PROG
SEQ
SAMPLING
GLOBAL
S.PLAY
MEDIA
COMPARE
When you press the [EXIT] key, you will return to P0
from any page.
2. Selecting pages
4Press one of the tabs located at the bottom of the
page.
Each mode has a large number of parameters, which are
organized into pages.
These are further subdivided by tabs into up to eight tab
pages.
As an example here, press the OSC Basic tab which is
the second from the left.
1Make sure that the desired mode is selected.
To select a mode, press the appropriate mode key
([COMBI] key – [MEDIA] key).
Here we will use Program mode as an example for our
explanation. Press the [PROG] key.
•
Some pages have no tabs.
5To move to a page with a different ‘P’ number, press
the [MENU] key and continue from step 2of this
procedure.
3. Setting a parameter
2Press the [MENU] key.
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 necessary, you can also use the
[BANK] keys and the [COMPARE] key.
For some parameters, the value can be set
by pressing a popup button to display
the popup menu and then selecting a
The page jump menu will appear.
parameter value, or by holding down the [ENTER] key
and playing a note on the keyboard to input a note num-
ber or velocity value.
13
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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 possible
to return to the previous edits by pressing the [COM-
PARE] key again.
VALUE controllers
[VALUE] slider
Use this when you wish to make major changes in the
value.
In Program mode and Combination mode, this slider can
also be used as a control source for alternate modulation
or dynamic modulation. (This is active in Program or
Combination P0: Play when the “Program Select” or
“Combination Select” (the large characters in the upper
part of the LCD) is selected).
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 operation.
For example, this can be used effectively when realtime-
recording a track for a song.
1Realtime-record a MIDI track. (Take 1)
[
][
] keys
Use these when you wish to make small changes in the
value.
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 3you once again realtime-record on the
same track (take 3), the object of the Compare function
will now be take 1. If at step 4you once again real-
time-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 pre-
vious recording or the previous state of event editing.
[VALUE] dial
Use this when you wish to make large changes in a value.
The Compare function is not available Sampling,
Song Play, Global, or Media modes.
Numeric keys [0]–[9], [ENTER] key, [–] key,
[./ 10’s HOLD] key
Use these when you know the parameter value that you
wish to input.
Popup buttons and popup menus
You can press a popup button to access a popup menu,
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 page other
than the Sampling page, the [./ 10’s HOLD] key performs
Keyboard input
When inputting a note number or a specific velocity 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 number or
velocity value will be input.
When the Global P5: Drum Kit page is displayed, you can
hold down the [ENTER] key and play a note to recall the
settings that have been assigned to that note.
In Sampling mode, you can hold down the [ENTER] key
and play a note to recall the index that is assigned to that
note.
BANK [A]–[G], [H]–[N] keys
The BANK [A]–[G], [H]–[N] keys are used in Program
mode to select the program bank and in Combination
mode to select the combination bank. In combination,
Sequencer and Song Play modes, these keys are used to
select the bank of the program used by each timbre/ track.
[COMPARE] key
Use this key when you wish to compare the edits you
have made to a program or combination’s sound with the
un-edited original (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.
14
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Setup
Connections
Connections must be made with the power turned
off. Please be aware that careless operation may dam-
age your speaker system or cause malfunctions.
CD player,
analog record player, etc.
If a passive type guitar (a guitar
without an internal preamp) is
connected, it will not be possible
to sample at an appropriate level
due to the impedance mismatch.
Such instruments must be
connected via a preamp or effect
unit.
AUDIO OUTPUT/
AUX OUT etc.
Mic
Effect processor etc.
DAMPER
ASSIGNABLE
SWITCH
MIDI OUT
MIDI cable
PEDAL
Power Switch
AUDIO
INPUT 1, 2
MIDI IN
USB A
B
S/P DIF
OUT IN
AUDIO OUTPUT
AC power supply
CF
(INDIVIDUAL) (MAIN)
4
3
2
1
R
L/MONO
CompactFlash
Microdrive card
Option EXB-MOSS
SIMM
6. Inserting and
Power cable (Included)
to an AC outlet
USB cable
DAT etc.
DIGITAL IN
DIGITAL OUT
CD-R/RW, hard disk,
removable disks etc.
Computer
INPUT
PHONES
STEREO AUX RETURNS AUX SEND
1
T
APE
T
APE
MAIN OUTS
L
MIC1
MIC2
MIC3
MIC4
MIC5
MIC6
1
INPUT
OUTPUT
L
MICRO SERIES 1402-VLZ
14-CHANNEL MIC/LINE MIXER
R
2
2
R
LEFT(1/MONO)
RIGHT
MONO
ALL BAL/UNBAL
BAL/UNBAL
MONO
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
MONO
L
MONO
L
L
L
LINE IN
1
LINE IN
2
LINE IN
3
LINE IN
4
LINE IN
5
LINE IN
6
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
LOW CUT
75Hz
18dB/OCT
LOW CUT
75Hz
18dB/OCT
L
O
W
C
U
T
LOW CUT
75Hz
18dB/OCT
LOW CUT
75Hz
18dB/OCT
LOW CUT
75Hz
18dB/OCT
75Hz
18dB/OCT
R
R
R
R
U
U
U
U
U
U
LEVEL
+4
LEVEL
+4
LEVEL
+4
LEVEL
+4
10
60
10
60
10
60
10
60
10
60
10
60
-
1
0
-
1
0
-
1
0
-
1
0
PHONES
+
1
0
d
B
-
4
0
d
B
+
1
0
d
B
-
4
0
d
B
+
1
0
d
B
-
4
0
d
B
+
1
0
d
B
-
4
0
d
B
+
1
0
d
B
-
4
0
d
B
+
1
0
d
B
-
4
0
d
B
Monitor
OUTPUT
TRIM
TRIM
TRIM
TRIM
TRIM
TRIM
LINE IN 7-8
U
UX
LINE IN 9-10
LINE IN 11-12
LINE IN 13-14
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
A
UX
1
A
UX
1
A
UX
1
A
UX
1
A
UX
1
A
UX
1
A
UX
1
A
UX
1
A
UX
1
A
1
MON/
EFX
MON/
EFX
MON/
EFX
MON/
EFX
MON/
EFX
MON/
EFX
MON/
EFX
MON/
EFX
MON/
EFX
MON/
EFX
1
+
1
5
+
1
5
+
1
5
+
1
5
+
1
5
+
1
5
+
1
5
0
+
1
5
+
1
5
+
1
5
NO
R
M
A
L
L
E
D
U
U
U
U
U
U
A
U
X
1
MA
ST
E
R
2
2
2
2
2
2
2
2
2
2
2
PRE
POST
EFX
EFX
EFX
EFX
EFX
EFX
EFX
EFX
EFX
EFX
A
S
U
X
1
E
F
X
T
O
A
U
X
R
+
1
5
+
1
5
+
1
5
+
1
5
+
1
5
+
1
5
+
1
5
+
1
5
+
1
5
+15
E
L
E
C
T
M
O
N
I
T
O
R
0
R
E
T
U
NS
U
U
U
EQ
HI
U
U
U
U
U
U
EQ
HI
U
U
U
EQ
HI
U
U
U
EQ
HI
U
U
U
EQ
HI
U
U
U
EQ
HI
U
U
U
EQ
HI
U
U
U
EQ
HI
U
U
U
EQ
HI
S
O
UR
CE
EQ
HI
LEFT
RIGHT
MAIN
MIX
+
2
8
CLIP
12
k
H
z
12
k
H
z
12
k
H
z
12
k
H
z
12
k
H
z
12
k
H
z
1
2
k
H
z
1
2
k
H
z
1
2
k
H
z
12kHz
+10
-
1
5
+
-
1
5
-
1
5
-
1
5
+
-
1
5
-
1
5
+
-
15
-
1
5
-
1
5
+
-
1
5
+7
AL
3-4
T
+4
MID
MID
MID
MID
MID
MID
MID
MID
2.
MID
2.
MID
2.5kHz
2
.
5
k
H
z
2
.
5
k
H
z
2
.
5
k
H
z
2
.
5
k
H
z
2
.
5
k
H
z
2
.
5
k
H
z
2
.
5
k
H
z
5
k
H
z
5
k
H
z
+
2
-
1
2
+
1
2
-
1
2
+
1
2
-
1
2
+
1
2
-
1
2
+
1
2
-
1
2
+
1
2
-
1
2
+
1
2
-
1
2
+
1
2
-
1
2
+
1
2
-
1
2
+
1
2
-
1
2
+12
0
TAPE
-2
LO
W
z
LO
W
z
LO
W
z
LO
W
z
LO
W
z
LO
W
z
LO
W
z
LO
W
z
LO
W
z
LOW
INPUT
8
0
H
8
0
H
8
0
H
8
0
H
8
0
H
8
0
H
8
0
H
8
0
H
8
0
H
8
0
Hz
-4
-7
-
1
5
+
1
5
-
1
5
+
1
5
-
1
5
+
1
5
-
1
5
+
1
5
-
1
5
+
1
5
-
1
5
+
1
5
-
1
5
+
1
5
-
1
5
+
1
5
-
1
5
+
1
5
-
1
5
+15
ASSIGN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
TO MAIN MIX
-
1
0
-
2
0
NORMAL(AFL)
SET(PFL)
-
3
0
L
E
V
E
L
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
SOLO
MODE
0
d
B
0
d
B
u
1
2
3
4
5
6
7–8
MUTE
LT
9–10
MUTE
LT
11–12
MUTE
LT
13–14
MUTE
LT
MUTE
LT
MUTE
LT
MUTE
LT
MUTE
LT
MUTE
LT
MUTE
LT
P
H
A
N
T
O
M
P
O
W
E
R
R
U
D
ES
O
L
OL
I
G
H
T
A
3
–
4
A
3
–
4
A
3
–
4
A
3
–
4
A
3
–
4
A
3
–
4
A
3
–
4
A
3
–
4
A
3
–
4
A
3
–
4
C
ONTROL
ROO
M
/
PHONES
MAIN MIX
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
10
10
10
10
10
10
10
10
10
10
10
10
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
Mixer
Powered monitors,
etc.
15
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1. Connecting the power cable
3. Analog audio input connections
1Turn off the power of the TRITON Extreme.
You can input external analog audio sources, and sample
them or process them with the internal effects and output
them from the OUTPUT jacks.
2Plug the included power cable into the AC power
supply connector located on the back of the TRITON
Extreme.
Connect mics or the OUTPUT jacks of your external
audio equipment to the AUDIO INPUT 1 and 2 jacks.
3Connect the other end of the power cable to an AC
outlet.
Use only the power cable that is included with the
TRITON Extreme. Using another power cable may
cause malfunctions.
4. Digital audio input/ output connections
Digital audio output
The same audio signal present at the TRITON Extreme’s
AUDIO OUTPUT (MAIN) L/ MONO and R jacks can be
output in digital format to a DAT, MD, or digital multi-
track recorder that can accept a digital audio input with a
sample frequency of 48 kHz.
Make sure that your AC outlet is the correct voltage
for your instrument.
2. Analog audio output connections
Use an optical cable to connect the S/P DIF OUT
(MAIN) jack to the optical digital input jack of your
DAT, MD, or digital multitrack recorder.
Connect a set of amplified monitor speakers or your audio
system to the TRITON Extreme.
If you play back the TRITON Extreme through your
stereo audio system, be aware that high volumes may
damage your speakers. Be careful not to raise the vol-
ume excessively.
The [VOLUME] slider does not affect the volume of
this output jack.
Digital audio input
TRITON Extreme can accept a digital audio input from a
DAT or other digital device that can output digital audio
at a sampling frequency of 48 kHz. This signal can be
input to the L and R channels, then sampled or processed
by the internal effects and output from the OUTPUT jacks.
Connecting the AUDIO OUTPUT (MAIN) L/MONO,
R, (INDIVIDUAL) 1, 2, 3, and 4 jacks to the INPUT
jacks of your mixer or powered monitor system.
L/ MONO and R are the main outputs. If you are out-
putting in stereo, make your connections using the
(MAIN) L/ MONO jack and the R jack. If you are out-
putting in mono, make your connection to the (MAIN)
L/ MONO jack.
Use an optical cable to connect the optical digital out-
put jacks of your DAT etc. to the S/P DIF IN jack.
The (INDIVIDUAL) 1, 2, 3, and 4 jacks are used to out-
put specific sounds independently. For example, you
can use these to apply an external effect to the snare
sound of a drum kit.
When you are sampling, and want to hear the sounds
played by the TRITON Extreme’s sequencer while you
sample only the external audio source, send the source
to (INDIVIDUAL) 1 and 2. If you want to monitor this
sound, you can connect (INDIVIDUAL) 1 and 2 jacks
to your mixer, and monitor the sound via your mixer.
5. Connecting pedals
Foot pedal connections
A foot pedal can be used to control various synthesis and
effect parameters.
Connect an optional expression pedal such as the Korg
XVP-10 or EXP-2 to the rear panel ASSIGNABLE PEDAL
jack.
The function controlled by the foot pedal is specified in
Headphones
Foot switch connections
If you are using headphones, connect them to the
headphone jack of the TRITON Extreme.
A foot switch controls sostenuto, soft pedal on/ off, arpeg-
giator on/ off, to select programs or combinations, and to
start/ stop the sequencer and tap tempo etc.
Connect an optional foot switch such as the Korg PS-1 to
the rear panel ASSIGNABLE SWITCH jack.
The function assigned to the foot switch and the polarity
of the foot switch can be set in Global: P2 “Foot Switch
281)
The TRITON Extreme’s headphone jack will output the
same signal as (MAIN) L/ MONO and R.
If you are using (INDIVIDUAL) 1, 2, 3, and 4, connect
these jacks to your mixer, and use the headphone jack
of your mixer to monitor the sound.
Damper pedal connections
This pedal applies a piano style damper effect as you play.
Connect an optional footswitch to the DAMPER jack of
the TRITON Extreme. If a Korg DS-1H is connected, half-
damper effects can be produced.
The polarity of the pedal is set in Global P2: Controller
“Damper Polarity” and the sensitivity is set in Global P0
“Half Damper Calibration.” (☞PG p.157, 165)
16
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6. Inserting and removing CF card slot
media
7. Connecting a USB device
You can connect an external USB device such as a hard
disk or CD-R/ RW drive to the USB A connector, and
transfer data to and from the device.
You can insert a CompactFlash or Microdrive card into the
CF card slot, and use it to save or load song data or sam-
ple data.
When using a Microdrive, you can save the sampled data
directly to media.
Connect the TRITON Extreme’s USB A connector to
the USB connector of your external USB device.
If you connect the TRITON Extreme’s USB B connector to
your computer, you will be able to transfer data to and
from your computer. You can also send and receive MIDI
data to/ from your sequencer software or similar applica-
tion.
The TRITON Extreme’s CF card slot does not support
hot-plugging. You must turn off the power before
inserting or removing CF card slot media. Turning off
the TRITON Extreme to insert media into the CF slot
will cause your unsaved sequence and sample data to
be lost; so we suggest you always insert your media
before you turn the TRITON Extreme on, in case you
want to save any of the data you create.
Connect the TRITON Extreme’s USB B connector to
the USB connector of your computer.
☞ For details on connecting USB devices, refer to PG
p.325.
Inserting media
1Turn off the power of the TRITON Extreme.
8. Connections to MIDI equipment/
computers
2Make sure that the CF card slot eject button located
on the rear panel is pressed inward.
Connections to MIDI equipment
If the eject button is in the outward position, press it in.
The keyboard, controllers, and sequencer etc. of TRITON
Extreme can be used to control an external MIDI tone gen-
erator. Conversely, another MIDI keyboard or sequencer
can control the tone generator of TRITON Extreme to pro-
duce sound.
3Insert your CompactFlash or Microdrive card into the
CF card slot.
Make sure that the card is oriented correctly; the label
should be upward, and the connector end inserted
first.
Use MIDI cables to connect the MIDI connectors of
TRITON Extreme with the MIDI connectors of your
external device.
☞ PG p.288 “MIDI applications – Connecting MIDI
devices/ computers”
CF card slot
Eject button
Connections to a computer
Your performance on the TRITON Extreme, as well as
controller and sequencer data, can be sent to a computer
(connected via MIDI interface), and the tone generator of
TRITON Extreme can be played from the computer.
CompactFlash
Microdrive
Use a MIDI interface to connect the MIDI connectors
of TRITON Extreme to the MIDI connectors of your
computer.
4Push the card in until the media is inserted all the
way into the slot.
5Turn on the power.
Connect the TRITON Extreme’s USB B connector to
the USB connector of your computer.
To verify that the media was recognized correctly,
check that the Media mode “Media Select” display
shows CF (CompactFlash) or MD (Microdrive).
If the display indicates Unformatted, you will need to
format the card. Newly purchased media or media
that has been used by another device must also be
formatted before you use it on the TRITON Extreme
for the first time. For the formatting procedure, refer
☞ PG p.288 “MIDI applications – Connecting MIDI
devices/ computers”
Some USB-MIDI interfaces may not be able to trans-
mit or receive the TRITON Extreme’s MIDI exclusive
messages.
9. Installing options
The functionality of the TRITON Extreme can be extended
by installing option boards and/ or sample memory. The
following two types of options can be installed. For details
on installation, refer to PG p.319.
Removing media
1Turn off the power of the TRITON Extreme.
2Press the CF card slot eject button located on the rear
•
•
EXB-MOSS (DSP synthesizer board)
DRAM SIMM (Memory boards for sample data)
panel, and pull the button outward.
3Press the CF card slot eject button inward, and then
pull the media out of the connector inside the slot.
4Remove the media from the slot.
Store the media correctly as described in the instruc-
tions included with the media.
17
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•
•
When using Sampling mode page menu commands
(“Move Sample,” “Move MS,” “Convert To Program,”
“Time Slice,” etc.) to simultaneously modify programs
or drum kits.
When sampling to RAM in Program, Combination, or
Sequencer mode, if you simultaneously convert the
sample to a program.
Turning the power on/ off
Before you turn on the power, make sure that the
desired connections have been made as described in
Never turn off the power while the CompactFlash etc.
media is being accessed. If you turn off the power
while media is being accessed, the media may
become unusable.
1. Turning the power on
1Press the rear panel [POWER] switch to turn on the
power.
The LCD screen will display the name of your model,
and the software version.
You can set the “Power On Mode” (Global P0: System
Preference page) so that the mode and page that had
been selected when you turned the power off will
(The following graphic shows the factory-set LCD
screen. The version number is subject to change with-
out notice.)
)
Information displayed in the LCD screen when vari-
ous options or SIMM modules are installed
The TRITON Extreme allows you to install separately sold
options or sample memory (RAM) boards.
When the power is turned on, the type of installed options
will be displayed. After installing an option, be sure to
check this display 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 install-
ing an option, refer to PG p.319)
2Turn on your powered monitors or stereo amp.
3Raise the TRITON Extreme’s [VOLUME] slider to an
appropriate level, and adjust the volume of your
powered monitors or stereo amp.
You must turn off the power before inserting media
into the CF card slot. The TRITON Extreme’s CF card
slot does not support hot-plugging.
OPTIONS
EXB-MOSS: The EXB-MOSS option is installed.
SIMM
Slot 1...3 (** MB): Sample memory (RAM)’s are installed
in SIMM slots 1–2. The capacity of each SIMM is shown in
parentheses. When shipped from the factory, a 16 MB
SIMM is installed in SIMM slot 1.
2. Turning the power off
1Set the front panel [VOLUME] slider and the volume
of your powered monitor or stereo amp to zero.
2Turn off the power of your powered monitor or stereo
amp.
3Press the TRITON Extreme’s [POWER] switch to turn
off the power.
Never turn off the power while data is being written
into internal memory.
If the power is turned off while processing is being
performed, memory write operations will not be
completed correctly. If this occurs, TRITON Extreme
will automatically initialize its internal memory so
that it will operate correctly. This is not a malfunction.
While data is being written, the LCD screen will indi-
cate “Now writing into internal memory.” Data is
written into internal memory by the following opera-
tions.
•
•
•
Writing (updating) a Program, Combination, Global
Setting, Drum Kits, or Arpeggio Patterns
Loading Program, Combination, Global Setting, Drum
Kit, or Arpeggio Patterns data in Media mode
Receiving a MIDI data dump for Program,
Combination, Global Setting, Drum Kit, or Arpeggio
Patterns
18
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Playing and editing programs
(Program Mode)
Program mode page structure
Page
P0: Play
Explanation
Program structure
Select programs, use the Performance Editor to per-
form easy editing, select and make settings for
arpeggio patterns, make settings for sampling.
When the TRITON Extreme is shipped from the factory, it
contains 1,344 programs (excluding the GM2 variation
programs). You can create your own original programs by
editing these factory-set programs, or by initializing a pro-
gram and starting “from scratch.” You can also create pro-
grams using RAM multisamples that you have sampled
or loaded in Media mode. In addition, you can play a pro-
gram and resample your performance, or sample an exter-
nal audio source while listening to the sound of a
program.
P1: Edit-Basic Set basic program parameters such as oscillator
and multisample. Set scale and controllers.
P2: Edit-Pitch
P3: Edit-Filter
Settings related to the pitch, including the pitch EG.
Settings related to the filter (tone), including the fil-
ter EG.
P4: Edit-Amp
Settings related to the amplifier (volume), including
amp EG and pan.
P5: Edit-
Common
LFO
For each of the two LFO’s provided for each oscilla-
tor, 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.)
Each of the rewritable banks A–E and H–N contain 128
programs (total 1,536). There are also non-rewritable bank
G (GM2 capital programs), banks g(1)–g(9) (variation pro-
grams), and bank g(d) (drums). When shipped, banks A–
D and H–N contain preloaded programs.
P6:
---
P7: Edit-
Settings for the arpeggiator. (Some of these are
Arpeggiator shared with the arpeggiator settings of P0, and you
may edit them in either location.)
P8: Edit-Insert Select insert effects and make settings for them.
Program banks
Effect
Specify the oscillator routing (send levels to the
insert effects, master effects, and independent out-
puts), make settings for Valve Force.
Bank
Prog. No.
Explanation
Preloaded programs
A...D, H...M 000...127
P9: Edit-Master Select master effects and make settings for them.
Effect Make settings for the master EQ and Valve Force.
E
000...127
000...127
001...128
(☞VNL)
User (initial) programs
MOSS programs
F
For details on how to access each mode and page,
G
GM2 capital programs
GM2 variation programs
GM2 drum programs
g(1)...g(9)
Bank F is available only if the EXB-MOSS option is
installed. The page structure and parameter structure
of bank F programs are different than for the pro-
grams of other banks. Refer to the EXB-MOSS
owner’s manual.
g(d)
N
(☞VNL)
000...127
Preloaded programs,
user (initial) programs
☞ For details on the factory-set programs, refer to “VNL.”
You can select programs from bank F only if the EXB-
MOSS option is installed.
All transmission and reception of MIDI data in Pro-
gram mode is performed on the global MIDI channel.
The global MIDI channel is set in Global P1: MIDI
“MIDI Channel.”
P0: Play is where you select and play programs, make
simple adjustments using the Performance Editor, and
adjust the arpeggiator settings.
In the P1: Edit-Basic–P9: Edit-Master Effect pages you can
modify the sound by editing the various parameters of the
program you selected in P0: Play.
You can perform sampling/ resampling in Program
TON Extreme’s effects to an external audio input, for
Program structure and corresponding pages
Controller
Setup:
Program Basic : P1 - 1
P1 - 4
Arpeggi-
ator : P7
OSC1 LFO1 : P5 - 1
OSC1 LFO2 : P5 - 2
Valve
Force
: P9
Master
Effect
1, 2 : P9
Routing : P8-1
OSC1,2
Placement:
Final
Insert
Effect
1 ... 5 : P8
OSC Basic : P1 - 2,3
Filter1(A/B) : P3 - 1
Amp1 Level/Pan : P4 - 1
AUDIO OUTPUT
L/MONO, R
Master
EQ : P9
OSC1 Pitch Mod. : P2 - 1
Filter1 Mod. : P3 - 2
Amp1 Mod. : P4 - 2
AUDIO OUTPUT
INDIVIDUAL
1, 2
Insert Effect
Master Effect
Individual Output
Filter1 LFO Mod. : P3 - 3
3, 4
Filter1 EG : P3 - 4
Amp1 EG : P4 - 3
Placement:
Insert(Use Indiv.3/4 BUS)
Valve
Force
: P9
OSC 1
OSC 2
Pitch EG : P2 - 3
Filter
Effect
P1–1 and P2–2 etc. indicate the page tab screens used when editing on the TRITON Exterme.
Oscillator / Pitch
Amplifier
19
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Selecting by bank
You can select programs from a list organized by program
bank.
Playing a program
P0: Play
Here you can select and play programs. You can use the
Performance Editor to make simple edits, and also make
settings for the arpeggiator, external audio input, and
sampling.
1Press the “Program Select” popup button.
A tabbed “Bank/ Program Select” popup menu will
appear.
Selecting a program
There are three ways to select a program. For the proce-
dure, refer to the appropriate page.
•
Using the controls of the TRITON Extreme
Selecting by bank/ program number
Selecting by program category
Selecting by using 10’s Hold
•
•
Using a connected switch
In the illustration above, bank G is selected. The center
area shows the programs contained in that bank.
Receiving MIDI program change messages
The Variation button will be displayed only when
bank G is selected. Each time you press this button,
the bank will change in the following order:
G→g(1)→g(2)...g(8)→g(9)→G...
Selecting a program on the TRITON Extreme
Selecting by bank/ program number
1Make sure that “Program Select” is selected.
If it is not selected, access the PROGRAM P0: Play page
and press the “Program Select” area to highlight it.
2Press the tabs located to the left and right sides of the
display to select a bank.
3Press one of the program names in the center area to
select a program.
Category
popup button
The selected program will be highlighted.
Program
Select popup
button
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 pro-
gram that had been selected before you opened the
popup menu.
Program
Select
Selecting by category
You can select programs from within a category, such as
keyboard, organ, bass, and drums. When shipped from
the factory, the preloaded programs are organized into
sixteen categories.
2Use the VALUE controllers to select the program
number that you wish to play.
You can use the following methods to select a program.
1Press the Category popup button.
A tabbed “Category/ Program Select” popup menu
will appear.
•
•
•
Turn the [VALUE] dial.
Press the [ ] or [ ] key.
Use numeric keys [0]–[9] to specify the number,
and press the [ENTER] key.
3Press a BANK [A]–[N] key to switch banks.
By switching banks you can access programs in differ-
ent banks. (The key will light, and the selected bank
will appear in the left side of the LCD screen.)
For example to select bank B, press the BANK [B] key.
(The [B] key will light, and an indication of Bank B will
appear in the upper left of the LCD screen.)
The [F] key is only available if the EXB-MOSS option
is installed.
In the illustration above, category 15: Drums is
selected. The center area shows the programs con-
tained in that category.
Each time the [G] key is pressed, it will advance to the
next GM bank in the following order:
G→g(1)→g(2)→g(3)→g(4)→(5)→g(6)→g(7)→g(8)
→g(9)→g(d)→G ... (The LED will light, and an indi-
cation of Bank G, g(1)–g(9), or g(d) will appear in the
upper left of the LCD screen.)
2Press the tabs located to the left and right sides of the
display to select a different category.
The name of the selected category will be displayed in
full in the upper right.
3Press one of the program names in the center area to
select a program.
The selected program will be highlighted.
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4When you are satisfied with the selected program,
press the OK button to close the popup menu.
If you press the Cancel button, your selection will be
discarded, and you will return to the program that had
been selected when you opened the popup menu.
Using controllers to modify the sound
The TRITON Extreme provides various controllers – a joy-
stick, the ribbon controller, the SW1 and SW2 switches,
and the REALTIME CONTROL [1], [2], [3], [4] knobs –
that let you modify the tone, pitch, volume, or effects in
realtime while you play.
Using 10’s HOLD when selecting programs
If you press the [./ 10’s HOLD] key to turn on the 10’s
You can use these controllers to modify the sound while
you are playing a program.
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 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 value of the ten’s place.
Joystick
1Press the [./10’s HOLD] key to make the display indi-
cate
.
The ten’s place of the program number will be held
(fixed).
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.
2By pressing a numeric key [0]–[9], you can input the
one’s place in a single action.
Normally this is used to control filter LFO (wah).
3You can use the [ ][ ] keys to change the value of
You can use the Lock function of [SW1] or [SW2] keys
to hold the effect in the current position of the joy-
stick. For the procedure, refer to “The lock function”
on the following page.
ten’s place.
4To cancel the 10’s HOLD function, press [./10’s
HOLD] to erase the
display.
You can use the joystick as a source for alternate mod-
ulation or effect dynamic modulation, to control pro-
gram parameters or effect parameters.
Using a footswitch to select programs
You can assign the Program Up/ Down function to an on/
off type foot switch (such as the optional PS-1) connected
to the rear panel ASSIGNABLE SWITCH jack, and use it
Ribbon controller
Selecting programs from a MIDI device
0
MIDI program change messages can be transmitted from
an external MIDI device, and received by TRITON
Extreme to select programs.(☞PG p.290)
Move your finger to the left and right on the ribbon con-
troller to apply an effect.
Normally, this is used to control pitch, volume or filter etc.
You can use the Lock function of [SW1] or [SW2] keys
to hold the effect even after you release your finger
from the ribbon controller. For the procedure, refer to
“The Lock function” on the following page.
You can use the ribbon controller as a source for alter-
nate modulation or effect dynamic modulation, to
control program parameters or effect parameters.
SW1, SW2
SW
1
SW
2
You can use these keys as sources for alternate modulation
or effect dynamic modulation to control program parame-
ters 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 rib-
bon controller or after touch lock function.
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You can specify the way in which the [SW1] and [SW2]
keys will operate: either Toggle, when the assigned func-
tion will be switched between on and off each time the
key is pressed, or Momentary, when the assigned function
will be active on only as long as you hold down the
switch.
In the LCD screen, SW2 indicates JS–Y & Ribbon
Lock. This means that the [SW2] key is assigned to
control the Lock function for the joystick –Y direction
and the ribbon controller (☞PG p.279). The key will
operate in Toggle mode.
If you move the joystick in the –Y direction, press the
[SW2] key to turn on the Lock function, then operate
the ribbon controller, and finally release both control-
lers, the sound you modified by the two controllers
will be maintained.
In Program mode, the function of the [SW1] and
[SW2] keys can be checked in the P0: Play, Perfor-
mance Edit page.
When you write a program or combination, the on/
off status of the [SW1] and [SW2] keys is saved.
In many programs and combinations, the [SW2] key
is assigned to control the Lock function for the joy-
stick –Y direction and the ribbon controller.
For details on making these settings, refer to “Setting
The Lock function can also be applied to aftertouch. If
the [SW1] or [SW2] switch is assigned to After Touch
Lock, the effect produced by pressing down on the
keyboard can be held by turning on the [SW1] or
[SW2] switch.
Using the Lock function (examples)
Joystick
1Select program bank J001: Acoustic Piano, and play
the keyboard.
For details on the [SW1] and [SW2] switch functions,
refer to PG p.279.
To select a program, make sure that you are in Program
mode, and press the BANK [J] key, numeric key [1],
and then the [ENTER] key.
REALTIME CONTROLS [1], [2], [3], [4]
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. You can also use these knobs to control
the Valve Force parameters.
2Move the joystick toward yourself (the –Y direction).
The modulation will deepen, and at the same time, res-
onance will be applied to give a unique character to the
sound.
3While holding the joystick toward yourself, press the
[SW2] switch (The [SW2] key will light).
The modulation effect at this point will be maintained.
(Lock function)
1Press the [REALTIME CONTROLS] key to switch the
function of the realtime controllers.
Each time you press the key, A-mode, B-mode or Valve
Force will be alternately selected, and the correspond-
ing LED will light.
SW
1
SW
2
4Release the joystick, and play the keyboard.
The modulation will stay the same as it was when the
[SW2] key was pressed. Moving the joystick toward
yourself will not affect the sound.
2Rotate the desired knob to control the sound, etc.
☞ For details about what is controlled, refer to QS p.6.
[VALUE] slider
5Press the [SW2] key once again to release the Lock
When a program number is selected in Program P0: Play
page, or when a combination number is selected in Com-
bination mode page P0: Play page, you can use the
[VALUE] slider as a source for alternate modulation or
effect dynamic modulation, and control program parame-
ters or effect parameters.
function.
Ribbon controller
Make sure that the J001: Acoustic Piano program is
selected.
1Press the [SW2] key. (The [SW2] key will light.)
2Touch the ribbon controller, and move your finger to
left and right.
Keyboard
Velocity
Movement in the +X direction will brighten the tone,
and movement in the –X direction will darken the tone.
The force with which you initially strike a note can apply
an effect.
3Take your finger away from the ribbon controller.
The sound will remain as it was before you removed
your finger. (Lock function)
Normally this is used to control volume, or the speed or
sensitivity of the EG.
After Touch
4Press the [SW2] key once again to release the Lock
This effect can be applied by varying the pressure on a key
that is already being held down.
function.
Normally this is used to control volume, tone (cutoff fre-
quency), or LFO sensitivity etc.
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Note Number
Varying amounts of an effect will be applied depending
on the position of the key on the keyboard.
Normally this is used to control volume, tone (cutoff fre-
quency), LFO sensitivity, and EG sensitivity etc.
Program editing
You can edit the preloaded programs (banks A–D, H–N)
that the TRITON Extreme is shipped with, or you can start
with an initialized program (banks E, N) to create an orig-
inal program.
The P0: Play page lets you perform basic editing, but more
detailed editing can be done in the P1: Edit-Basic–P9: Edit-
Master Effect pages.
This can be used as a source for alternate modulation
or effect dynamic modulation, to control program
parameters or effect parameters.
Foot pedals/ Switch
If you wish to save an edited program into internal
You can write programs to the 1,536 program mem-
ory areas (internal memory) of banks A–E and H–N.
You can also save and manage programs on various
Damper Pedal
An optional switch-type damper pedal such as the Korg
DS-1H can be connected to TRITON Extreme. If a DS-1H
is connected, it will function as a half-damper pedal. The
half-damper function cannot be controlled by other ped-
als.
Assignable Foot Switch
The P1: Edit-Basic–P5: Edit Common LFO parameters
are shared by oscillators 1 and 2, and can be copied
using the page menu command “Copy Oscillator.”
This command is useful when you want to set both
oscillators to the same settings, or when you want to
copy settings from a different program.
If an optional foot switch such as the Korg PS-1 is con-
nected to the rear panel ASSIGNABLE SWITCH jack, an
assigned function can be switched on/ off using the foot
switch.
The function of the foot switch is assigned in Global P2:
Assignable Foot Pedal
The three elements of sound
An optional expression pedal such as the Korg EXP-2 foot
controller or Korg XVP-10 EXP/ VOL pedal can be con-
nected to the rear panel ASSIGNABLE PEDAL jack, and
used to apply an effect.
Sound can be broken down into three elements: pitch,
tone, and volume.
On TRITON Extreme, these elements correspond to the
Pitch, Filter, and Amplifier settings of a program. In other
words you would adjust the Pitch settings to modify the
pitch, the Filter settings to modify the tone, and the
Amplifier settings to modify the volume.
The function of the foot pedal is assigned in Global P2:
Easy program editing
In Oscillator (Oscillator: P1: Edit-Basic settings) you
select the waveform multisample that determines the
basic sound, and specify its pitch. This sound is then mod-
ified by the pitch settings (Pitch: P2: Edit-Pitch), filter set-
tings (Filter: P3: Edit-Filter), and amp settings (Amplifier:
P4: Edit-Amp) to create the basic sound of the program.
Performance Edit (the Performance Edit tab)
You can use the eight Performance Editor sliders to make
overall adjustments to the major parameters of Program
P1–9.
☞ For details on what is controlled, refer to QS p.6 or PG
This basic sound can then be modified further by using
the insert effects (P8: Edit-Insert Effect settings), master
effects, master EQ, and Valve Force (P9: Edit-Master
Effect settings) to apply finishing touches.
p.2.
REALTIME CONTROLS [1], [2], [3], [4]
☞ For details on what is controlled, refer to QS p.6.
When arpeggiator settings (P7: Edit-Arpeggiator.) and
controller settings (P1: Edit: Basic, Control Setup) are
added to this, the final result is called a “program.”
Easy arpeggiator editing
Arpeggio tab
The Compare function
Here you can select the arpeggio pattern, and make real-
time adjustments to the arpeggio parameters while you
perform.
When P1–P9 are selected, pressing the [COMPARE] key
(the key will light) will recall the sound as it was written
before you edited it.
ARPEGGIATOR [ON/ OFF] key, [TEMPO] knob, [GATE]
knob, [VELOCITY] knob
Use the ARPEGGIATOR [ON/ OFF] key to turn the arpeg-
giator on/ off.
The ARPEGGIATOR [TEMPO], [GATE], and [VELOCITY]
knobs control the tempo, duration, and strength of the
arpeggiated notes.
Pressing [COMPARE] again (the light goes dark) returns
you to the version you are editing.
If you edit while the [COMPARE] key is lit, the key will
again go dark and your previous unsaved edits will be
lost.
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Data sampled on the TRITON Extreme can also be used as
a multisample.
Oscillator settings P1: Edit-Basic
Selecting a multisample
The multisample will determine the basic character of the
program.
Basic settings for the oscillator are made in the P1: Edit-
Basic page. The TRITON Extreme provides two oscilla-
tors, and for each oscillator you can select a basic wave-
form (“multisample”) and set the pitch.
The multisamples provided by the TRITON Extreme
include waveforms for musical instruments such as
pianos, as well as special waveforms unique to synthesiz-
ers. Multisamples reproduce the complex overtone struc-
ture and frequency characteristics that allow us to identify
a sound as being “piano-like” or “guitar-like” etc..
Use “High MS Bank” to select the multisample bank,
and use “High Multisample” to select the multisam-
ple.
You can select preset multisamples if “High MS Bank”
is set to other than RAM.
If “High MS Bank” is RAM, you can select multisam-
ples that were sampled on the TRITON Extreme or
loaded in from media. Select from 000–999 for “High
multisample.”
Program Basic page
Multisample bank
MS Bank Mbyte
No.
Explanation
ROM
32
000–424
TRITON Classic preset multisam-
ples
RAM
96
000–999
RAM multisamples (created in
Sampling mode or loaded in Media
mode)
Piano
New1
New2
16
16
16
000–003
000–007
000–048
Preset multisamples for stereo
piano
Preset multisamples for stereo
piano and choir
Preset multisamples for organ,
solo brass, electric guitar, acous-
tic guitar, electric bass, acoustic
bass, etc.
Oscillator Mode
This sets the mode of the oscillator. Single uses one oscil-
lator and Double uses two oscillators. In the case of Sin-
gle the maximum polyphony is 60 notes, and in the case
of Double the maximum polyphony is 30 notes. If you
wish to use a Drum Kit to create a drums program, select
Drums. In the case of Drums, the polyphony is normally
60 notes.
Best
16
000–046
Preset multisamples for electric
piano, clavi, brass, woodwinds,
choir, drums, etc.
OrchS
OrchB
16
16
000–112
000–079
Preset multisamples for orchestral
strings
Preset multisamples for orchestral
brass, woodwinds, percussion,
and harp etc.
Depending on the multisamples that are selected for
each oscillator, the maximum polyphony can be up to
120 notes for Single, up to 60 notes for Double, and
Vint
16
16
000–157
000–077
Preset multisamples for vintage
analog synths
Synth
Preset multisamples for house and
trance music
Voice Assign Mode
If “High MS Bank” is set to ROM, pressing the “High
Multisample” popup button will display all internal
ROM multisamples, organized into 15 categories. Use
the tabs located at the left and right to select the
desired category, and select a multisample from
within that category.
Select whether the program will sound in Poly (polyphon-
ically) or Mono (monophonically). If this is set to Poly,
you will be able to play chords using the program. 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 playing sounds such as a solo
instrument, an analog-synth bass or a synth lead. Try
switching between Poly and Mono, and listen to the
results.
High Multisample and Low Multisample
If you specify a High and Low multisample for an oscilla-
tor, either the High or the Low multisample will sound
depending on the velocity of the note (i.e., the strength at
which you play the keyboard). This function is called
velocity multisample switching.
OSC Basic page
1Specify different multisamples for “High Multisam-
ple” and “Low Multisample.”
2Specify a velocity value for “Velocity M.Sample SW
Lo→Hi.”
Notes played on the keyboard at a velocity less than
the value you specify will sound the Low multisample;
velocities at or above this velocity value will sound the
High multisample.
For example if you set “Velocity M.Sample SW
Lo→Hi” to 100, playing the keyboard softly will sound
the “Low multisample,” and playing strongly will
sound the “High multisample.”
In this page you can select the multisample for each oscil-
lator. The TRITON Extreme contains 962 different multi-
samples. (☞VNL)
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3Adjust the “Lvl” (Level) for High and Low multisam-
ples to set their volume balance.
Velocity Zone page
If you do not wish to use this function, set the “Veloc-
ity M.Sample SW Lo→ Hi” value to 001. Only the
High multisample will sound.
Rev (Reverse) check box
If this is checked, the multisample will be played back-
ward. 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 Pro-
gram Basic page.
In the same way as for OSC1, you can set High and Low
multisamples for OSC2.
Here you can specify the range of velocities for each oscil-
lator. In the example shown above, the velocity ranges are
as follows.
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.
•
•
OSC1 will sound at all velocity values.
OSC2 will sound only on strongly played notes (64
and above).
•
You can use Velocity Multisample Switching in
addition to this parameter (☞“High Multisample, Low
Multisample”). For this example, set “OSC1” in
“Velocity M.Sample SW Lo→Hi” to 032 and “OSC2”
to 096. The settings are shown as vertical lines in the
velocity zone display.
It will be convenient to use the page menu command
“Copy Oscillator” to make the oscillator settings
match each other.
● When “Oscillator Mode” = Drums
In this example, the multisamples will sound over four
levels.
Velocity values 001–031: sounds only the OSC1 Low
multisample.
Velocity values 032–063: sounds only the OSC1 High
multisample.
Velocity values 064–095: sounds the OSC1 High multi-
sample and the OSC2 Low
multisample.
Velocity values 096–127: sounds the OSC1 High multi-
sample and the OSC2 High
In the Program Basic page, set “Oscillator Mode” to
Drums. When this is set to Drums, you will be able to cre-
ate a drum program.
multisample.
This will select a drum kit instead of a multisample. TRI-
TON Extreme provides 50 factory preset drum kits that
are suitable for a wide variety of music. (☞VNL)
Here you can only select a drum kit. To edit or create a
Controller Setup page
For each program, this tab lets you make settings for the
[SW1] and [SW2] key, and for the B-mode of REALTIME
The following multisamples or drum kits can be used
for the oscillator.
•
Preset multisamples (see the table on the preceding
page)
•
Multisamples that you sampled (RAM)
(Programs can be created from multisamples/ samples
that you sampled in Sampling mode etc. or loaded
from media in Media mode.)
•
•
Nine internal drum kits (ROM)
144 user drum kits created in Global mode
(Drum samples can be freely assigned to each key to
create a drum kit. For the sound of each key, you can
make filter and amp settings, and specify routing to the
effects and to the individual audio outputs.)
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“Intensity (AMS Intensity)” specifies the depth of vibrato
that will be applied by the LFO when an AMS (Alternate
Modulation Source) is used. For example if “AMS (LFO1
AMS)” is set to After Touch and you set an appropriate
value for “Intensity (AMS Intensity),” vibrato will be
applied when you apply pressure to the keyboard or
when MIDI aftertouch messages are received.
Pitch settings
P2: Edit-Pitch
Here you can specify how the pitch of the multisample
assigned to each oscillator will change. Pitch EG and LFO
settings allow the pitch to varied over time. The OSC1
P.Mod page is valid when “Oscillator Mode” is set to Sin-
gle or Drums.
Pitch EG page
OSC1 Pitch Mod. page
Here you can adjust the 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 EG to create a subtle
change in pitch at the attack (☞PG p.16).
● EG and LFO
By using an EG (envelope generator) to apply time-vary-
ing change or by using an LFO (Low Frequency Oscilla-
tor) to apply cyclic change to pitch, filter, or amp, you can
create changes in the pitch, tone, or volume.
Pitch
EG (Envelope Generator)
The “JS (+X)” and “JS(–X)” settings specify the amount of
pitch change (in semitones) that will occur when MIDI
pitch bend messages are received or when the joystick is
moved to left or right. A setting of +12 allows the pitch to
be controlled a maximum of one octave upward; a setting
of –12 allows the pitch to be controlled a maximum of one
octave downward.
TRITON Extreme provides a Pitch EG, Filter EG, and
Amplifier EG, which produce time-varying changes in
pitch, tone, and volume respectively.
note-on Attack Level
note-off
Break Level
Level
Release Level
Time
Sustain Level
“Ribbon” specifies the amount of pitch change (in semi-
tones) that will occur when MIDI control change (CC) #16
messages are received or when the ribbon controller of a
TRITON Extreme or other MIDI-connected instrument is
moved to left or right. With a setting of +12, the pitch will
be raised one octave at the far right of the ribbon control-
ler, and will be lowered by one octave at the far left of the
ribbon controller.
Release Time
Decay Time
Attack Time
Slope Time
Start Level
LFO (Low Frequency Oscillator)
For each oscillator, TRITON Extreme 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).
Pitch EG
When the “Intensity” value is set to +12.00, the pitch EG
specified in the Pitch EG page will produce a maximum 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 portamento.
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 (a
“vibrato” effect).
“LFO 1/2 Intensity” sets the depth to which the LFO spec-
ified in P5: Edit-Common LFO will affect the pitch. 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 your-
self.
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High pass filter
This type of filter allows the high frequency range to pass
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 volume
will become very low.
Filter settings
P3: Edit-Filter
The filter allows you to diminish or emphasize specified
frequency areas of the multisample selected for the oscil-
lator.
The tone of the sound will depend significantly on the
filter settings.
High Pass
Level
TRITON Extreme provides Filter 1 for OSC1 and Filter 2
for OSC2. For each of these filters, you can select from two
types (Low Pass Resonance or Low Pass & High Pass).
Filter 2 can be used if “Oscillator Mode” is set to Double.
Filter characteristics
12dB/oct
Frequency
Level
Level
This area of
overtones will
be diminished
Resonance
When “Resonance” is set to a higher value, the overtones
in the region of the cutoff frequency will be boosted as
shown in the diagram below, giving a distinctive charac-
ter to the sound.
Filte r
Overtones included
Overtones after
passing through
the filter
in the original multisample
Frequency (pitch)
Frequency (pitch)
When resonance is applied
Low Pass
Level
Filter1 page
Low resonance value
High resonance value
Filter1 Mod. page
Filter Type, Filter A, Filter B
Selects the type of filter, and specify the “Frequency” (cut-
off 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.
Controllers and the filter EG can be used to modulate the
filter cutoff frequency that was specified in the Filter1
page. 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.
● Filter Type
Low pass filter
This is the most common type of filter, which allows the
low frequency range to pass 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.
Keyboard Track
This varies the cutoff frequency according to the position
of the key on the keyboard 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.
Low Pass
•
Level
12dB/oct
24dB/oct
Frequency
•
“Intensity to A” and “Intensity to B” adjust the effect
that keyboard tracking will have on filters A and B
(☞PG p.18).
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Filter EG
Adjusts the effect produced by the filter EG, whose set-
tings are made in the EG page.
Amplifier settings P4: Edit-Amp
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.
Amp2 can be used if “Oscillator Mode” is set to Double.
•
•
•
Use the “Velocity to A” and “Velocity to B” settings to
specify the effect of velocity on the filter EG.
Use the “Intensity to A” and “Intensity to B” settings
to specify the depth of the filter EG.
“Into A (AMS Int. to A)” and “Into B (AMS Int. to
B)” adjust the effect that AMS will have on the filter
EG depth.
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 instrument 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).
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.
Piano
Organ
Volume remains constant
until note is released
Volume
Volume
Volume decays gradually
Filter1 LFO Mod. page
Indicates settings that allow the LFO to produce cyclic
changes in tone (a “wah” effect).
Time
Time
“Intensity to A (LFO Int. to A)” and “Intensity to B (LFO
Int. to B)” specify by how much the LFO will change the
tone.
“JS-Y Intensity to A” and “JS-Y Intensity to B” specify
the depth of the wah effect that will be produced by the
LFO when the joystick of TRITON Extreme is moved
toward yourself, or when CC#2 is received.
Amp1 Level/ Pan page
“Intensity to A (LFO1 AMS Int.to A)” and “Intensity to B
(LFO1 AMS Int. to B)” specify the depth of the wah effect
that will be produced by the LFO when “AMS (LFO1
AMS)” is used. For example if “AMS (LFO1 AMS)” is set
to After Touch, applying pressure to the keyboard of the
TRITON Extreme, will produce a wah effect.
Filter1 EG page
Amp Level
Adjusts the volume of the sound that has passed through
the oscillator, filter, and amp.
Indicates 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 Filter1 Mod. page Fil-
ter EG parameter (☞PG p.20).
Pan
Specifies the pan (stereo position) after the signal has
passed through the oscillator, filter, and amp. Normally
you will set this to C064. If “Oscillator Mode” is Double
and you wish to create a sense of stereo, set the Amp1
Level/ Pan page and Amp2 Level/ Pan page parameter
“Pan” to left and right for oscillators 1 and 2 respectively.
With a setting of Random, the pan will change randomly
each time you play a note on TRITON Extreme, producing
an interesting effect.
● 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 differ-
ent ways. For example by changing the speed at which the
tone and volume begin (attack) or decay, you can signifi-
cantly 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 (volume) as you proceed with editing.
(☞“Amp1 EG page”)
AMS (Pan AMS), Intensity
“Intensity” specifies the depth of the panning effect that
will occur when “AMS (Pan AMS)” is in use.
If you set “AMS (Pan AMS)” to Note Number, the pan
will change according to the keyboard position at which
you play a note on a TRITON Extreme. With a setting of
LFO1 or 2, the sound will sweep from side to side (auto
pan). Other settings allow you to move the oscillator pan
by operating a controller.
Use DKit Setting
This is valid when “Oscillator 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. Preload and
GM drum kits are set to stereo settings. Normally you will
leave this checked.
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Piano
Amp1 Mod. page
Organ
Strings
Keyboard Track
This lets you vary the volume relative to the position of
the key you are playing on the keyboard.
LFO settings
P5: Edit-Common LFO
•
When “Ramp Low” has a positive (+) value, the vol-
ume will increase as you play lower on the keyboard.
With a negative (–) value, the volume will decrease as
you play lower on the keyboard.
When “Ramp High” has a positive (+) value, the vol-
ume will increase as you play higher on the keyboard.
With a negative (–) value, the volume will decrease as
you play higher on the keyboard.
For each oscillator, you can use two LFO (Low Frequency
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 that you specify here is
adjusted by the settings of the P2: Edit-Pitch, P3: Edit-Fil-
ter and P4: Edit-Amp pages.
•
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 the Amp Modu-
lation parameter adjusts the depth of this control. Nor-
mally 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.
LFO1/ 2
Specifies how the LFO’s will produce cyclic changes in
volume (tremolo effect).
The volume will be affected by the LFO(s) for which you
set an “LFO1 Intensity”, “LFO2 Intensity” value.
“Intensity (AMS Intensity)” adjusts the depth by which
the tremolo effect produced by the LFO will be affected
when you assign an “AMS (LFO1 AMS, LFO2 AMS).”
For example if you set “AMS” to JS-Y: #02, tremolo will
be applied when you move the joystick of TRITON
Extreme toward yourself, or when CC#02 is received.
OSC1 LFO1, OSC1 LFO2,
OSC2 LFO1, OSC2 LFO2
“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 PG waveforms that produce a sample-and-
hold effect (☞PG p.26).
You can create a wide variety of effects by adjusting the
“Offset,” “Fade,” and “Delay” settings, and by changing
the sign (+/ –) of the “Intensity” setting in the P2: Edit-
Pitch, P3: Edit-Filter and P4: Edit-Amp pages. “Fre-
quency” specifies the speed of the LFO.
Amp1 EG page
Here you can make settings for the amp EG, which
changes the volume over time.
Every instrument has its own characteristic curve of vol-
ume change. This is part of what gives each instrument its
identifiable character. Conversely, by applying a strings-
type Amp EG curve to an organ-type multisample, you
can produce a sound with a character unlike a typical
organ.
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” set-
ting will be ignored, and the LFO will synchronize to the
tempo of the sequencer and arpeggiator. This lets you pro-
duce vibrato, wah, auto-pan, or tremolo effects that
remain synchronized to the playback speed of the
sequencer or arpeggiator, even if you adjust this playback
speed.
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Suggestions on using alternate
modulation
Arpeggiator settings
P7: Edit-Arpeggiator
When making settings for alternate modulation, think of
the effect that you wish to produce, what type of modula-
tion 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 joy-
stick is moved away,” you will make settings so that the
joystick controls filter modulation or the resonance level.
Insert Effect settings
P8: Edit-Insert Effect
Here you can select insert effects and make settings for
them. You can also specify the oscillator routing (the sig-
nal sent to the insert effects, master effects, and indepen-
Auto Song Setup function
This function automatically applies the settings of the cur-
rent program to a song.
If inspiration for a phrase or song strikes you while you’re
playing a program or combination, you can use this func-
tion to start recording immediately.
Hold down the [ENTER] key and press the SEQUENCER
[REC/ WRITE] key. The “Setup to Record” dialog box will
open and ask “Are you sure?”. Press “OK”. You will auto-
matically enter Sequencer mode, and will be in the record-
ready state. Press the [START/ STOP] key to start the
sequencer and begin recording.
Master Effect and Valve Force
settings
P9: Edit-Master Effect
Here you can select master effects and make settings for
More about Alternate Modulation
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 provide alternate modulation,
and includes controllers that you operate physically such
as the joystick and realtime controllers, incoming MIDI
data, as well as modulators such as the EG or LFO.
Since TRITON Extreme allows you to 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 modulation.
Combinations of modulations that are frequently used in
synthesizer performance (such as using the joystick to
vary the pitch) are also provided as special parameters
separate from alternate modulation.
TRITON Extreme provides 29 types of alternate modula-
tion.
In single mode you can use 29 alternate modulation desti-
nations 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 PG
p.271.
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Playing and editing combinations
(Combination Mode)
Combination mode page structure
Page
P0: Play
Explanation
Combination structure
Select a combination; select a program for
each timbre; set the status, pan, and level;
select and set the arpeggio pattern, make set-
tings for sampling.
When the TRITON Extreme is shipped from the factory, it
contains 1,280 combinations. You can create your own
original combinations by editing these factory-set combi-
nations, or by initializing a combination and starting
“from scratch.”
You can play a combination and resample your perfor-
mance, or sample an external audio source while listening
to the sound of a combination.
P1: Edit-program/
Mixer
Select a program for each timbre, and set pan
and level. (These are common to the parame-
ters in P0, and can be edited from either
page.)
P2: Edit-Trk Param
P3: Edit-MIDI Filter
P4: Edit-Zone/Ctrl
Set various parameters for each timbre, such
as MIDI, OSC, Pitch etc.
MIDI transmission/reception filter settings for
each timbre.
Each of the rewritable banks A–E and H–N contain 128
combinations (total 1,536). When shipped, banks A–D and
H–M contain preloaded combinations.
Key zone and velocity zone settings for each
timbre. Make controller settings. If the sepa-
rately sold EXB-MOSS option is installed, set
related parameters.
Combination banks
P5:
P6:
---
---
Bank
Combi. No.
Explanation
A...D, H...M 000...127
Preloaded combinations
P7: Edit-
Arpeggiator settings. (These are common to
the parameters in P0, and can be edited from
either page.)
Arpeggiator
E
N
000...127
000...127
User (initial) combinations
EXB-MOSS combinations
P8: Edit-Insert FX
P9: Edit-Master FX
Select insertion effects and make settings.
Specify the timbre routing (send levels to the
insertion effects, master effects, and indepen-
dent outputs).
User (initial) combinations
☞ For details on the factory-set combinations, refer to
Select master effects and make settings.
Make settings for the master EQ and Valve
Force.
“VNL.”
P0: Play is where you select and play combinations. Here
you can also make changes to the contents of each timbre,
adjust the volume and pan, and make simple adjustments
to the arpeggiator settings.
For details on how to access each mode and page,
In the P1: Edit-Prog./ Mixer–P9: Edit-Master FX pages you
can modify the sound by editing the various parameters
of the combination you selected in P0: Play.
If the EXB-MOSS option is installed, bank F programs
will be available for you to select as a timbre in the
combination. For details on the parameters of bank F
programs, refer to the EXB-MOSS owner ’s manual.
You can perform sampling/ resampling in Combina-
Extreme’s effects to an external audio input, for a
Combination structure and corresponding pages
Controller
Setup :
P4- 4
Arpeggi-
ator : P7
Timbre1
Program
Parameters
Parameters
Parameters
Parameters
Master
Effect
1, 2 : P9
Valve
Force
: P9
Routing : P8-1
Timbre2
Program
Placement:
Final
Insert
Effect
1 ... 5 : P8
AUDIO OUTPUT
L/MONO, R
Master
EQ : P9
Timbre3
Program
Timbre
AUDIO OUTPUT
INDIVIDUAL
1, 2
Timbre4
Program
Insert Effect
Master Effect
Individual Outputs
3, 4
Placement:
Insert (Use Indiv.3/4 BUS)
Valve
Force
: P9
Timbre8
Program
Parameters
P1–1 and P2–2 etc. indicate the page tab screens used when editing on the TRITON Exterme.
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Using 10’s HOLD when selecting a combination
When you press the [./ 10’s HOLD] key to turn on the 10’s
Playing a combination P0: Play
HOLD function (the LCD screen will indicate
), the
ten’s digit of the combination number will be held, and
you will able to switch combinations simply by pressing a
single numeric key. In this case only the one’s place of the
number will change. You can use the [ ][ ] keys to
switch the ten’s place. (☞Refer to the corresponding
Here you can select and play combinations. You can select
the program for each timbre 1–8 and set its status, pan,
and level. You can also make settings for the arpeggiator,
external audio input, and sampling.
Selecting a combination
Selecting a combination using a footswitch
You can select a combination in any of the following three
ways.
You can assign the Combination Up/ Down function to an
on/ off type foot switch (such as the optional PS-1) con-
nected to the rear panel ASSIGNABLE SWITCH jack, and
•
From the TRITON Extreme
Selecting by bank/ combination number
Selecting by combination category
Selecting by using 10’s Hold
Selecting a combination from an external MIDI device
You can transmit a MIDI program change message from
an external MIDI device to the TRITON Extreme to switch
combinations. (☞PG p.290)
•
•
From a connected foot switch
By receiving MIDI program changes
☞ For details on the factory-set combinations, refer to the
Selecting a combination on the TRITON
Extreme
VNL.
Selecting by bank/ combination number
Using controllers to modify the sound
1Make sure that “Combination Select” is selected.
If it is not, select the COMBINATION P0: Play page
and press “Combination Select” to highlight it.
You can use the joystick, ribbon controller, SW1, SW2,
Realtime Controls [1]–[4], [VALUE] slider, keyboard, and
a foot pedal/ switch to control the sound.
Category
☞ Refer to the corresponding explanation for programs
popup button
Combination
Select popup
button
Combination
Select
Easy combination editing
Selecting a program for each timbre 1–8
(Program Select tab)
Bank/Program
(Program Select)
Status
Switching the program assigned to each timbre 1–8 will
change the sound of the combination.
There are three ways to switch programs. For details on
each procedure, refer to the appropriate page of explana-
tions.
2Use the VALUE controllers to select the combination
number that you want to play.
•
Selecting a program from the TRITON Extreme
by bank/ program number
You can use any of the following methods.
•
•
•
Turn the [VALUE] dial.
Use the [ ][ ] keys.
Use numeric keys [0]–[9] to specify a number, and
press the [ENTER] key.
by program category
•
Selecting a program by receiving a MIDI program
change
MIDI program changes cannot switch programs for a
Timbre whose “Status” is set to other than INT.
3Press a BANK [A]–[E] or [H]–[N] key to select a bank.
By switching banks you can select combinations from
other banks. (The key will light, and the upper left of
the LCD screen will indicate the selected bank.)
For example to select bank [B], press the BANK [B] key.
(The [B] key lights, and the upper left of the LCD
screen indicates Bank B.)
☞ For details on the factory-set program names, refer to
the VNL.
Status
This specifies the status of MIDI and the internal tone gen-
erator for each timbre 1–8. Normally, you will set this to
INT if you want the TRITON Extreme’s internal tone gen-
erator to sound. Set this to Off for timbres you are not
using. If the status is set to Off, EXT, or EX2, that timbre
will not sound. The EXT and EX2 settings allow the timbre
to control a connected external MIDI device. (☞QS p.8, PG
p.38)
Selecting a combination by bank
When you press the “Combination Select” popup button,
a list of the combinations in each bank will appear, allow-
ing you to choose one of these combinations. (☞Refer to
Selecting a combination by category
When you press the Category popup button, a list of com-
bination categories such as keyboard, organ, bass, or
drums will appear, allowing you to select a combination
from a specified category. With the factory settings, the
combinations are organized into sixteen categories. (Refer
Mixer tab
Here you can adjust the pan and level for each timbre 1–8.
(☞QS p.9, PG p.40)
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Easy arpeggiator editing
Combination editing
Arpeggio Play A/ Arpeggio Play B tabs
You can edit the preloaded combinations (banks A–D, H–
M) with which the TRITON Extreme is shipped, or start
with an initialized combination (banks E, N) to create
your own original combination.
You can perform simple editing even in the P0: Play page,
but the P1: Edit-Program/ Mixer–P9: Edit-Master FX
pages let you perform more detailed editing.
•
You can switch arpeggiators A and B on/off
independently.
To turn both arpeggiators on/ off, use the ARPEGGIA-
TOR [ON/ OFF] key.
The arpeggiator will operate only on timbres to which
arpeggiator A or B is assigned.
•
The ARPEGGIATOR [TEMPO], [GATE], and
[VELOCITY] knobs control the tempo, duration, and
strength of the arpeggiated notes. (☞QS p.11)
Original programs using sample waveforms/ multi-
samples you sampled on the TRITON Extreme (or
loaded into memory via Media mode) can also be
used in a combination.
If a program being edited in Program mode is used in
a combination, it will sound according to the settings
being edited.
If you wish to save an edited combination in internal
You can write combinations to the 1,536 combination
memory areas (internal memory) of banks A–E and
H–N. You can also save and manage combinations on
Suggestions for editing procedure
First use P1: Edit-Program/ Mixer to select the program
for each timbre, and then use P4: Edit-Zone/ Ctrl to spec-
ify the range in which each program will sound (layer,
split, velocity switch, etc.). Then adjust the volume of each
timbre, and set various other parameters.
To add finishing touches to the sound, you can assign
insert effect settings (in P8: Edit-Insert FX) and master
effect, master EQ and Valve Force settings (in P9: Edit-
Master FX) that are different from the effect settings of
Program mode. In addition, you can make arpeggiator
settings (in P7: Edit-Arp.) and controller settings (in P4:
Edit-Zone/ Ctrl) to create the finished combination.
By using the page menu command “Solo Selected
Timbre”, you can listen to the selected timbre only.
This is a convenient way to audition the individual
sounds of timbres that are layered. (☞PG p.39)
Layer, split, and velocity switch
Within a combination, you can use key position and veloc-
ity to determine which program will sound.
The programs assigned to each timbre can sound in three
ways: as part of a layer, a split, or a velocity switch. A
combination can be set to use any one of these methods,
or to use two or more of these methods.
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Layer
Layer refers to settings which cause two or more pro-
grams to sound simultaneously when a note is played.
Timbre 1–8 program, pan and
volume P1: Edit-Program/ Mixer
Program A
Program B
Layer:
Here you can assign programs to each timbre 1–8, and set
the pan and volume for each one.
Two or more programs sound
simultaneously.
These settings can also be made in the Program Select
and Mixer pages of P0: Play.
Split
Split refers to settings which cause different programs to
sound on different areas of the keyboard.
Edit-Program/ Mixer page
Program B
Program A
Split:
Different programs will sound in
different areas of the keyboard.
Velocity switch
Velocity Switch refers to settings which cause different
programs to sound depending on the velocity (keyboard
playing dynamics).
Program B
Program A
Strong
Soft
Keyboard playing
dynamics
Velocity Switch:
Keyboard playing dynamics
(velocity) switches between
different programs.
Category, Program Select (Bank/ Program)
Assigns a program to each timbre.
On TRITON Extreme, 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 setups.
When the “Bank/ Timbre Program” select menu is
displayed, you can select programs by bank.
When the “Category/ Timbre Program” select menu
is displayed, you can select programs from the 16 cat-
Program A
Program D
Program C
Strong
Soft
Keyboard playing
dynamics
Program B
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.
You can also use the BANK [A]–[N] keys to select the
bank of the program.
If you wish to select programs by receiving MIDI pro-
gram changes, do so in P0: Play.
As an additional possibility, you can set the slope for a key
zone or velocity zone so that the volume diminishes grad-
ually. This lets you change a split into a keyboard cross-
fade, or a velocity switch into a velocity crossfade.
Pan
Specifies the panning (stereo position) for each timbre. A
setting of C064 will reproduce the oscillator pan setting of
the program. Adjusting this parameter will move the
sound to left or right while preserving the pan relation-
ship between the oscillators. A setting of L001 is far left,
and R127 is far right.
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 B
Program A
Volume
The Compare function
Adjusts the volume of each timbre.
Create the overall sound by adjusting the volume balance
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.
When one of the P1–P9 pages is selected, you can press
the [COMPARE] key (the key will light) to recall the
sound that was last written before editing. As you are
editing a combi, you can use the [COMPARE] key to listen
to the previously saved version (as it was before you
began editing). Pressing [COMPARE] again (the light goes
dark) returns you to the version you are editing.
If you continue editing when the [COMPARE] key is lit,
the key will go dark, and the current setting will now be
the sound that is recalled when the [COMPARE] key is
dark.
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OSC page
Settings for status, MIDI channel,
and pitch parameters
P2: Edit-Trk Param
MIDI Ch page
Force OSC Mode
Normally you will set this to PRG (the oscillator will play
as set by the program settings).
If you wish to force a polyphonic program to sound
monophonically in this combination, without re-writing
the program itself, 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 (☞PG p.43).
Status
Here you can specify the MIDI status of the internal tone
generator assigned to each timbre. Normally when play-
ing the internal tone generator of TRITON Extreme, you
will set this to INT. Set this to Off for timbres that you are
not using. With settings of Off, EXT, or EX2, TRITON
Extreme will not sound. With settings of EXT or EX2, you
can control an external tone generator connected via
MIDI. (☞PG p.38, 43)
OSC Select
Normally you will set this to BTH (Both).
If the timbre is using a program whose “Oscillator Mode”
is Double, and you want only OSC1 or OSC2 (not both) to
sound, set this to OSC1 (only OSC1 will sound) or OSC2
(only OSC2 will sound).
Portamento
Normally you will set this to PRG.
MIDI Channel
If you want to override the portamento setting specified in
the program assigned to the timbre to be forced off, set
this parameter to Off. Conversely, if you want to force the
portamento to be on, or to change the portamento time,
set this to a value of 001–127 to specify the portamento
time.
Timbres that you wish to play from TRITON Extreme’s
keyboard 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.
Pitch page
On some preloaded combinations that use the arpeg-
giator, timbres assigned to the arpeggiator may not
have a “Status” of INT and “MIDI Ch” 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 combinations
that use the arpeggiator. Refer to “Arpeggiator set-
PG p.49), and study the relationship between arpeg-
giator assignments, “Status,” and “MIDI Channel.”
Bank Select (when status=EX2)
This setting is valid when “Status” is set to EX2. It speci-
fies that Bank Select messages will be transmitted from
TRITON Extreme.
Transpose, Detune (BPM Adjust)
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 split-type combinations, you can use “Transpose”
to shift the pitch (in semitone units) of the programs
specified for each key zone.
If you wish to change the playback pitch of a drum
program, use “Detune.” If you change the “Trans-
pose” setting, the relationship between notes and
drum sounds will change.
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For example if you selected a bass program for timbre 1
and a piano program for timbre 2 to create a split-type
combination, you could make the following settings so
that pressing the connected damper pedal would apply
the damper effect only to the piano program of timbre 2.
● Adjusting the BPM of multisamples or samples cre-
ated in Sampling mode
If a timbre’s program uses multisamples or samples that
you created in Sampling mode (or loaded in Media mode)
at a specific BPM value, you can use the page menu com-
mand “Detune BPM Adjust” to call up a new BPM value.
This changes the BPM by adjusting the playback pitch.
(☞PG p.44)
Set the P3: Edit-MIDI Filter-1 “Enable Damper”
parameter
Timbre 1 “Enable Damper”: unchecked
Timbre 2 “Enable Damper”: checked
Other page
Layer, split, and velocity switch
settings/ Controller settings
P4: Edit-Zone/ Ctrl
Key Zone page (Key zone settings)
Indicates settings such as layer, split, and keyboard cross-
fade.
Delay [ms]
Specifies the range of notes that will be sounded by each
timbre. Each area that sounds a timbre is referred to as a
Key Zone. By setting key zones, you can create a combi-
nation in which different programs sound in different
areas of the keyboard.
Specifies the amount of time before the program assigned
to each timbre will sound. Specifies the time from when
you play the keyboard until the program will sound.
If you select KeyOff for this parameter, the timbre will
sound when the note is released.
By combining key zones specified for each timbre, you
can create layered or split combinations.
Use Program’s Scale, Scale
The upper and lower limits for the key zone of each tim-
bre are set by the “Top Key” and “Bottom Key” respec-
tively.
For example in the following diagram, timbres 1–3 are set
to create a layered and split combination. This is specified
by the key zone settings.
Specifies the scale for each timbre. If you check “Use Pro-
gram’s Scale,” the scale specified by the program will be
used. Timbres for which this is not checked will use the
Scale setting.
Timbres 2 and 3 create a layer. Timbre 1 and timbres 2/ 3
are split between the B3 and C4 note numbers.
Timbre 1
Timbre 2
Timbre 3
Piano
MIDI filter settings
P3: Edit-MIDI Filter
Brass
Strings
For each MIDI Filter item, you can specify whether or not
the corresponding MIDI message will be transmitted and
received. The checked items will be transmitted and
received.
C–1
B3 C4
G9
As an example here, we will explain how to create a com-
bination like the one shown above.
1In the P0: Play, Program Select page or the P1: Edit-
Program/Mixer page, use the “Program Select” area to
select the program that will be used 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 the MIDI Ch page of P2: Edit-Trk Param, set “Sta-
tus” to INT for all the timbres that you wish to use,
and set “MIDI Channel” to either Gch or to match the
global MIDI channel (a “G” will be displayed after
the channel number).
MIDI filter does not turn the function itself on/ off,
but specifies whether or not that MIDI message will
be transmitted and received. For example if porta-
mento is on, portamento will be applied to the sound
of TRITON Extreme even if “Portamento SW CC#65”
is unchecked.
3In the Key Zone page of P4: Edit-Zone/Ctrl, set “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.
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You can also enter these values by holding down the
[ENTER] key and playing a note on the keyboard.
Set timbre 1 to a “Top Velocity” of 127 and a “Bottom
Velocity” of 64.
Set timbre 2 to a “Top Velocity” of 63 and a “Bottom
Velocity” of 1.
Key Zone Slope
Here you can specify the range of keys over which the
original volume will be reached, starting at the top key
and bottom key.
In the example above, you could set the “Bottom Key” of
timbre 1 to G3, and set the “Top Key” of timbre 2 to G4, so
that these two timbres overlap. Next if you set the “Bot-
tom Slope” of timbre 1 to 12, and set the “Top Slope” of
timbre 2 to 12 the sound will change gradually, instead of
changing suddenly between B3 and C4.
Velocity Zone Slope
Here you can specify the range of values over which the
original volume will be reached, starting from the top
velocity and bottom velocity.
In the case of the above example, you could set the veloc-
ity zones of the two timbres so that they partially overlap,
and set the “Top Slope” and “Bottom Slope” so that the
sound changes gradually, instead of changing suddenly
between velocity values of 63 and 64.
Vel Zone page (Velocity zone settings)
Control page (Controller settings)
Here you can make settings for velocity switching and
velocity crossfading.
For each combination, you can specify the functions of the
B-mode functions of REALTIME CONTROLS knobs [1]–
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 a Velocity Zone. By setting a
velocity zone, you can set up a timbre which will be
sounded only by notes played within a certain range of
velocities, and not by notes played outside this Velocity
Zone.
Arpeggiator settings
P7: Edit-Arp.
By combining timbres that have differing velocity zone
settings, you can create velocity switched combinations.
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 combina-
tions are created by setting the velocity zone.
Insert Effect settings
P8: Edit-Insert FX
127
Timbre 1
Timbre 2
Brass
64
63
1
Velocity
switch
Indicates the insert effects, and allows you to adjust their
settings.
Strings
Specifies the routing for each timbre (i.e., how it is sent to
the insert effect, master effects, and individual outputs).
As an example, we will explain how to create a combina-
tion like the one shown above.
1In the P0: Play, Program Select page or the P1: Edit-
Program/Mixer, Prog page, use the “Program Select”
area to select the program that will be used for each
timbre 1 and 2.
Master Effect and Valve Force
Select a brass program for timbre 1.
Select a strings program for timbre 2.
settings
P9: Edit-Master FX
Indicates the master effects, and allows you to adjust their
settings. Here you can also make master EQ and Valve
2In the MIDI Ch page of P2: Edit-Trk Param, set “Sta-
tus” to INT for all the timbres that you wish to use,
and set “MIDI Channel” to either Gch or to match the
global MIDI channel (a “G” will be displayed after
the channel number).
3In P4: Edit-Zone/Ctrl, Vel Zone page, set the “Top
Velocity” and “Bottom Velocity.”
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Auto Song Setup function
This function automatically applies the settings of the cur-
rent combination to a new song.
If inspiration for a phrase or song strikes you while you’re
playing a combination, you can use this function to start
recording immediately.
Hold down the [ENTER] key and press the SEQUENCER
[REC/ WRITE] key. The “Setup to Record” dialog box will
open and ask “Are you sure?”. Press “OK”. You will auto-
matically enter Sequencer mode, and will be in the record-
ready state. Press the [START/ STOP] key to start the
sequencer and begin recording.
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Producing songs (Sequencer mode)
TRITON Extreme contains a 16-track MIDI sequencer. The
sequencer acts as a hub, integrating TRITON Extreme’s
numerous functions.
eters, can now be recorded in realtime on any track.
You can also use the page menu command “Put Effect
Setting (MIDI Exclusive) to Track” to record effect
parameter settings into the desired location.
During playback, you can send this data to an external
MIDI device or use it to control song track parameters
or effect parameters. Standard MIDI Files (SMF) con-
taining system exclusive messages can be loaded in
from disk, preserving the exclusive data.
“Tone Adjust” parameter let you make temporary
adjustments to the sound of the program used by a
track, while leaving the original program unchanged.
While creating a song, you can use this capability to
make changes in realtime by (for example) softening
the tone of the bass sound or sharpening the attack of
the strings without having to return to Program mode
and edit the program itself.
When you turn off the power, the settings made in
Sequencer mode and the song data, cue list data, and
any user pattern data that you recorded will not be
backed up. If you wish to keep this data, you must
save it on media before turning off the power, or per-
form a MIDI data dump to save the data on an exter-
nal data filer etc.
If you wish to save the programs, track parameters,
effects, and arpeggiator function settings etc. selected
for a song as a template song, use the page menu
command “Save Template Song.”
Immediately after the power is turned on, TRITON
Extreme 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 media or
PG p.163, 176)
•
•
When the “Status” of a track is set to INT or BTH, an
external sequencer can be used to play TRITON
Extreme as a multi-timbral tone generator.
When the “Status” of a track is set to BTH, EXT, or
EXT2, the sequencer of TRITON Extreme can play
external tone generators.
•
•
Playback can be synchronized with an external MIDI
device.
Features of the sequencer
TRITON Extreme’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 abilities let 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.
•
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 number of
times that each song will repeat. A cue list can also be
converted into a single song.
You can assign names not only to the song, but also to
each pattern and track.
Combination and Program settings can be copied to a song.
Sequencer data such as a song or cue list that you cre-
ate can be saved in TRITON Extreme’s native format,
or transmitted as a MIDI data dump.
A song you created can be converted into SMF (Stan-
dard MIDI File) data. SMF songs can also be loaded.
The “PLAY/ MUTE/ REC” and “SOLO On/ Off” let
you instantly play/ mute any desired track on the fly.
You can rewind or fast-forward while listening to the
sound.
•
•
•
The arpeggiator function can be used during play-
back or recording.
•
•
The RPPR (Realtime Pattern Play/Recording) func-
tion can be used during playback or recording.
Sixteen different template songs are built-in, and con-
tain program and effect settings suitable for various
musical styles. Up to sixteen original templates that
you create can be saved as user template songs.
Five stereo insert effects, two master effects, stereo
master EQ, and a Valve Force can be used for each song.
Timing resolution is a maximum of ꢀ / 192.
Sixteen tracks are provided for MIDI data, and a mas-
ter track contains time signature and tempo data that
controls the playback.
•
•
•
•
•
•
•
The [LOCATE] key lets you move quickly to a desired
location.
•
Multisamples you create can be played back together
with internal programs in Sequencer mode.
•
•
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.
The Time Slice function of Sampling mode lets you
divide a rhythm loop sample and create performance
data that corresponds to the divided samples. In
Sequencer mode you can play this performance data,
and adjust the playback tempo without affecting the
pitch of the rhythm loop sample. You can also
exchange the note numbers of the data, or modify the
timing to freely re-create new rhythm loops.
•
Various methods of recording are supported, includ-
ing realtime recording in which your performance on
the keyboard and controllers (including MIDI control
events, MIDI exclusive messages) is recorded just as
you play, and step recording in which the timing,
length, and velocity of each note can be specified 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 edit-
ing and many other edit commands).
•
•
The TRITON Extreme provides an In-Track Sampling
function which lets you sample an external audio
source while the song plays back, and will automati-
cally create note data to trigger that sample at the
appropriate point during the playback of the track.
When you’ve created a song, you can resample it to
media and turn it into an original audio CD by using
Media mode to burn the song to a CD-R/ RW drive
connected to the USB A connector.
•
•
Exclusive messages (including XG and GS format
data) received from an external MIDI device, or
parameter changes you create by editing track param-
39
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** Musical data (MIDI RPN data) can be used to
change the starting settings during playback.
For details on control changes and RPN, refer to PG
p.285, 293.
The structure of Sequencer mode
Sequencer mode is structured as follows.
Songs
A song consists of MIDI tracks 1–16, a master track, song
parameters such as the song name, effect, arpeggiator and
RPPR parameters, and 100 user patterns.
A maximum of 200 such songs can be created on TRITON
Extreme.
Of the above parameters, those that can be edited
during realtime recording can be recorded as exclu-
sive data.
Patterns
There are two types of patterns: preset patterns and user
patterns.
MIDI tracks 1–16 and the master track each consist of
setup parameters located at the start location, and musi-
cal data within the track.
•
•
Preset patterns: Patterns suitable for drum tracks are
preset in internal memory, and can be selected for any
song.
Setup parameters
User patterns: Each song can have up to 100 patterns.
When using a pattern in a different song, use the
Utility menu commands “Copy Pattern” or “Copy
From Song” etc. to copy the pattern. The pattern
length can be specified in units of a measure.
MIDI tracks 1–16
Bank/ Program No.*, PLAY/ MUTE/ REC, Pan*, Vol-
ume*, Track Play Loop, Loop Start Measure, Loop End
Measure, Play Intro, Status, MIDI Channel, Bank Select
(When Status=EX2), Force OSC Mode, OSC Select, Por-
tamento*, 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)*
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 func-
tion of a song.
Master track
Time signature*, Tempo*
Musical data
Cue List
MIDI tracks 1–16
Note On/ Off, Program Change (including Bank
Select), Pitch Bend, After Touch (Poly After), Control
Change, Pattern No., System Exclusive
A cue list allows you to playback multiple songs in suc-
cession. The TRITON Extreme 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.
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 back-
ing, then convert the cue list into a song and add solo
phrases on unused tracks.
*
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.
Sequencer structure and corresponding pages
In-Track Sampling
Sampling memory (RAM)
Sample
Pattern
Controller
U00 ... U99
Setup
RPPR
: P4- 4
Setup: P6
Parameter Musical
settings data
Track 1
Track 2
Track 3
Track 4
Track 5
Track 6
Track 7
Track 8
Arpeggi-
ator
: P7
Parameter Musical
settings data
Routing : P8-1
Parameter Musical
settings data
Parameter Musical
settings data
Master
Effect
1, 2 : P9
Valve
Force
: P9
Parameter Musical
settings data
Track
Placement:
Final
Parameter Musical
settings data
Insert
Effect
1 ... 5 : P8
Master
EQ
: P9
AUDIO OUTPUT
L/MONO, R
Parameter Musical
settings data
Insert Effect
Master Effect
Individual Outputs
Parameter Musical
settings data
AUDIO OUTPUT
INDIVIDUAL
1, 2
3, 4
Parameter Musical
settings data
Track 16
Placement:
Insert(Use Indiv.3/4 BUS)
Master
Track
Tempo, Time signature data
Valve
Force
: P9
Make Audio CD
Resampling (L/R 2ch Mix)
WAVE (Stereo) Media
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Sequencer mode page structure
Track settings
Since we’re going to record a new song in this example,
we will start by explaining how to assign a program to
each MIDI track, and make basic settings such as volume.
Page
Explanation
P0: Play/REC
Play/record songs, and make associated set-
tings. Select the program for each track. Pan
and level settings. Settings for sampling.
By loading a template song, you can easily make
appropriate settings for various styles of music.
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.
1Assign a program to each MIDI track.
In the Sequencer P0: Play/ REC, Program T01–08/ T09–
16 page, use “Program Select” to assign a program to
each MIDI track.
P3: MIDI Filter
P4: Zone/Ctrl
MIDI message transmission/reception filter
settings for each track of a song.
Key Zone and Velocity Zone settings for each
track of a song. Controller settings. If the sepa-
rately sold EXB-MOSS expansion is installed,
settings for related parameters.
At this time you can press the “Category” popup and
select programs by category.
You can copy settings from a combination or program
P5: Track Edit
Edit musical data for song tracks. Specify track
names. Tone settings for the program of each
track.
When assigning a program, you can use “Track
Select” to select the track for which you are making
assignments, and try playing the sound.
P6: Pattern/RPPR
Record and edit patterns for a song. Specify
pattern names. RPPR function settings for a
song.
P7: Arpeggiator
P8: Insert Effect
Arpeggiator settings.
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.
Song Select
Track Select
P9: Master Effect
Select and make settings for the master
effects. Master EQ and Valve Force settings.
For details on how to access each mode and page,
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 pro-
grams, refer to the EXB-MOSS owner ’s manual.
2Set the pan and volume of each MIDI track.
In the Sequencer P0: Play/ REC, Mixer T01–08/ T09–16
page, “Pan” sets the pan of each track, and “Volume”
sets the volume of each track.
The MIDI transmit/ receive settings for each track are
made in “MIDI Channel” (P2: Edit-Trk Param, MIDI
Ch page).
Insert effects, master effects, and Valve Force settings
are controlled on the “Ctrl Ch” (P8, P9).
Sampling or resampling can be performed in
TON Extreme’s effects to an external audio input
3Specify the tone generator and MIDI channel that
will be played by each MIDI track.
Preparations for recording
In the Sequencer P2: Trk Param, MIDI Ch T01–08/ T09–
16 page, “Status” specifies whether each track will
sound the internal tone generator or an external tone
generator. “MIDI Channel” specifies the MIDI channel
for each track.
Before you begin recording, make sure that the mem-
ory protect setting in Global mode is turned off.
Creating a Song
If the track “Status” is set to INT, playing the track data
or operating the TRITON Extreme’s keyboard or con-
trollers will cause the TRITON Extreme’s internal tone
generator to be played.
If “Status” is set to EXT, EX2, or BTH, playing the track
data or operating the TRITON Extreme’s keyboard or
controllers will cause an external tone generator to be
sounded and controlled. (The MIDI channel of the
external tone generator must be set to match the “MIDI
Channel” of TRITON Extreme tracks that are set to
EXT, EX2 or BTH.)
Before we can begin this example, we need to create an
empty song where we can record. First, press the [SEQ]
key to enter Sequencer mode. Next, press the “Song
Select” popup button to the left of the Song number and
name (S000: NEW SONG). Press the number correspond-
ing to the first unnamed song. A dialog box will appear.
If “Status” is set to BTH, both the external tone genera-
tor and the TRITON Extreme’s own tone generator will
be sounded and controlled.
Press OK to create the new song (or press Cancel to exit).
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If you are using the TRITON Extreme’s Sequencer
mode as a 16-track multi-timbral tone generator, set
this parameter to INT or BTH. (☞”Status” PG p.72)
In general, you should set “MIDI Channel” to different
channels 1–16 for each track. Tracks that are sent to the
same MIDI channel will sound simultaneously when
either is recorded or played.
Monitoring just a specific track/ Muting
just a specific track (Solo/ Mute functions)
The TRITON Extreme provides a Solo function that lets
you listen to only specific tracks, and a Mute function that
can silence specific tracks. These functions can be used in
various ways. For example you can intentionally mute or
solo specific tracks, or listen only to the rhythm section of
the previously-recorded tracks while you record new
tracks. Let’s try out the Mute and Solo functions.
1Load a song.
As described on QS p.2, load the demo songs, and
select any song.
2Access the Sequencer P0: Play/REC, Program T01–08/
T09–16 page.
Press the SEQUENCER [START/STOP] key.
3Press track 1 “PLAY/MUTE/REC.”
4Adjust the effect settings.
The display will change from “PLAY” to “MUTE,” and
the playback of track 1 will no longer be heard. In this
way, the “mute” function allows you to silence a speci-
fied track until the track is un-muted.
Make settings for each effect in Sequencer P8: Insert
5Set the tempo and time signature.
Make these settings in Sequencer P0: Play/ REC.
“ꢀ (Tempo)” sets the tempo, and “Meter” sets the time
signature. (☞PG p.55)
6As necessary, set “Reso” to specify the quantization
Press track 2 “PLAY/MUTE/REC.”
The display will change, and the playback of track 2
will also be muted.
resolution. (☞PG p.57)
7Make other settings as necessary.
As necessary, make arpeggiator settings (Sequencer P7:
Arpeggiator), MIDI filter settings (Sequencer P3: MIDI
Filter) and Valve Force (Sequencer P9: Master Effect).
(☞PG p.55–102)
To cancel muting, press “PLAY/MUTE/REC” once
again.
When you are finished making these settings, the basic
setup is complete. Record as described in “Recording
4Press track 1 “SOLO ON/OFF.”
The display will change from “SOLO OFF” to “SOLO
ON,” and this time, only the performance of track 1
will be heard. To play back only a specified track by
itself in this way is known as “soloing” the track (turn-
ing Solo on).
You can use the Tone Adjust page (Sequencer P5:
Track Edit, Tone 1.2–5.6) to make adjustments to each
program as appropriate for your song, for example
by making the bass a bit more mellow, or by speeding
up the attack of the strings. This lets you adjust the
sound and keep those changes as part of the song
data without having to move back to Program mode
to edit and write the settings.
If both Mute and Solo are used, the Solo function will
be given priority.
[LOCATE] settings
By pressing the [LOCATE] key you can move to a speci-
fied location.
Press track 2 “SOLO ON/OFF.”
The display will change, and only the playback of
tracks 1 and 2 will be heard.
The location is specified by the Utility menu command
“Set Location.” You can also hold down the [ENTER] key
and press the [LOCATE] key to set the location even dur-
ing playback (☞PG p.61).
When you select a song, the “LOCATE” setting will auto-
matically be set to 001:01.000.
Normally you will leave this set to 001:01.000., to return
you to the beginning of the song.
To switch Solo off, press “SOLO ON/OFF” once
again. Press “SOLO ON/OFF” for both tracks 1 and 2.
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” settings.
By using the page menu command “Solo Selected
Track,” you can listen to the sound of only the
selected track. This is convenient when you want to
set track parameters or to make effect settings. (☞PG
p.58)
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2Set the “Recording Mode” to Over Write.
Recording methods
This section describes the ways in which you can record
on the TRITON Extreme.
Recording a track
There are two ways to record to a MIDI track: realtime
recording and step recording. You can choose from six
types of realtime recording.
On MIDI tracks you can edit the recorded data in various
ways. You can use Event Editing to insert data, and per-
form Track Edit operations such as Create Control data to
insert data such as pitch bend, aftertouch, and control
change.
3In “Location,” specify the location at which you wish
to begin recording.
4Press the SEQUENCER [REC/WRITE] key, and then
press the SEQUENCER [START/STOP] key.
If the “Metronome Setup” is still set to the default set-
tings, the metronome will sound for a two-measure
pre-count, and then recording will begin.
Recording a pattern
There are two ways to record a pattern: realtime record-
ing and step recording. For realtime recording, only one
recording type (loop) is available.
Play the keyboard and move controllers such as the
joystick to record your performance.
In addition, you can use event edit operations to modify
data that has been recorded or to insert data.
5When you finish playing, press the SEQUENCER
[START/STOP] key.
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. Conversely, 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.
Recording will end, and the location will return to the
point at which you begin recording.
If you press the [PAUSE] key instead of the
SEQUENCER [START/ STOP] key, recording will
pause. When you press the [PAUSE] once again,
recording will resume. When you are finished, press
the SEQUENCER [START/ STOP] key to stop record-
ing.
Realtime recording on a MIDI track
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 and the arpeggiator 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 TRITON Extreme’s
sequencer in realtime.
•
Overdub
With this method, the newly recorded musical data is
added to the existing data.
When you perform overdub recording on a previously-
recorded track, the newly recorded data will be added
to the previously-recorded data.
It is best to select this mode if you will be recording
additional control data, recording a drum pattern, or
recording the tempo in the master track. With this
mode, data can be added without erasing the existing
performance data.
1Use “Track Select” to select the track that you want to
record.
These settings are made in Sequencer P0: Play/REC,
Preference page “Recording Setup.”
2Set the “Recording Mode” to Over Dub.
•
Overwrite
With this method, the musical data previously
recorded on a track is overwritten by the newly
recorded data. When you perform overwrite recording
on a previously-recorded track, its musical data will be
deleted and replaced by the newly recorded data.
Normally you will use this method to record, and then
modify the results by using other types of realtime
recording or event editing.
3For the rest of the procedure, refer to steps 3–5of
“Overwrite.”
•
Manual punch-in
While the song is playing, you can press the
SEQUENCER [REC/ WRITE] key or a connected pedal
switch at the desired location to start or stop recording.
With this method, the musical data previously on the
track is overwritten by the newly recorded data.
1Use “Track Select” to select the track that you want to
record.
1Use “Track Select” to select the track that you want to
record.
2Set the “Recording Mode” to Manual Punch In.
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3In “Location,” specify a location several measures
earlier than the point at which you wish to begin
recording.
•
Loop All Tracks
This method lets you continue recording as you add
musical data.
The specified region can be recorded repeatedly. This is
ideal when recording drum phrases, etc.
4Press the SEQUENCER [START/STOP] key.
Playback will begin.
1Use “Track Select” to select the track that you want to
5At the point at which you wish to begin recording,
press the SEQUENCER [REC/WRITE] key.
Recording will begin. Play the keyboard and operate
controllers such as the joystick to record your perfor-
mance.
record.
2Set the “Recording Mode” to Loop All Tracks.
If “Multi REC” is checked, it will not be possible to
select Loop All Tracks.
6When you finish recording, press the SEQUENCER
[REC/WRITE] key.
Recording will end (playback will continue).
Instead of pressing the SEQUENCER [REC/ WRITE]
key in steps 5and 6, you can use a foot switch con-
nected to the ASSIGNABLE SWITCH jack.
Set the Global P2: Controller page “Foot Switch
3In “M (Loop Start Measure), “M (Loop End Mea-
sure)” 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.
7Press the SEQUENCER [START/STOP] key.
Playback will stop, and you will return to the location
that you specified in step 3.
4In “Location,” specify a location several measures
earlier than the point at which you wish to begin
recording.
•
Auto punch-in
5Press the SEQUENCER [REC/WRITE] key, and then
press the SEQUENCER [START/STOP] key.
Playback will begin. When you reach the starting loca-
tion you specified in step 3, recording will begin. Play
the keyboard and operate controllers such as the joy-
stick to record your performance.
First you must specify the area that will be re-recorded.
Then recording will occur automatically at the speci-
fied area.
With this method, the musical data previously on the
track is overwritten by the newly recorded data.
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.
1Use “Track Select” to select the track that you want to
record.
2Set the “Recording Mode” to Auto Punch In.
6You can also erase specific data even while you con-
tinue loop recording.
If you press the SEQUENCER [REC/ WRITE] key dur-
ing loop recording, all musical will be removed from
the currently selected track as long as you continue
pressing the key.
3In “M (Auto Punch In Start Measure), “M (Auto
Punch In End Measure)” 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.
By checking the “Remove Data” check box you can
erase only the specified data. During loop recording,
press the note that you wish to delete, and only the
data of that note number will be deleted from the key-
board as long as you continue pressing that note.
4In “Location,” specify a location several measures
earlier than the point at which you wish to begin
recording.
5Press the SEQUENCER [REC/WRITE] key, and then
press the SEQUENCER [START/STOP] key.
Playback will begin.
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 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, recording will end. (Playback will
continue.)
When you are once again ready to record musical data,
uncheck the “Remove Data” check box.
7Press the SEQUENCER [START/STOP] key.
Playback will end, and you will return to the recording
start location that you specified in step 4.
If Loop All Tracks is selected, normal playback will be
looped as well.
6Press the SEQUENCER [START/STOP] key.
Playback will stop, and you will return to the location
you specified in step 4.
•
Multi (multitrack recording)
Multitrack recording allows you to simultaneously
record onto multiple tracks, each with a different chan-
nel. This method can be used with overwrite, overdub,
manual punch-in, and auto punch-in recording.
Using the arpeggiator to record multiple tracks
simultaneously
A multi-track performance using the arpeggiator function
can be recorded using multi recording.
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When simultaneously recording multiple tracks using the
RPPR function
You can use multitrack recording to simultaneously
record the playback of multiple tracks that are being trig-
gered by the RPPR function. For the procedure, refer to
0Playback.
In the Global P1: MIDI page, set “MIDI Clock” to
Internal.
Set “Tempo Mode” to Auto.
When you press the SEQUENCER [START/STOP]
key, playback will begin.
When simultaneously recording multiple tracks of MIDI
data from an external sequencer.
If the correct sounds do not play immediately after
playback is started, you may be able to solve the
problem by using the page menu command “Event
Edit” (Sequencer P5: Track Edit) to edit the Program
Change data.
1Make sure that the TRITON Extreme’s MIDI IN and
the external sequencer’s MIDI OUT are connected by
a MIDI cable.
If they are not connected, turn off the power, make the
connection, and then turn the power back on again.
(☞PG p.288)
Step recording
2Set the MIDI Clock (Global P1: MIDI page “MIDI
Clock”) to External MIDI, so that TRITON Extreme
will synchronize to the MIDI clock of the external
sequencer.
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. (☞QS p.27, PG
p.78)
Make sure that “Receive Ext. Realtime Commands” is
checked.
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 there are ways to record other
types of data, aside from the realtime mode. 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 program
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 pitch bend, after touch, and control change data
etc.
3Create a new song, and in the Sequencer P0: Play/
REC, Preference page, check the “Multi REC” check
box. Set the “Recording Mode” to Over Write.
4Select the P0: Play/REC, Program T01–08/T09–16
page.
For the tracks that you are not recording, set “PLAY/
MUTE/REC” to PLAY or MUTE.
5In P2: Trk Param, MIDI Ch page “MIDI Channel,”
specify the MIDI channel for each track.
Set the MIDI channel of each external sequencer track
to match the MIDI channel of each TRITON Extreme
track. Data of the corresponding channel will be
recorded on each TRITON Extreme track.
Make sure that “Status” is set either to INT or BTH.
6Press the [LOCATE] key to set the location to
001:01.000.
7Press the SEQUENCER [REC/WRITE] key to enter
recording-standby mode.
8Start the external sequencer.
The TRITON Extreme’sequencer will receive the MIDI
Start message transmitted by the external sequencer,
and will automatically begin recording.
9When the song ends, stop the external sequencer.
TRITON Extreme’s sequencer will receive the MIDI
Stop message transmitted by the external sequencer,
and will automatically stop recording. You can also
press the SEQUENCER [START/ STOP] key on TRI-
TON Extreme itself to stop recording.
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3At the appropriate time while recording, adjust the
parameter(s) that you want to realtime-record.
For example, you might use the Sequencer P8: Insert
Effect, Insert FX page to adjust the IFX1 and IFX2
effects, or use the P5: Track Edit, Tone Adjust page to
adjust the sounds in realtime.
Recording exclusive events
Exclusive messages received from an external MIDI
device or the parameter changes produced when you edit
a track parameter or effect parameter can be realtime-
recorded on any track. You can adjust the realtime control-
lers, the arpeggiator, make changes to the program vol-
ume/ pan/ mute settings, and adjust the tone – all in
realtime.
During playback, the exclusive messages you recorded
will control the track parameters and effect parameters of
the song, and can be sent to external MIDI devices.
You can use the page menu command “Put Effect Set-
ting to Track” to insert an exclusive event containing
the parameter settings for an insert effect or master
effect into the desired location of a track, so that these
settings will automatically switch during playback.
For details on the parameters that you can realtime-
record, refer to PG p.101.
GM, XG, and GS exclusive messages can be recorded
on a track, but the TRITON Extreme’s tone generator
will not respond to these messages.
4Stop recording.
Exclusive messages are always recorded on the cur-
rent track selected by “Track Select.” In this example,
they are recorded on track 9.
Recording internal parameter changes
As an example, here’s how to record internal parameter
changes using the preset template song “Acid Jazz.”
In this example, we’ll use an empty track to record param-
eter changes for the insert effects (IFX1, IFX2) assigned to
track 1 (drums).
In the event edit screen you can view the recorded
exclusive events and their location. Exclusive events
are displayed as “EXCL”.
To view these events, go to the Sequencer P5: Track
Edit page, and select the page menu command
“Event Edit.” Then in the Set Event Filters dialog box,
check Exclusive and press the OK button.
In order to record system exclusive messages, the
Global P1: MIDI, MIDI Filter setting “Enable Exclu-
sive” must be checked. Go to Global mode and make
sure that this parameter is checked.
Event display
Location
Exclusive events cannot be changed to a different
type of event. Nor can other events be changed into
exclusive events.
1Use the page menu command “Load Template Song”
to load Acid Jazz. In the dialog box, check the “Copy
Pattern to Track too?” setting, and copy a pattern of
about 16 measures. (☞QS p.24)
5If you go to the page (e.g., Sequencer P8: Insert Effect)
that shows the parameters you adjusted in realtime,
you can watch the recorded changes be reproduced
while the song plays back.
Exclusive messages that can be realtime-recorded
The following exclusive messages can be realtime
recorded.
•
Exclusive messages received from an external MIDI
device
•
•
Parameter changes in Sequencer mode (☞PG p.101)
Master Volume universal exclusive messages assigned
to the foot pedal or a knob
2Move to Sequencer mode, use “Track Select” to select
Track 09, and begin recording.
For this example, select an empty track.
If you want to record onto a track that already con-
tains data, set the “Recording Setup” parameter
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5Specify the effect for which you will insert an exclu-
Using “Put Effect Setting to Track” to switch effects
sive message, and specify the location at which it will
be inserted.
“Effect”: IFX3
To: “Song”: 000
“Track”: 03
The page menu command “Put Effect Setting to Track”
places effect settings into a track as exclusive events.
As an example, we will use the preset template song
“Acid Jazz” to explain how to use the “Put Effect Setting
to Track” page menu command. In this example we will
switch the insert effect for Track 03: Elec.Piano from 023:
Stereo Phaser to 020: Stereo Flanger at the beginning of
measure 9. We will explain two ways in which you can do
this: method 1) and method 2).
“Measure”: 001
“Beat.Tick”: 01.000
6Press the OK button.
7Specify the effect that you will use for measure 9 and
the measures that follow.
This command works by inserting MIDI parameter
change system exclusive messages directly into a
sequencer track. Because this requires a number of
messages to be read and processed, it can take a little
time for the effect to change. You may find it neces-
sary to “anticipate” where you want the effect change
to take place and insert the change slightly earlier.
Also, notes that are already sounding as the transition
takes place may not play smoothly.
In the Sequencer P8: Insert Effect, Insert FX page, set
IFX3 to 020: Stereo Flanger.
Only effect type and effect parameter events can be
inserted. You must use realtime recording to record
effect on/ off settings or bus settings.
1. Inserting effect settings at the beginning of the song
and at a specified measure
8In the Sequencer P8: Insert Effect, IFX3 page, set the
parameters as desired.
For the insert effect (IFX3) used by track 3, we will use
023: Stereo Phaser for measures 1 through 8 (as specified
by the template song) and then switch to 020: Stereo
Flanger for measures 9 and following by using the page
menu command “Put Effect Setting to Track” to insert
MIDI parameter change system exclusive messages.
1Enter Sequencer mode, and use “Song Select” to
choose song S000.
2Use the page menu command “Load Template Song”
to load Acid Jazz.
9In the Sequencer P8: Insert effect, Insert FX page,
choose the page menu command “Put Effect Setting
to Track” to open the dialog box.
3Use “Track Select” to select Track 03: Elec.Piano, and
record a performance as desired. (☞QS p.26)
0Specify the effect for which you will insert an exclu-
4In Sequencer P8: Insert Effect, choose page menu
command “Put Effect Setting to Track” to open the
dialog box.
sive message, and specify the location at which it will
be inserted.
“Effect”: IFX3
To: “Song”: 000
“Track”: 03
“Measure”: 009
“Beat.Tick”: 01.000
APress the OK button.
Now when you play back the song, the track 3 effect
will switch to 020: Stereo Flanger from measure 9.
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BIf you press the [COMPARE] key (the key will light)
and play back, you will hear the state of the track
prior to executing “Put Effect Setting to Track.”
Use the [COMPARE] key when you want to make a
before-and-after comparison of the track.
3In “Track Select,” select Track 03: Elec.Piano, and
record a performance as desired. (☞QS p.26)
4Make the effect settings for the second half of the
song in another (copied) song.
1) Create song S001.
CIn the Sequencer P5: Track Edit page, set “Track
Select” to Track03. Then choose the page menu com-
mand “Event Edit” to access the event edit screen. (In
the Set Event Filters dialog box, check the “Exclu-
sive” setting.)
2) Use the page menu command “Copy From Song” to
copy Song 000 as the copy-source. (☞PG p.58 “Copy
From Song”)
5In song 001, make the effect settings that you want to
use at measure 9. In the Sequencer P8: Insert Effect,
Insert FX page, select 020: Stereo Flanger for IFX3.
Notice that a MIDI parameter change system exclusive
message is inserted at the beginning and at measure 9
of track 3.
6In the Sequencer P8: Insert Effect, IFX3 page, make
the desired parameter settings.
2. Using the effect specified by the song itself from the
beginning of the song, and inserting the effect
settings from another song at the middle of the song
For the insert effect (IFX3) used by track 3, we will use
023: Stereo Phaser (specified by the template song) from
the beginning of the song, and insert MIDI parameter
change system exclusive messages at measure 9 to switch
to the 020: Stereo Flanger settings from another song.
7Choose “Put Effect Setting to Track” to open the dia-
log box.
1Enter Sequencer mode, and use “Song Select” to
select song S000.
2Use the page menu command “Load Template Song”
to load Acid Jazz.
8Insert the effect settings from song 001 into song 000.
“Effect”: IFX3
To: “Song”: 000
“Track”: 03
“Measure”: 009
“Beat.Tick”: 01.000
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9Press the OK button.
Realtime-recording to a pattern
Now when you select song 000 and play it back, the
track 3 effect will switch to 020: Stereo Flanger from
measure 9.
Here’s how you can use realtime recording to create a pat-
tern. User patterns can be accessed by the RPPR function
in the same way as preset patterns, and can be copied to
or placed in a song. Playback data from a track can also be
copied to a pattern.
0Using the [COMPARE] key, you can listen to the pre-
vious version, before you performed the “Put Effect
Setting to Track” operation.
When realtime-recording a pattern, a pattern of the speci-
fied number of measures will playback repeatedly, allow-
ing you to continue adding musical data to it.
Processing the data placed in a track by the “Put
Effect Setting to Track” command may take a little bit
of time. As your song becomes filled with more and
more data, it may take longer to complete the effect
change. When listening to the playback in step 9, if
you notice the effect change does not take place
smoothly at the desired location, use the [COMPARE]
key (lit) to return to the previous state and try the
operation again. This time, change the “Beat.Tick:”
settings so that the change takes place a little bit (40 -
100 “Ticks”) earlier or later in the song.
1Create a new song, and as described in “Preparations
for recording,” set the track to the program that will
2Access the Sequencer P6: Pattern/RPPR, Pattern Edit
page.
3Use “Track Select” to select the track that you will use
to record the pattern.
The pattern will sound with the program and other set-
tings of the selected track.
4Set “Pattern (Pattern Bank)” to User, and set “Pattern
Select” to U00.
User patterns U00–U99 can be created for each song.
5Select the page menu command “Pattern Parameter”.
A dialog box will appear.
6Set the number of measures in the pattern to a
“Length” of 04 (four measures), and set “Meter” to a
time signature of 4/4. Press the OK button.
7As necessary, set “Resolution” to apply realtime
quantization.
8Begin realtime recording.
You can record in the same way as you did when
Press the SEQUENCER [REC/WRITE] key, and then
press the SEQUENCER [START/STOP] key.
After the pre-count, pattern recording will begin. Play
the keyboard and operate the joystick and other con-
trollers to record your performance.
When you reach the end of the pattern, the sequencer
will return to the beginning of the pattern and continue
recording. If you continue recording, the newly
recorded data will be added to the previously-recorded
data.
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9If you want to delete specific data while you continue
pattern recording, you can press the SEQUENCER
[REC/WRITE] key or check the “Remove Data” check
box.
Song editing methods
A variety of editing operations can be performed on a
song.
For details refer to step 6of “Loop All Tracks”
Song editing
0Press the SEQUENCER [START/STOP] key to stop
recording.
In addition to copying and renaming a song, other opera-
tions such as Delete can be performed from the Utility
menu commands in pages such as Sequencer P0: Play/
REC (☞PG p.58).
If you made a mistake or decide to re-record, press the
SEQUENCER [START/ STOP] key to stop recording,
and press the [COMPARE] key. Then begin the pattern
recording procedure again as in step 8.
Track editing
You can move/ insert/ delete individual events of data
such as the notes and control changes in a MIDI track, and
copy/ move/ insert/ delete specified measures or tracks.
Use the Sequencer P5: Track Edit, Track Edit page menu
commands to perform these editing operations. (☞PG
p.79).
Control data in pattern recording
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, unneces-
sary 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. However, the following
control data will be automatically reset to the follow-
ing values when the song or RPPR function finishes
playing the pattern, or when playback is halted.
Pattern editing
Using the page menu commands of the Sequencer P6: Pat-
tern/ RPPR, Pattern page, you can use event editing to
modify the recorded data or insert new data, and execute
commands to delete, copy, or bounce patterns (☞PG p.89).
The explanations in the sections that follow are based
on an example of editing a song. Create a song of sev-
eral measures as described in QS p.24. We will
describe various examples of editing operations on
the song you create, and will then assemble songs in a
cue list.
Controller
Modulation 1 (CC#01)
Reset value
00 (zero)
Modulation 2 (CC#02)
Expression (CC#11)
00 (zero)
127 (max)
64 (center)
00 (zero)
Ribbon controller (CC#16)
Damper switch (CC#64)
Sostenuto switch (CC#66)
Soft switch (CC#67)
The subsequent explanation assumes that the song
you created is loaded into S000.
00 (zero)
00 (zero)
EG sustain level (CC#70)
Resonance level (CC#71)
EG release time (CC#72)
EG attack time (CC#73)
Low pass filter cutoff (CC#74)
EG decay time (CC#75)
LFO1 speed (CC#76)
LFO1 depth (pitch) (CC#77)
LFO1 delay (CC#78)
64 (center)
64 (center)
64 (center)
64 (center)
64 (center)
64 (center)
64 (center)
64 (center)
64 (center)
64 (center)
00 (zero)
1. Copying a song
Here’s how to copy a song. This is convenient when you
want to create different variations based on a song.
1Create a new song.
Access the Sequencer P0: Play/ REC, Program T01–08
page.
Choose “Song Select,” use the numeric keys to input
the song number that you want to newly create, and
press the [ENTER] key. (For example, press the [1] key
and then the [ENTER] key.)
Filter EG intensity (CC#79)
SW1 modulation (CC#80)
SW2 modulation (CC#81)
Channel after touch
A dialog box will appear.
00 (zero)
00 (zero)
Pitch bender
00 (zero)
Using the arpeggiator for pattern recording
If the arpeggiator is set to operate for the track that is
selected for “Track Select,” you can turn on the ARPEG-
GIATOR [ON/ OFF] key and record the performance of
the arpeggiator into the pattern.
p.93.
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Decide on the number of measures, input the number
in “Set Length,” and press the OK button.
3. Setting the number of measures in the
song
Here’s how to specify the number of measures in the song.
By default, this is set to 64 measures. If you realtime-
record for more measures than this, the song length will
be the amount of measures you have recorded.
1Select song S000: INTRO.
2Select the Sequencer P5: Track Edit, Track Edit page.
In the P5: Track Edit page, press the [MENU] key to
access the page jump page. Press the P5: Track Edit.
A new song will be created. Next we will copy the song
settings and playback data of another song into this
newly created song.
2Select the page menu command “Copy From Song.”
3Access the page menu.
A dialog box will appear. Select the song that you want
to copy (i.e., the copy source). If you select All, all song
settings and playback data will be copied from that
song. If you select Without Track/ Pattern Events, set-
tings other than Play Loop and RPPR will be copied.
For this example, select All.
This contains various commands for editing tracks and
measures.
Press the “Set Song Length.”
Press the OK button to execute the copy.
3As described in steps 1and 2, create one more new
song (S002), and copy song S000 to it.
2. Naming a song
Here’s how to assign a name to a song you created.
A dialog box will appear.
1Choose “Song Select,” to select a song.
For this example, select song 002.
2In the Sequencer P0: Play/REC, Program T01–08 page,
select the page menu command “Rename Song.”
Input the number of measures for the song. For this
example, select 008 (8 measures) and press the OK but-
ton.
The performance data from measures 1–8 will remain,
and the data of subsequent measures will be deleted.
When you press the SEQUENCER [START/ STOP] key
to play the song, playback will stop at the end of the
8th measure.
A dialog box will appear. Press the text edit button to
access the text dialog box.
When you are finished inputting the name, press the
OK button.
Press the OK button once again to execute the Rename
operation.
If you are using Track Play Loop, check whether the
measures specified for “Loop Start Measure” and
“Loop End Measure” would be deleted. If they
would be deleted, use “Move Measure” (☞PG p.83)
etc. to move the data into the playback area before
you execute this operation.
3As described in steps 1and 2, assign a name of
INTRO to S000, and VERSE to S001.
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4Mute tracks.
Turn on the Replace radio button, and set “Shift
Press the [EXIT] key to select P0: Play/ REC, and access
the Program T01–08/ T09–16 page.
Note” to +003. (☞PG p.84)
Mute all tracks other than tracks 3 and 4. When you
play back, you will hear only the electric piano and
guitar performances.
Press the OK button. The pitch of track 2 will be raised
three semitones.
6Use the same procedure to raise the pitch three semi-
tones for each track on which performance data is
recorded. However, do not change the key of track 1
which uses a drum kit.
5As described in steps 1–4, set song S001: VERSE to
008 (8 measures), making it an eight measure song.
Then mute all tracks other than tracks 1–3. When you
play back, you will hear only the drums, bass, and elec-
tric piano.
If you change the key of a track that is using a drum
kit, the relationship between the notes and the instru-
ments of the drum kit will be shifted, and the
sequence will not play the correct rhythm instru-
ments.
6As described in steps 1–4, set song S002: CHORUS
to 008 (8 measures), making it an eight measure song.
4. Changing the key (transposing/
modulating)
Here’s how to change the key of a song.
1Select song S002: CHORUS.
2Select the Sequencer P5: Track Edit page.
3Use “Track Select” to select T02 as the track whose
pitch will be changed.
4Specify the measures for which the key will be
changed.
Select “From Measure,” and use the VALUE controllers
to set this to 001. Next select “To End of Measure,” and
specify 008.
5Select the page menu command “Shift/Erase Note.”
A dialog box will appear. If you did not specify the
range of measures in step 4, set “From Measure”–“To
Measure” to specify the range that will be edited.
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4In “Repeat,” specify the number of times that the
song for that step will be repeated. For this example,
set Step 02 S001: VERSE to 02.
Creating and playing a Cue List
A cue list allows you to play multiple songs in succession.
For example you can create a separate song for each por-
tion (introduction, melody A, melody B, chorus, and end-
ing) of a composition, and use the cue list to specify the
order of each portion and the number of times that it will
be repeated to complete the song. If you want to change
the structure of the song, the cue list lets you do so in an
efficient way.
5Specify whether effect settings will also be switched
when the song at each step is played back. If you
want to effect settings to change, check the “FX”
check box.
For this example, check the “FX” check box for Step 01,
which loads the effects.
6To play back at the tempo that was specified for each
song, set “Tempo Mode” to Auto.
You can also use this as a jukebox function that will play-
back completed songs in the order you specify.
If this is set to Manu (Manual), playback will use the
tempo specified by “ꢀ =”.
Cue List
Step
01
Song
S000: Intro
S001: A
Repeat
02
Intro
Intro
A
A
A
A
B
B
Chorus
02
02
Chorus
Chorus Chorus
03 S002: B
01
04 S003: Chorus
05 S001: A
02
A(Solo) Chorus Chorus Chorus Ending Ending
02
06
07
08
01
S002: B
S003: Chorus
02
S001: A (Solo) 01
09 S003: Chorus
10 S004: Ending
03
02
7When you press the SEQUENCER [START/STOP]
key, playback will begin from the step that is speci-
fied as the “Current Step.”
1. Creating a cue list
Each unit in a cue list is called a “step,” and each step con-
tains a song number and the number of repeats.
Here we will use a cue list to combine the previously-cre-
ated songs S000: INTRO, S001: VERSE, and S002: CHO-
RUS.
1Select Sequencer P1: Cue List.
With the default settings, song S000 will be selected for
“Step” 01, and End will be selected for “Step” 02.
•
“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.
•
•
“M****”: Indicates the starting measure of that step.
“Meter”: Indicates the currently-playing time signa-
ture. This cannot be changed.
•
•
The name of a cue list can be specified by the “Rename
Cue List” page menu command.
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 speci-
fied for the currently playing song will sound.
2Add a song to the Step area.
Select the “Song” for Step 02, and press the Insert
button. A song will be added to step 02. Use the
VALUE controller to select S001: VERSE.
● What to do when playing back a cue list and the
In the same way, select the Step 03 “Song,” and press
the Insert button to add a song to Step 03. Set this to
S002: CHORUS.
songs do not transition smoothly
If the effect settings differ between songs, and depending
on the playback data within the song, there may be cases
in which there is a time lag between songs during play-
back. Also, the playback data at the transition between
songs may not play at the correct timing. In such cases,
use “Convert to Song” to convert the cue list into a single
song. When you play back this song, there will be no time
lag at the transition, and the data will play at the correct
timing.
If you press Cut button, the selected step will be
deleted. If you press the Insert button, the deleted step
will be inserted.
If you press the Copy button, the selected step will be
copied. If you press the Insert button, the copied step
will be inserted.
3Set the last step to End.
If you set this to Continue to Step01, the cue list will
play back repeatedly.
If the effect settings differ between songs, and you want to
smooth the transition between songs, check “FX” for Step
01. This way, the effect settings will be made before play-
back begins, and there will be no time lag when cue list
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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.
2. Converting a cue list into a song
Although it is not possible to record additional material
onto tracks in a cue list, you can convert a cue list to a
song, and then record solos etc. on vacant tracks. You will
also need to convert a cue list to a song if you wish to save
it on a media as SMF data.
1Select the page menu command “Convert to Song”.
When you execute the page menu command “Convert to
Song”, the effect settings of the “Step” 01 song will be
specified for the song that results from the conversion.
A dialog box will appear.
2In “To Song,” specify the destination song number
for the converted data.
Even if “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 con-
vert 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.
The cue list name will automatically be assigned as the
song name of the converted data. (For details and cau-
tions regarding “Convert to Song,” refer to PG p.70.)
If you select a new song as the conversion destination,
it is not necessary to specify “Set Length” in the dialog
box that appears. The number of measures in the con-
verted song will be used. Press the OK button, and the
Convert Cue List dialog box will appear.
● Creating multiple songs for use in a cue list
If you want to create multiple songs for use in a cue list, it
is a good idea to make the various necessary settings (pro-
gram and other settings for each track, effect settings, etc.)
for one song (e.g., S000), and then use the page menu com-
mand “Copy From Song” in SEQ 1.1 etc. to copy it to
other songs so that the settings will be consistent.
3Press the OK button.
The cue list will be converted into a song. Access the
P0: Play/ REC page, select the song number that you
specified as the conversion destination, and check the
results.
After your cue list is finished and you convert it into a
song, the track settings (program, pan, volume, etc.)
of each step will be converted into playback data and
will be reproduced, but if the MIDI channel settings
from song to song do not match, it may not be possi-
ble to convert the playback state of the cue list into a
song.
● Using a foot switch to switch the Step
You can use a foot switch to switch the Step.
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 page) to Cue Repeat Control.
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Choose “Pattern Select,” and press the [
select P122: HipHop 2/HipHop.
] key to
Creating and recording RPPR
(Realtime Pattern Play/ Record)
By using “Revert” in this way, you can work effi-
ciently when the patterns to be assigned have consec-
utive or nearby numbers, or use the same track.
This section explains how to assign a pattern to RPPR,
and how to play and record. (☞QS p.3 “Performing with
the RPPR function”)
Creating RPPR data
2Specify the program for each track.
For this example we will use a template song. Use the
Utility menu command “Load Template Song” to load
P14: Hip Hop/ Rap. It is not necessary to copy the pat-
terns. (☞QS p.24)
Use the above method to assign several patterns from
the range of P123: HipHop 3/HipHop–P135: HipHop
15/HipHop.
3Select the Sequencer P6: Pattern/RPPR, RPPR Setup
page.
In this page, the RPPR function is automatically turned
on.
9Press the C#2 key.
The assigned pattern will play.
Take your finger off the C#2 key, and press the D2
key.
The pattern will change, and playback will begin. At
this time, the pattern operation will depend on the
“Sync” and “Mode” setting.
Set “KEY” to C#2, and set “Sync” to Measure. Make
the same setting for D2.
Now press the notes consecutively. Notice that the
patterns operate in a different way.
With the “Measure” setting, patterns will be handled
in one-measure units. The second and subsequent pat-
terns will start in sync with the end of previously
played pattern.
If you change the “Mode” setting to Once, the entire
pattern will playback to the end even if you release
your finger from the keyboard immediately.
4Use “KEY” to select the key to which the pattern will
be assigned.
Select C#2. This can also be selected by holding down
the [ENTER] key and playing a note.
C2 and lower keys are used to stop playback, and can-
not be assigned.
5Check the “Assign” check box.
To stop playback, either press the same key once
again, or press the C2 or lower key.
6Set Pattern Bank to the Preset pattern type, and set
“Pattern Select” to pattern P121: HipHop 1/HipHop.
For details on “Sync,” “Mode,” and “Shift,” refer to
7Set “Track” to Track01: Drums.
PG p.92.
The selected pattern will be played according to the
settings (program, etc.) of the track you select here.
The assigned keys will be shown as a keyboard graphic
in the LCD screen.
8Assign patterns to other keys.
Unassigned keys can be used for normal keyboard
performance. Use “Track Select” to select the track
that will be played from the keyboard. For example
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.
For “KEY,” press the [ ] key to select D2.
Press the Revert button.
The settings for “Assign,” “Pattern (Pattern Bank),”
“Pattern Select,” and “Track” will be set to the values
that were specified earlier (in steps 5–7).
Song
RPPR
RPPR
RPPR function is on
Normal song playback
and recording
P00: Pop&Balad 1/Std
U00: R&B Suffle1
Preset Pattern P00 - P149
User Pattern U00 - U99
P6: Rattern/RPPR, RPPR Setup
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RPPR playback
Realtime-recording an RPPR performance
Let’s use the RPPR you created to perform in the
Sequencer P0: Play/ REC page.
An RPPR performance can be recorded in realtime. If you
are using only one track (Track01: Drums) as in “Creating
Track01: Drums, and use single track recording in which
only one track will be recorded.
1Select Sequencer P0: Play/REC.
2Check the “RPPR” check box.
The RPPR function will be turned on. Set the on/ off for
each song.
Even if RPPR uses only one track, use multi-track record-
ing if you will be selecting another track in “Track Select”
and recording its performance at the same time.
You should also select multi-track recording if you created
the RPPR data using multiple tracks rather than just a sin-
gle track, and want to simultaneously record the perfor-
mance of multiple tracks.
The RPPR pattern will be recorded as performance
data on the tracks used by the pattern.
Here we will explain how you can simultaneously record
a performance that uses both RPPR and the arpeggiator.
1For each RPPR pattern, set “Sync” to SEQ.
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.
3Play the keyboard, and patterns will begin playing
according to the RPPR settings.
•
Pattern playback for a key with a “Sync” setting of
Beat or Measure will sync to the playback of the first
pattern. (☞PG p.92 “Sync”)
•
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 ear-
lier 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 remain-
der of the playback will be correct.
If you wish to trigger the RPPR function from an
external MIDI device, use the MIDI channel that is
selected for “Track Select.”
2We will use the arpeggiator to play the bass pattern.
Follow these settings.
4To turn off the RPPR function, uncheck the RPPR
Set “Track Select” to Track02: Bass.
check box.
Select the Sequencer P7: Arpeggiator, Setup T01–08
page, and set the track 2 “Arpeggiator Assign” to A.
(Make sure that A is checked for “Arpeggiator Run.”)
Play RPPR while a song plays back
RPPR can be played in synchronization with the playback
of a song.
Pattern playback for a key with a “Sync” setting of SEQ
will synchronize to the playback of the song. (☞PG p.92
“Sync”)
Start the song playback, and then press the key. The pat-
tern playback will start in synchronization with the mea-
sures 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.
Select the Sequencer P7: Arpeggiator, Arpeggiator A
page, and set “Pattern” to U038 (A/B).
If the song is stopped, the pattern will synchronize to
the timing of the arpeggiator function.
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Set “Gate” and “Velocity” to Step.
8When you are finished performing, press the
SEQUENCER [START/STOP] key.
Do not check “Key Sync.”
Press the ARPEGGIATOR [ON/OFF] key. (The key will
light.)
Recording will end, and the sequencer will return to
the location at which recording began.
If you made a mistake during your performance or
would like to re-record, you can use the Compare func-
tion (press the [COMPARE] key) to re-record as many
times as you wish.
3In the Sequencer P0: Play/REC, Preference page,
check the “Multi REC” check box.
9If you want to record other tracks, un-check the
“Multi REC” or “RPPR” check boxes as necessary.
In step 3, uncheck the “Multi REC” check box to
defeat multi-track recording.
In step 5, uncheck the “RPPR” check box to turn off
the RPPR function.
If “Recording Mode” is set to Loop All Tracks,” it will
not be possible to select Multi REC. Set the “Recording
Mode” to Over Write.
4Select the P0: Play/REC, Program T01–08 page.
For all tracks, the “PLAY/ MUTE/ REC” indication will
show REC.
The track played by RPPR will be recorded simulta-
neously with the track played by the arpeggiator. Set
“PLAY/MUTE/REC” to PLAY or MUTE for all tracks
other than tracks 1 and 2, which we will be recording.
Make sure that “Track Select” is set to Track02: Bass.
Your keyboard playing on keys not assigned to the
RPPR function can be recorded on the track specified
by “Track Select.”
5Make sure that the “RPPR” check box is checked.
6Press the [LOCATE] key to set the location to
001:01.000.
7Press the SEQUENCER [REC/WRITE] key, and then
press the SEQUENCER [START/STOP] key.
Press a key that plays an RPPR pattern, and one or
more keys that play the arpeggiator.
If you press a key during the pre-count before record-
ing, the pattern playback and arpeggio performance
will begin simultaneously when recording begins, and
will be recorded.
Record the RPPR pattern playback and arpeggio per-
formance.
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.
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Settings that are automatically copied from the combination
The settings that will be automatically copied will be the
same settings as if you had executed the page menu com-
mand “Copy From Combi” (☞PG p.58) and had made the
following settings in the dialog box.
Recording the sound of a combi-
nation or program
•
•
•
“with Effects” checked
“To” set to Track 1 to 8
“Auto Adjust Arp setting for Multi REC” checked
Here’s how you can easily copy the settings of a combina-
tion or program, and then record.
There are two ways to do this. While playing in Program
or Combination mode, you can use the Auto Song Setup
function to automatically set up a song using the current
settings of the program or combination. Or, you can use
the page menu command in Sequencer mode to copy the
settings of a program or combination create the sequencer
setup.
Settings that are automatically copied from the program
The settings that will be automatically copied will be the
same settings as if you had executed the page menu com-
following settings in the dialog box.
•
•
•
•
“with Effects” checked
“with Arpeggiator” checked
“To” set to Track 01
Auto Song Setup function
“Arpeggiator” set to A
The explanation of the Auto Song Setup function given
here follows the procedure from Combination mode.
Copy From Program/ Copy From Combi
(Sequencer mode page menu commands)
1Enter Combination mode.
Here’s how to use the Copy From Program/ Copy From
Combi page menu commands in Sequencer mode.
Make sure that the global MIDI channel (Global P1:
MIDI, “MIDI Channel”) is set to 01.
2If you change any of the settings in the combination.
Such as volume, panning, effect routings and arpeggia-
tor setting (including Arpeggiator On/ Off) you must
first save the edited settings using “Update Combina-
tion” or “Write Combination.”
The combination (or program) must be saved with
the Arpeggiator On/ Off set to On in order for the
“Auto Adjust Arp settings for Multi REC” (see step
4) to work properly.
2Execute the page menu command “Copy From Pro-
gram” or “Copy From Combi.”
A dialog box will appear.
3Hold down the [ENTER] key and press the
SEQUENCER [REC/WRITE] key.
The “Setup to Record” dialog box will appear.
4Press the OK button to perform the Auto Song Setup.
The TRITON Extreme will automatically switch to
Sequencer mode, and the combination’s settings will
be applied to a new song. The new song will be the first
unused song.
Select the program or combination that you want to
copy (i.e., the copy source).
For this example, press the COMBI BANK [I] key, then
press numeric keys [4], [0], and finally press the
[ENTER] key. I040: Steely Keys will be selected.
We will copy the effect settings of the combination as
well, so check the “With Effects” check box.
5You will automatically enter record-ready mode, and
the metronome will begin sounding according to the
settings in Sequencer mode 0–8: Preference.
(☞PG p.68 “0–8b: Metronome Setup”)
Since we want to copy the settings of the combination’s
eight timbres to tracks 1–8, select Track 1 to 8.
6Press the [START/STOP] key, and realtime recording
If you have selected Track 1 to 8, you will be able to
select “Auto adjust Arp setting for Multi REC.” If you
check this check box, the MIDI channel etc. of some of
the tracks will automatically be adjusted to ensure that
the same sound as was used during recording will be
reproduced by the playback when you perform multi-
track recording with the arpeggiator turned on.
will begin.
When you’re finished recording, press the [START/
STOP] key once again.
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When using the “Copy From Program” page menu
command, the dialog box will be different. You can
specify any track as the copy destination, and “Auto
adjust Arp setting for Multi REC” will be replaced by
a simple “with Arpeggiator” check-box.
Caution and other functions in
Sequencer mode
Depending on the combination settings, it may be
necessary to make additional changes to the track set-
tings.
TRITON Extreme song data and its
compatibility
In order to use the “Auto adjust Arp setting for Multi
REC” function, the combination to be copied must
have been written to memory with the ARPEGGIA-
TOR [ON/ OFF] key turned on.
The following two types of song data can be loaded from
Media into TRITON Extreme’s sequencer.
•
•
•
Song data saved in TRITON Extreme’s own format
This data is only for this instrument.
However, it is partially compatible with the TRITON
STUDIO, TRITON-Rack and TRITON/ TRITONpro/
TRITONproX (☞PG p.309).
Since the performance will be faithfully reproduced,
including detailed settings of this instrument, you
should use this format to save song data that is
intended for playback on this instrument.
Press the OK button to execute the copy.
Notice that when you execute this command, the
“PLAY/ REC/ MUTE” setting of each track will be set
automatically.
In the Sequencer P0: Play/ REC, Preference page, the
“Multi REC” check box will be checked.
Standard MIDI Files
This format is not able to provide a totally faithful
reproduction of the performance on TRITON Extreme
in the way that TRITON Extreme’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 or save song data etc., use Media mode.
Data including exclusive events
If you are using the arpeggiator, press the ARPEGGIA-
TOR [ON/ OFF] key to turn it off, and then turn it on
again.
Exclusive messages (including XG or GS data) received
from an external MIDI device, and parameter changes
produced by editing track parameters (☞PG p.101) can
now be recorded in realtime on the desired track. You
can also use the page menu command “Put Effect Set-
ting to Track” to place insert effect or master effect
parameter settings as exclusive events in the desired
location of a track.
3Begin recording.
Press the [LOCATE] key to set the location to
001:01.000.
Press the SEQUENCER [REC/WRITE] key, and then
press the SEQUENCER [START/STOP] key.
If you play a B3 note or lower during the pre-count
before recording, the arpeggio pattern will start from
the beginning at the moment that recording begins.
Record your performance.
Recorded GM, XG, or GS exclusive messages do not
affect the TRITON Extreme when they are played
back.
Since the recorded data is embedded in the song data
as exclusive events, it can be saved or loaded to/ from
media in the same way as before. Exclusive messages
can also be saved and loaded as SMF (Standard MIDI
File) data (“Load Standard MIDI File,” “Save Song as
Standard MIDI File”). This means that you can save
recorded exclusive events as SMF data, or convert
exclusive messages from an SMF file into song data.
4When you are finished performing, press the
SEQUENCER [START/STOP] key.
If you made a mistake or want to re-record, you can
use the Compare function (press the [COMPARE] key)
to re-record as many times as you want. (The “Multi-
REC” check box will be unchecked when you use
Compare, so you will need to check it again.)
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The Compare function
About MIDI
When you perform realtime recording, step recording, or
track editing, this function allows you to make before-
and-after comparisons.
Track status “status”
You can specify whether the TRITON Extreme’s
sequencer will sound the internal tone generator or an
external tone generator.
If you continue editing when the [COMPARE] key is
lit, the key will go dark. This now becomes the musi-
cal data that will be selected when the [COMPARE]
key is dark. Any previous unsaved edits will be lost.
When Track Status “Status” (P2: Trk Param, MIDI Ch
T01–08/ T09–16) is set to INT, operating TRITON
Extreme’s keyboard and controllers will sound and con-
trol TRITON Extreme’s own tone generator.
When “Status” is set to EXT, EX2 or BTH, operating TRI-
TON Extreme’s keyboard and controllers will sound and
control the external tone generator. (The MIDI channel of
the external tone generator must match the “MIDI Chan-
nel” of the track that is set to EXT, EX2 or BTH.) With a
setting of BTH, both the external tone generator and TRI-
TON Extreme’s tone generator will sound and be con-
trolled.
Operations for which Compare is available
•
•
Recording to a track
Track Edit
All commands except for the Utility menu commands
“Memory Status” and “Rename Track” of the
Sequencer P5: Track Edit page.
•
•
Recording to a pattern
Pattern Edit
All commands except for the page menu commands
“Memory Status,” “Rename Pattern,” “FF/ REW
Speed,” and “Rename Track” of the Pattern/ Sequencer
P6: RPPR, Pattern Edit page.
•
•
Song Edit
Sequencer P0–P4 and P7–P9 pages: Page menu com-
mands “Delete Song” and “Copy From Song”
Sequencer P1: Cue List page: Page menu commands
“Convert to Song” and “Copy Song”
If you wish to use the Sequencer mode of the instrument
as a 16-track multi-timbral tone generator, select INT or
BTH. (☞PG p.72)
Synchronizing the sequencer with an external MIDI
device
The record/ playback tempo of TRITON Extreme’s
sequencer can be synchronized to an external MIDI device
such as a sequencer or rhythm machine (☞PG p.296).
After in-track sampling
The Compare operation will also apply to the multi-
samples and samples that were sampled with the
“Convert to” item Seq.Event checked in “Select Bank &
Sample No.” (☞PG p.63). This means that if you want
to re-do your sampling, you can press the [COMPARE]
key to return the multisample and samples to the state
prior to sampling, and unwanted samples will not
remain.
The program will not be affected by the Compare,
and will not return to its prior state.
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
Page menu commands other than those listed above
(in Operations for which Compare is available)
Memory Protect
Before you record a track or pattern, or edit the musical
data, you will need to turn off the memory protect setting
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Sampling
(Open Sampling System)
•
The external audio source that you are sampling can
be processed by the five insertion effect to apply
effects such as a compressor or EQ. 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.
(In Sampling mode, only the insert effects can be used.
In Program, Combination, and Sequencer modes, the
master effects can also be used.)
Features of sampling on the
TRITON Extreme
•
The TRITON Extreme features our Open Sampling
System that lets you use sampling/ resampling not
only in Sampling mode but also in Program,
Combination, and Sequencer modes, with
•
•
You can apply Valve Force to the external audio
source you are sampling.
functionality optimized for the specific mode that you
are currently in.
You can perform 48 kHz 16-bit linear mono or stereo
sampling.
The TRITON Extreme is shipped with 16 Mbytes of
sample memory (RAM). When you sample, the data is
written into this sample memory (RAM) or to media.
(For details on the types of media you can use, refer to
Sampling can be initiated by the SAMPLING [START/
STOP] key, note-on, threshold, or the SEQUENCER
[START/ STOP] key. (The available methods will
depend on the mode.) Threshold allows you to initiate
sampling when the input signal exceeds the threshold
level you specify. In Sampling mode, you can also
specify a pre-trigger setting.
•
•
•
•
•
The analog audio inputs support mic and line level
signals. Digital audio input via S/ P DIF IN supports
the 48 kHz sample rate.
You can digitally sample (i.e., “rip”) audio data from
an audio CD in a CD-R/ RW drive connected to the
USB A connector.
Sampled data can be converted automatically (or
manually, using an easy operation) into a program
and used with the TRITON Extreme’s HI synthesis
system. (In Sampling mode, use “Convert MS To
Program.” In Program, Combination, or Sequencer
mode, use “Select Bank & Smpl No.”) Once a
multisample/ sample has been converted into a
program, you can make filter, amp, and effect settings
and play it as a program. Such a program can also be
used in Combination mode or Sequencer mode.
Samples you record can also be used as drum samples
in a drum kit.
The 16 Mbyte sample memory (RAM) allows approxi-
mately 2 minutes 54 seconds of mono sampling (or
approximately 1 minute 27 seconds of stereo sam-
pling). By installing 72-pin SIMM boards, you can
expand sample memory to a maximum of 96 Mbytes
(three 32 Mbyte SIMM boards; replacing the factory-
installed 16 Mbyte SIMM with a 32 Mbyte SIMM).
With the sample memory maxed out, the total sam-
pling time is 17 minutes 28 seconds of mono sampling
(approximately 8 minutes 44 seconds in stereo). How-
ever, because the TRITON Extreme RAM is addressed
as six individual 16 Mbyte banks, the maximum length
for any individual sample remains approximately 2
minutes 54 seconds (mono) or approximately 1 minute
27 seconds (stereo). Samples you record into sample
memory (RAM) can be used as tone generator wave-
forms. However, this data will be lost when the TRI-
TON Extreme’s power is turned off, so you must save
any sample data that you want to keep.
Sampling in Program, Combination, and Sequencer modes
•
The Media lets you record up to 80 minutes as a single
sample file in either mono or stereo (monaural: approx-
imately 440 Mbytes, stereo: approximately 879
Mbytes). This will create a WAVE file.
A performance in Program, Combination, or
Sequencer modes can be resampled internally, with all
audio remaining in digital form. This lets you
resample a performance that uses the TRITON
Extreme’s filters, effects, arpeggiator, and sequencer
etc.
External audio sources from the various input jacks
can be sampled. A performance played on the
TRITON Extreme can be mixed with the external
audio source and sampled, or you can sample just the
external audio source while monitoring the
performance played on the TRITON Extreme. The
master effects can also be applied to the signal being
sampled.
In Sequencer mode when you sample an external
audio source while listening to the playback of the
song, note data will be automatically created in the
track. This “In-Track Sampling” function lets you
sample vocals or guitar while you play the sequencer –
just as if you were recording on a multi-track recorder.
Song playback in Sequencer mode can be resampled to
media. You can use Media mode to edit the song
order, and burn your songs to an audio CD in a CD-
R/ RW drive connected to the USB A connector.
If a sample (WAVE file) that was sampled to the media
is loaded into sample memory (RAM), it can be used as
a tone generator waveform. A sample (WAVE file) of
up to 16 Mbytes (mono) or 32 Mbytes (stereo) (if sam-
ple memory has been expanded to 32 Mbytes or
greater) can be loaded into sample memory (RAM).
You can create an audio CD by writing Wave files to a
CD-R/ RW drive connected to the USB A connector.
A maximum of 1,000 multisamples and 4,000 samples
can be created.
•
•
•
•
In Media mode, you can load multisample/ sample
data from various types of media.
•
•
Korg format or Akai (S1000/ 3000 samples, mapped
multisamples only) format sample data, and AIFF or
WAVE format sample data can be loaded. (Once data
has been loaded into the TRITON Extreme, it will all
be treated as Korg format sample data.)
Sample data created on the TRITON Extreme can be
exported (output) as an AIFF or WAVE format sample
file.
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Editing in Sampling mode
•
In Sampling mode, the sample data you sampled or
loaded from various media (including WAVE and
AIFF formats) can be assigned to an index (zone) to
create a multisample.
The waveform can be viewed in the LCD screen, and
edited by a variety of waveform editing commands
that include rate convert (down-sampling) and reverse
playback.
How Sampling mode is organized
This section describes how sampling on the TRITON
Extreme is organized. (☞see the lower diagram on the fol-
lowing page)
•
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.
•
•
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.
Level
The Use Zero function automatically searches for zero-
cross points, making it easy to find the beginning or
end of the waveform, or locations that will not
produce noise when the sample is played back.
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.
Sample names and multisample names of up to 16
characters can be assigned. Sample names and
multisample names can also be viewed in Media mode
(☞PG p.177 “Translation”).
The Time Slice function automatically detects the
attack portions of a kick or snare etc. in a rhythm loop
sample (a looped pattern of drums etc.), and divides it
into separate rhythm instrument sounds. A pattern
corresponding to the divided samples is created
automatically, so that you can immediately use the
Sequencer mode RPPR function to play the pattern
and adjust the tempo without changing the pitch. You
can also do things such as adjusting the pitch of only
the snare, replacing it with a different sample, or
changing the playback timing on the sequencer, in this
way creating a new rhythm loop based on the rhythm
loop you started with. (Stereo samples are supported.)
The Time Stretch function lets you modify the tempo
without changing the pitch of a sample. You can select
either Sustaining (suitable for sustain-type
Analog waveform
Time
•
•
48kHz
Level
= 48,000 times every second
= 0.0208 mS cycle
16bit
=65,536 levels
of data
Sampled digital
waveform
•
•
Time
The “fixed intervals” mentioned above are generally
expressed as the “sampling frequency.” 48 kHz (kilohertz)
means that sampling is performed 48,000 times each sec-
ond, 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 resolution.
This process converts an analog signal with infinite reso-
lution into a digital signal with finite resolution. 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 original
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 sampling,
which is a slightly lower sampling frequency.
•
instruments such as strings or vocals), or Slice
(suitable for rhythm loops on decay-type instruments
such drums). Stereo samples are supported.
The Crossfade Loop function is an important looping
tool that helps smooth out irregularities in long loops
which contain complex material. By executing
Crossfade Loop, you can eliminate this problem and
create natural-sounding loops.
The Link (with Crossfade) function allows you to join
two samples into a single sample. You can also
crossfade the overlapping portion of the samples at
this time, so that the volume changes gradually,
producing a natural-sounding transition.
•
•
•
•
The BPM Adjust function (playback pitch adjust) lets
you adjust the playback pitch of each index so that the
loop frequency matches the desired BPM value.
You can use resampling (auto) to automatically apply
effects to a sample and create a new sample.
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tive pitch ranges to avoid any unnatural sounds during
playback.
Samples and Multisamples
All of the instrumental sounds in the TRITON Extreme’s
internal preset ROM multisamples are constructed in this
way. For example, you might record one sample per
octave, and assign each of these samples to an index (key-
board area).
Samples
The data that is recorded (sampled) into internal memory
or loaded from a file is referred to as a sample or sample
file. Samples consist of the actual waveform data, and
parameters that specify how the data will be played back,
such as Start, Loop Start, and End Address. Samples can
be used in multisamples and drum kits.
By assigning multiple samples such as phrase samples or
rhythm loops to a multisample and arranging them across
the keyboard, you can play multiple samples simulta-
neously. 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 Extreme can hold a maximum of 4,000 sam-
ples in its internal memory.
The TRITON Extreme can share a single waveform
among multiple samples. This allows you to create
multiple samples with different playback addresses
from the same waveform without wasting internal
memory. For example, suppose that you have wave-
form data that records a voice saying “One-Two-
Three.” This single piece of waveform data could be
shared by three samples, with the playback of sample
A producing “One-Two-Three,” sample B producing
“One-Two,” and sample C producing “Two-Three.”
(☞PG p.108).
The TRITON Extreme can hold a maximum of 1,000 mul-
tisamples in its internal memory.
A multisample can be selected as the oscillator for a pro-
gram, and played as a program. In a combination, they
can be combined with preset programs, and used in a
multi. They can be used with the arpeggiator to produce
interesting results (for example, by using the arpeggiator
to automatically play sound effects or spoken samples).
Multisample
Multisamples
Index001
Top Key
Index003
Top Key
Index002
Top Key
Index004
Top Key
A multisample consists of settings that make one or more
samples sound in different areas of the keyboard. A multi-
sample consist of between one and 128 “indexes.” Each
index contains parameters that specify the sample that
will playback, the zone in which it will playback, the orig-
inal pitch key, the playback pitch, and level etc.
Index 001
0000:
Index 002
Index 003
Index 004
0001:
Sample B
0002:
0003:
● Using multisamples
Sample A
Sample C
Sample D
When sampling an instrument that is able to produce a
wide range of pitches, such as a piano, recording just one
sample and applying it (playing it back) over the entire
pitch range will not produce a natural-sounding result. By
using a multisample you can record separate samples for
each pitch range, and assign these samples to their respec-
Multisample
Sample
Program OSC (Single/Double)
Program OSC (Drums)
Drum Kit
Conceptual diagram of the Open Sampling System
Resampling
Program, combinations and
songs
Insert Effects
(Master Effects)
RAM (SIMM memory):
16 MB (expandable to 96 MB)
VALVE FORCE
AUDIO
OUTPUT
jack
Digital/analog
convertor
Analog/digital
convertor
AUDIO INPUT jack
Analog signal
Digital signal
Analog signal
Sample 0000 ... 3999
DAC
ADC
USB A connector CD-R/RW
(Audio CD)
Digital signal
Placement: Final
(Ripping)
Analog signal
ADC
S/P DIF IN jack
Valve Force
DAC
Placement:
Analog signal
Insert (Use Indiv.3/4 BUS)
Used by combinations
and songs
Program
Media
Multisample 000 ... 999
RAM (internal memory)
WAVE File
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These settings can be made in the following pages.
Mode
Sampling
Page
Preparations for sampling
Sampling P0: Recording, Input/Setup
Combination P0: Play, Sampling
Program P0: Play, Sampling
The multisample and sample data in the sample
memory (RAM) is not backed up when the power is
turned off. If you wish to keep this data, you must
save it onto a media before turning off the power.
Combination,
Program,
Sequencer,
Song Play,
Media
Sequencer P0: Play/REC, Sampling
Global P0: Basic Setup, Input/Sampling
Media, Play Audio CD
When the power is first turned on, memory will not
contain any multisample or sample data. You must
first load previously-saved data before you can play-
Sampling can be performed in Sampling, Combina-
tion, Program, and Sequencer modes.
2Select the page for making Input settings.
As an example, here’s how to make settings in Sam-
pling mode and in Program mode.
1. Connecting an input device and making
Input settings
•
Sampling mode
Connecting an input device
Press the [SAMPLING] key to enter Sampling mode.
Press the Input Setup tab to access the P0: Recording,
Input/ Setup page.
Here’s how to connect an external audio source. On the
TRITON Extreme you can input audio signals to the
AUDIO INPUT 1 and 2 jacks, or the S/ P DIF IN jack.
1Connect the audio source that you want to input.
•
Input from the AUDIO INPUT 1 and 2 jacks
Connect a mic, guitar, or CD player etc. to the rear
panel AUDIO INPUT 1 and 2 jacks.
Set the AUDIO INPUT [MIC/LINE] switch as appro-
priate for the device you are inputting.
If a mic is connected, set this to the MIC position.
If a guitar or analog audio device is connected, set this
to the LINE position.
Guitars with active pickups can be input directly.
However if your guitar has a passive-type pickup
(i.e., without a built-in preamp), the mismatch in
impedance levels will make it difficult to sample at an
appropriate level. Such instruments should be routed
through a preamp or effect unit before they are con-
nected.
•
Program mode
Press the [PROG] key to enter Program mode. Press the
Sampling tab to access the P0: Play, Sampling page.
•
Input from the S/P DIF IN jack
Connect the optical digital output jack of your DAT etc.
to the rear panel S/ P DIF IN jack.
3Use “Input” to select the input source.
If you want to sample the input connected to the
AUDIO INPUT 1 and 2 jacks, set “Input” to Analog.
If you want to sample the signal being input via the
S/ P DIF IN jack, set “Input” to S/ P DIF.
If “Input” is set to S/ P DIF, an “Obey Copyright
Rules” dialog box will appear. Carefully read “About
copyright” (☞QS p.iii), and if you accept the terms,
press the OK button to continue with settings. If you
do not accept the terms, press the Cancel button to
cancel the setting.
If you want to input from the S/ P DIF IN jack, set the
Global mode “System Clock” to S/ P DIF. (☞PG
p.158)
Input settings
One set of Input settings are maintained by Sampling
mode, and a different set of Input settings are shared by
Combination, Program, Sequencer, Song Play, and Media
mode. This latter set is saved as Global mode parameters.
Normally you will set these in Global mode; however,
these same settings can also be made from the other
modes.
For the best sound quality, adjust the level as high as
possible without making the “ADC OVERLOAD !!”
warning appear.
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4For Input1 and Input2, set “BUS (IFX/Indiv.) Select”
to specify the destination to which the external audio
signal you selected in “Input” will be sent.
L/R: Send to the L/ R bus.
The output volume will not change at this time, but
your adjustment will affect the data that will be sam-
pled.
If “CLIP!!” is displayed, lower the “Recording Level”
(located at the right of the display) to an appropriate
level.
IFX1–IFX5: Send to the corresponding insert effect.
1, 2, 3(Tube), 4(Tube), 1/2, 3/4(Tube): Send to the jINDI-
VIDUAL 1–4, 1/ 2, or 3/ 4 bus(es).
Use “Level” to adjust the signal level. Normally you
will set this to 127. Use “Pan” to specify the stereo posi-
tion.
In the Input section (COMBI, PROG, SEQ, S.PLAY,
MEDIA) you can specify the send levels “Send1
(MFX1)” and “Send2 (MFX2)” to master effects 1 and 2.
These settings can be made if “BUS (IFX/Indiv.)
Select” is L/ R or Off.
“Send1 (MFX1)” and “Send2 (MFX2)” cannot be set
in Sampling mode.
We recommend that you set the “Recording Level” as
shown below, depending on whether you are sampling
only an external input source, or resampling the play-
back of a song or a performance played on a program,
combination, or sample.
•
•
The input from the AUDIO INPUT 1 jack is set by
Input1, and the input from the AUDIO INPUT 2 jack is
set by Input2.
The L channel of the input from the S/ P DIF IN jack is
At this time you can also set “Auto +12 dB On”
an appropriate level.
set by Input1, and the R channel is set by Input2.
Example:
Send the signal from the AUDIO INPUT 1 jack in mono
to the L/ R bus
Input1 “BUS (IFX/ Indiv.) Select” L/ R, “Level” 127,
When sampling only an external input source:
“Recording Level”: +0.0 (dB)
“Auto +12 dB On”: off (unchecked)
“Pan” L000
When resampling (sampling the playback of a song, or
your keyboard performance using a program, combi-
nation, or sample) or
When simultaneously resampling and sampling an
external audio source:
Example:
Send the signal from the AUDIO INPUT 1 and 2 jacks
in stereo to the L/ R bus
Input1 “BUS (IFX/ Indiv.) Select” L/ R, “Level” 127,
“Pan” L000
Input2 “BUS (IFX/ Indiv.) Select” L/ R, “Level” 127,
“Pan” R127
“Recording Level”: –12.0 (dB)
“Auto +12 dB On”: on (checked)
When “BUS (IFX/ Indiv.) Select” is changed from Off
to L/ R or IFX, please be aware that the volume level
of the AUDIO OUT L/ MONO and R jacks and the
headphones may rise excessively.
3When you have finished making adjustments, press
the SAMPLING [REC] key.
An easy way to make these settings is to use the Auto
Sampling Setup “REC Audio Input” function. You
can do this in Sampling P0: Recording or in Program
P0: Play, Sampling.
3. Specifying the recording method
(Recording Setup/ Sampling Setup)
1In “Source BUS,” select the source that you want to
sample.
The sound being sent to the bus you select here will be
sampled.
2. Setting the recording level (Recording
Level [dB])
L/R: The sound being sent to the L/ R bus will be sam-
pled.
1Produce sound at the volume that you want to record.
If you are inputting via the AUDIO INPUT 1 and 2
jacks, gradually turn the [LEVEL] knob from the MIN
position toward MAX. Set the level immediately below
the point where the display indicates “ADC OVER-
LOAD !!” (AD converter input overload).
Indiv.1/2: The sound being sent to the Individual 1, 2
bus will be sampled.
For examples of these settings, refer to the various
22)
The best audio quality will be obtained at a level
immediately below the point where “ADC OVER-
LOAD !!” is displayed (i.e., the highest level that does
not produce an overload).
2Press the SAMPLING [REC] key.
Produce sound at the volume that you want to record.
Watch the level meters to check the input volume.
Use the “Recording Level” slider to adjust the record-
ing level.
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2Use “Trigger” to specify how sampling will begin.
The available trigger methods will differ depending on
the mode.
•
Program mode
Sampling mode:
Sampling START SW, Note On, Threshold
Program, Combination modes:
Sampling START SW, Note On
Sequencer mode:
Sampling START SW, Note On, Threshold, Sequencer
START SW
Here we will describe the Sampling START SW and
Note On that can be used in all modes. For details on
trigger methods suitable for various purposes, refer to
p.18, 22 or PG p.5, 41, 63, and 115.
1Use “Save to” to specify the location into which the
data will be sampled.
RAM: The sample will be written into sample memory
(RAM).
Sampling START SW: When you press the SAM-
PLING [REC] key, you will enter sampling-standby
mode, and sampling will begin when you press the
SAMPLING [START/ STOP] key.
If you select RAM, you can also specify the writing-
destination RAM bank.
In Sampling mode, this is specified by “Bank.”
In other modes, this is specified by the page menu
command “Select Bank & Smpl No.”
Note On: When you press the SAMPLING [REC] key
and then the SAMPLING [START/ STOP] key, you will
enter sampling-standby mode, and sampling will
begin when you play the keyboard.
When you select “Select Bank & Smpl No.,” the fol-
lowing dialog box will appear.
4. Making settings for the sample to be
recorded (REC Sample Setup/ Sampling
Setup)
Next we will specify the location into which the data will
be sampled, select mono or stereo sampling, and specify
the sampling time.
REC Sample Setup settings are made in Sampling mode,
and Sampling Setup settings are made in Combination,
Program, or Sequencer mode. These settings are main-
tained independently for each mode.
Specify the “Bank” in this dialog box.
“Sample No.” specifies the writing-destination sample
number. If “Sample Mode” is set to Stereo, specify L
and R.
If you check “Program” in the “Convert to” area, the
sample will automatically be converted to a program
immediately after the sample has been written into
RAM. This is convenient when you want to hear the
sampled sound immediately.
Use the following pages to set them.
Mode
Sampling
Page
Sampling P0: Recording, Recording
Combination P0: Play, Sampling
Program P0: Play, Sampling
Combination
Program
At the right, use “Program” and “MS” to specify the
program number and multisample number of the pro-
gram that will be created by the conversion.
Use “Orig.Key” to specify the key that will play the
sample at its original pitch. “Orig.Key” will increment
by one after you sample, so that the next sample you
record will be assigned to the next higher note.
Press the OK button to finalize the settings.
Sequencer
Sequencer P0: Play/REC, Sampling
•
Sampling mode
Set the “Auto +12 dB On” parameter. If you check
“Auto +12 dB On,” the sample playback level will
automatically be increased by +12 dB after sampling.
In Sampling mode, you can set this parameter in the
P0: Recording, Preference page.
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In Program, Combination, and Sequencer modes, you
can set this parameter using the Sampling page menu
command “Select Bank & Smpl. No.”.
When you sample an external audio source, you should
normally set “Recording Level” to +0.0 (dB). The sample
data will be recorded at the optimum level. If you sample
with “Auto +12 dB On” turned off at this time, “+12 dB”
(Sampling mode Loop Edit page) will be off, and the sam-
ple will play back at the same level at which it was sam-
pled.
MEDIA: The sample will be written to the media.
If you select MEDIA, you can also select the writing-
destination drive.
In all modes, this is specified by the page menu com-
mand “Select Directory.”
When the power is turned on, “Recording Level” and
“Auto +12 dB On” will default to the following settings.
Program, Combination, Sequencer modes
“Recording Level”: –12.0 (dB), “Auto +12 dB On”: on
Sampling mode
“Recording Level”: +0.0 (dB), “Auto +12 dB On”: off
These settings assume that you will mainly be resampling
in Program, Combination, and Sequencer modes (listed
above), and performing conventional sampling in Sam-
pling mode (listed below).
Media Select
Optimizing the sample memory (RAM)
If RAM has been specified as the destination to which
data will be written during sampling, you can specify that
sample memory (RAM) be automatically optimized after
the data is written. When optimization is performed,
unused areas that are occupying memory space will be
reorganized to increase the available free space. In the
Global mode P0: Basic Setup, Input/ Sampling page, you
can check “Auto Optimize RAM” so that RAM will auto-
matically be optimized when sampling ends. In this case,
you will always be able to sample without any wasted
RAM area, but the sound will stop for a time when sam-
pling ends. If a song is being played back in Sequencer
mode, the playback will stop.
If you are playing back a song, or if you are repeatedly
recording multiple samples in various locations while lis-
tening to audio input from a CD etc., you can sample with
“Auto Optimize RAM” unchecked, and then execute the
page menu command “Optimize RAM” (found in the
Sampling page of Program, Combination, or Sequencer
modes, and in P0–P4 of Sampling mode) to optimize the
RAM when the remaining amount of memory begins to
decrease. The remaining amount of sample memory
(RAM) can be checked in Sampling mode P0: Memory
Status.
In the “Media Select” field, select the drive. Use the
Open and Up buttons to move between levels of the
directory hierarchy to select the desired directory. Press
the Done button to finalize the settings.
If you sampled to the media as a WAVE file, the
“Auto +12 dB On” setting will be ignored. The play-
back level of the WAVE file is set by “WAVE File Play
Level” (☞PG p.158).
2In “Sample Time,” specify the length of time that you
want to sample.
This can be set in units of minutes and seconds.
If you are sampling to RAM (sample memory), you
can sample a maximum of approximately 2 minutes 54
seconds in mono, or approximately 1 minute 27 sec-
onds in stereo.
If you are sampling to MEDIA, you can sample a max-
imum of 80 minutes in either mono or stereo (mono:
approximately 440 Mbytes, stereo: approximately 879
Mbytes).
3Set “Sample Mode” to specify whether a mono or a
stereo file will be created.
L-Mono: The sound of the internal L channel will be
sampled in mono.
R-Mono: The sound of the internal R channel will be
sampled in mono.
Stereo: The sound of the internal L and R channels will
be sampled in stereo.
Examples of sampling settings
Resampling only the sound of the TRITON Extreme
(e.g., arpeggiator and/or keyboard performance)
“Input”: Analog
Input1 “BUS Select”: Off
Input2 “BUS Select”: Off
“Source BUS”: L/ R
The recording level and “Auto +12 dB On”
When you resample the playback of a song, or your key-
board performance using a program, combination, or
sample, or if you mix your performance with an external
audio source and sample the result, you should normally
set “Recording Level” to –12.0 (dB). If you resample at
–12.0 (dB), the sample data will be recorded at the opti-
mum level, but the playback level will be lower than the
level during sampling (if “+12 dB” is off). In such cases,
you can check “Auto +12 dB On” when you resample, so
that “+12 dB” (Sampling mode Loop Edit page) will auto-
matically be turned on, and the recorded sample will play
back at the same level at during resampling.
“Recording Level”: –12.0
“Auto +12dB On”: On (checked) ☞PG p.6, 64
Resampling the sound of the TRITON Extreme
(arpeggiator and/or keyboard performance) together
with the input sound from the AUDIO INPUT 1 jack
“Input”: Analog
Input1 “BUS Select”: L/ R, “Pan”: C064 or as desired
Input2 “BUS Select”: Off
“Source BUS”: L/ R
“Recording Level”: –12.0
“Auto +12dB On”: On (checked) ☞PG p.6, 64
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Sampling only the stereo input sound from the
AUDIO INPUT 1 and 2 jacks while you listen to the
sound of the TRITON Extreme (arpeggiator etc.)
Sampling and editing in Sampling
mode
“Input”: Analog
Input1 “BUS Select”: 1/ 2, “Pan”: L000
Input2 “BUS Select”: 1/ 2, “Pan”: R127
“Source BUS”: Indiv.1/ 2
In Sampling mode, you can record samples, and edit sam-
ple data that you sampled or loaded from media (includ-
ing WAVE and AIFF formats). You can also assign the
edited samples to indexes (zones) to create a multisample.
“Recording Level”: 0.0
“Auto +12dB On”: Off (unchecked) ☞PG p.6, 64
Sampling mode page structure
In this case, the sound that is input to AUDIO INPUT 1
and 2 will be output only to AUDIO OUTPUT (INDI-
VIDUAL) 1 and 2.
Page
Explanation
P0: Recording
Record samples. Select the sample or multi-
sample to record, make various recording
settings and AUDIO INPUT settings. View
the memory status.
Using the metronome
It is convenient to use the metronome when you want to
play a program or combination at a specific tempo and
sample your performance.
To access the metronome settings, use the Program or
Combination P0: Play, Sampling page menu command
“Metronome Setup.” We recommend that you set “BUS
(OUTPUT) Select” to either 3 or 4, and connect the (INDI-
VIDUAL) 3 or 4 jack to your mixer so that the metronome
can be monitored via your mixer.
P1: Sample Edit
P2: Loop Edit
Perform waveform editing etc. on samples
that were sampled or loaded in Media mode.
Set sample playback parameters: Start,
Loop Start, End Address, Loop on/off, and
Reverse on/off. Editing operations such as
Time Slice and Time Stretch.
P3: Multisample
Edit multisamples. Set and edit the sample
assignments, zone, and original key etc.
P4: Controller Setup
P5: Audio CD
P6:
Controller settings.
Audio CD playback and ripping.
---
---
Automatically setting-up for the desired
sampling method (Auto Sampling Setup)
P7:
P8: Insert Effect
P9: Valve Force
Select and make settings for insert effects.
Valve Force settings.
In each mode, Auto Sampling Setup automatically makes
the appropriate settings for the sampling-related parame-
ters so you don’t have to perform steps 1–4 described
above. For example in Program mode you can use this to
make the necessary settings for resampling your playing
on a program, or to make settings for sampling only an
external audio source while you monitor your playing on
a program. However, these automatic settings assume
typical situations, so you’ll need to adjust the parameters
to meet your situation.
For details on how to access each mode and page,
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 settings
such as input level are made by the parameters of P0:
Recording, and these settings are valid for the other
pages as well.
This function is available in the following pages.
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.
Mode
Sampling
Page
Sampling P0: Recording
Combination
Program
Combination P0: Play, Sampling
Program P0: Play, Sampling
For an example of sampling, refer to ☞QS p.18–.
On the following page we will explain sampling opera-
tions that are specific to Sampling mode, and how to edit a
multisample or sample.
Sequencer
Sequencer P0: Play/REC, Sampling
22. For a detailed explanation, refer to PG p.7, 42, 64, 112.
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Immediately after the power is turned on, “Position”
will be Right (to selected index), “Zone Range” will
be 12 Keys, and “Original Key Position” will be Bot-
tom, so that indexes will be created as shown below.
Creating multisample indexes and
sampling
Here’s how to create indexes for a multisample, and how
to assign a sample to each index.
1Select the P0: Recording, Recording page.
Index
If you set “Zone Range” to 1 Key, an index will be
created for each note of the keyboard. It is convenient
to use 1 Key when you wish to sample numerous
takes in succession, such as when recording phrases
or rhythm loops.
MS
(Multisample Select)
Sample Select
4Select “Index.”
“Index” can also be selected by holding down the
[ENTER] key and playing a note on keyboard. For this
example, select 001.
2Select “MS (Multisample Select),” and create a multi-
sample.
To create a new multisample, press the “MS (Multi-
sample Select)” popup button. Then press a Multisam-
ple No. in the list for which no name has been entered,
or use the numeric keys [0]–[9] to input a number and
then press the [ENTER] key.
5Assign a sample to the “Index.”
If sample memory (RAM) already contains samples,
use “Sample Select” to select the sample and assign
it.
If you want to record a new sample, you can sample it
now.
A dialog box will appear.
The sample you record will be automatically assigned
to the index you selected in step 4.
The assigned sample will sound when you play the
keyboard in the range of the index to which the sample
is assigned.
If you want to create a stereo multisample, check the
“Stereo” box, and press the OK button.
If you want to create a monaural multisample, uncheck
the “Stereo” box, and press the OK button.
6Repeat steps 4and 5to assign a sample to each
index.
The number and order of the indexes in a multisam-
ple, the range of each index, and the original key
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.
Creating multiple samples
The range that is highlighted 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 location of each
index.
In the example procedure described above, several
indexes were created (by pressing the Create button sev-
eral times), and then samples were assigned to each
“Index.”
As an alternative method, it is also possible to create one
index, sample into it, and then repeat these two steps.
The index that is created when you press the Create
button will be created according to the P0: Recording,
Preference page Create Zone Preference settings. (These
settings can also be made in P3: Multisample, Prefer-
ence page Create Zone Preference. ☞PG p.116, 137)
1Press the Create button once to create an index.
2Record a sample.
The recorded sample will automatically be assigned to
the index you created in step 1.
3Repeat steps 1and 2.
This is an efficient way to record multiple samples.
(☞QS p.20)
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“Key”: C2
Applying an insert effect to a sample and
resampling it
Use “Key” to specify the sample that will be resam-
pled.
“Recording Level”: –12.0
This is the default setting for resampling.
“Save to”: RAM
The data will be written to sample memory (RAM).
“Sampling Mode”: Stereo
The sound of the internal L/ R channels will be sam-
pled in stereo.
“Auto +12dB On”: On
The process of applying an insert effect etc. to a sampled
sound and then sampling it once again is called “resam-
pling.”
1In the P0: Recording, Recording page, assign the sam-
ple that you want to resample to “Sample Select.”
When the power is first turned on, the assigned sample
will be set to “Orig.Key” C2.
The “+12 dB” setting will automatically be turned on
for the samples you record.
“BUS (IFX) Select”: IFX1
The output of the sample will be sent to IFX1. (☞step
6)
2Press the page menu button, and choose “Auto Sam-
pling Setup” from the menu.
A dialog box will appear.
3Choose “Auto Resample through IFX,” and select the
effect that you want to use.
Be aware that if you change the “BUS” setting from
Off to L/ R or IFX1–5, the volume level sent to the
AUDIO OUT L/ MONO and R jacks and the head-
phones may rise excessively.
5In P2: Loop Edit, check the “+12 dB” setting.
4Press the OK button to execute the command.
Sampling settings will be made automatically.
By making the following settings, you will be able to
resample at the optimal level.
If “+12 dB” is not checked:
“Recording Level”: +0.0 (dB)
(P0: Recording, Recording page)
“Auto +12 dB On”: Off (unchecked)
(P0: Recording, Preference page)
If “+12 dB” is checked:
“Recording Level”: –12 dB (dB)
(P0: Recording, Recording page)
“Auto +12 dB On”: Off (checked)
(P0: Recording, Preference page)
6In the P8: Insert Effect, Routing page, you can see that
“BUS (IFX) Select” is set to IFX1.
Let’s take a look at the settings that were made auto-
matically.
Input 1 “BUS (IFX/Indiv.) Select”: Off
Input 2 “BUS (IFX/Indiv.) Select”: Off
Input from the INPUT 1, 2 jacks is turned off.
“Source BUS”: L/R
The sound sent to the L/ R will be sampled.
“Trigger”: Sampling START SW
After you’ve pressed the SAMPLING [REC] key to
enter sampling-ready mode, resampling will begin
when you press the SAMPLING [START/ STOP] key.
“Resample”: Auto
The sample assigned to the index will be resampled
automatically.
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7In the P8: Insert Effect, Insert FX page, set “IFX1” to
Ripping
052: Reverb Hall, and turn “IFX On/Off” ON.
Data from an audio CD in a CD-ROM or CD-R/ RW drive
connected to the USB A connector can be loaded into the
TRITON Extreme as sample data. You can do this in either
of two ways; you can play back the audio CD and capture
the sound via the AUDIO INPUT, or you can load (“rip”)
it directly as digital data.
If you are using a CD-ROM or CD-R/ RW drive con-
nected to the USB A connector, use an audio cable to
connect the audio output of your drive to the TRI-
TON Extreme’s AUDIO INPUT 1, 2 jacks. If you’re
using a drive that does not have audio output jacks or
a headphone jack, you won’t be able to monitor the
sound.
Press the C2 key, and verify that reverb is applied.
8Press the SAMPLING [REC] key, and then the SAM-
PLING [START/STOP] key.
The sample assigned to C2 will play automatically, and
resampling will begin.
When the sample finishes playing, resampling will
end.
Ripping digital data from an audio CD as a sample
Here’s how digital data from an audio CD track can be
captured as a sample.
1Insert an audio CD into the USB A connector CD-
The sample that was created by resampling will auto-
matically be assigned to “Sample Select.”
ROM or CD-R/RW drive. (☞PG p.325)
2In the Sampling mode P0: Recording, Input/Setup
page, make Input settings so that you can monitor the
audio that you want to rip.
9Press the C2 key, and verify that reverb is applied.
In Sampling mode, the P8: Insert Effect, Routing page
“BUS (IFX) Select” parameter will automatically be
set to L/ R when resampling ends. This prevents an
insert effect from being applied in duplicate when
you monitor the results of resampling through an
insert effect.
“Input”: Analog
Input1 “BUS (IFX/ Indiv.) Select” L/ R, “Level” 127,
“Pan” L000
Input2 “BUS (IFX/ Indiv.) Select” L/ R, “Level” 127,
“Pan” R127
If you want to apply an insert effect once again, re-
select IFX1.
Ripping will not be affected by these inputs.
3Access the Sampling mode P5: Audio CD, Ripping
As an alternative to automatically resampling as
described above (“Resample” Auto), you can simply
sample the sounds that you play from the keyboard
(“Resample” Manual).
page.
4In “Media” (media select), select the drive that con-
tains the audio CD, and use “Track” to select the track
that you want to rip.
In “Sample Select,” assign the sample that you will
resample, and set “Resample” to Manual. Set “Trig-
ger” to Note On, and set “Sample Mode” to Stereo as
desired. Then set the bus and effect as described in
steps 2and 7, press the SAMPLING [REC] and then
the [START/ STOP] key, and then press the C2 key to
start resampling. When you want to stop resampling,
press the SAMPLING [START/ STOP] key.
Raise the “Volume.”
5Press the SEQUENCER [START/STOP] key to play
back the audio CD track.
6During playback, press the [ENTER] key at the
points where you want ripping to begin and end.
This will set “Range Start” and “Range End.”
If you press the [ENTER] key three or more times,
“Range Start” and “Range End” will respectively be set
to the next-to-last point at which you pressed the key,
and the last point at which you pressed the key.
You can use the method described above when the
edit cell is located at other than “Range Start” or
“Range End.”
If the edit cell is located at “Range Start” or “Range
End,” the setting will be reset each time you press the
[ENTER] key.
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If the edit cell is located at “Range Start” or “Range
End,” this region will play back.
When you finish making settings, press the
SEQUENCER [START/ STOP] key to stop playback of
the audio CD.
7Verify the region that will be ripped.
Select either “Region Start” or “Region End” (the dis-
play will be highlighted), and press the SEQUENCER
[START/ STOP] key. The CD will play from “Range
Start” to “Range End” and then stop.
Reading the analog audio output of an audio CD into
a sample
Here’s how analog audio data from an audio CD track can
be loaded into a sample.
If you want to adjust the location, use the VALUE
controllers to modify the “Range Start” or “Range
End” settings, or move the cursor to a parameter
other than “Range Start” and “Range End” and
repeat step 5to make the setting once again.
If you want to move the track playback start location
to the beginning of the track, press the [LOCATE] key.
In the same way as when inputting the output of your CD
player to the TRITON Extreme’s AUDIO IN 1, 2 jacks, use
audio cables to connect the audio output of the CD-ROM
or CD-R/ RW drive connected to the USB A connector to
the TRITON Extreme’s AUDIO INPUT 1, 2.
You can use the TRITON Extreme’s SEQUENCER
[START/ STOP] key etc. to control operations such as
playback and stop on your CD-ROM or CD-R/ RW drive.
8When you have finished setting “Range Start” and
“Range End,” select the page menu command “Desti-
nation.”
1Use audio cables to connect the audio outputs of your
CD-ROM or CD-R/RW drive (connected to the USB A
connector) to AUDIO INPUT 1, 2 of the TRITON
Extreme.
A dialog box will appear.
Specify the destination to which the ripped sample will
be written.
2Insert an audio CD.
Select RAM if you want to rip the sample into sample
memory (RAM). In this case, you can also set Sample
No. (L), (R) to specify the sample number that will be
written. Normally you can leave this unchanged.
3Access the Sampling mode P5: Audio CD, Ripping
page.
4Use “Media” (media select) to select the drive that
contains the audio CD, and use “Track” to select the
track that you want to read.
Raise the “Volume.”
Some USB A connector CD-ROM or CD-R/ RW
drives cannot be controlled in this way, so this setting
may not affect the volume.
Select MEDIA if you want to rip the sample to media.
Use drive select to select the drive, and use the Open
and Up buttons to select the directory in which the
data will be saved. Also specify a name for the WAVE
file that will be saved.
5In the P0: Recording, Input/Setup page, make Input
settings as follows.
“Input” Analog
Input1 “Level” 127, “Pan” L000, “BUS Select” L/ R
Input2 “Level” 127, “Pan” R127, “BUS Select” L/ R
6Specify the recording method in Recording Setup.
“Source BUS” L/ R
“Trigger” Sampling START SW
Sampling will start when you press the SAMPLING
[START/ STOP] key.
9Press the OK button to execute ripping, or press the
Cancel button to cancel without executing.
“Resampling” Manual
When you press the OK button, the “Obey Copyright
Rules” dialog box will appear.
7In REC Sampling Setup, make settings for the sample
Carefully read “About copyright” (☞QS p.iii), and if
you consent to the terms, press the OK button to
begin ripping. If you do not consent to the terms,
press the Cancel button to cancel the operation.
that will be recorded.
“Save to” RAM: if you want to write the sample into
sample memory (RAM)
“Save to” MEDIA: if you want to write the sample to
media
“Sample Mode” Stereo
“Sample Time” maximum
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8Adjust the recording level.
Loop settings
Press the SAMPLING [REC] key.
When you press the SEQUENCER [START/ STOP] key
to play back the audio CD, the level meter will indicate
the volume that will be sampled. If the display indi-
cates “ADC OVERLOAD !!,” adjust the “Volume” in
the P5: Audio CD, Ripping page.
Using the default settings after the TRITON Extreme is
first turned on, the sounds you sample will automatically
be looped (P0: Recording, Preference page “Auto Loop
On” On)
To edit the loop and other playback address settings for
the sample, use the P2: Loop Edit page.
You can also adjust the level from the volume control
of your USB drive or the [LEVEL] knob located on the
rear panel of the TRITON Extreme.
1Select the sample for which you wish to make loop
settings.
To select the sample, use the “Sample Select” or
“Index” parameters of P2: Loop Edit page or of the P0:
If the display indicates “CLIP!!,” use the VALUE con-
trollers to lower the “Recording Level” slider below
+0.0 until an appropriate level is reached.
If you use “Sample Select” to select the sample, be
aware that the assignment to the index will also
change.
When you finish making adjustments, press the
SEQUENCER [START/ STOP] key to stop playback of
the audio CD. Press the [LOCATE] key to return the
location to the beginning of the track.
2In the P2: Loop Edit page, use the “Loop” check box
to turn loop playback on/off for the sample.
Looping will be turned on if the box is checked.
This will operate between the addresses you specify in
step 3.
Press the SAMPLING [REC] key once again.
9Execute sampling.
Press the SAMPLING [REC] key.
Press the SEQUENCER [START/ STOP] key to start
playback of the audio CD track.
At a point slightly earlier than where you want to sam-
ple, press the SAMPLING [START/ STOP] key to begin
sampling.
Loop On: Start→End→LoopS→End→ (LoopS→End is
repeated)
Loop Off: Start→End
At the point where you want to stop sampling, press
the SAMPLING [START/ STOP] key to stop sampling.
To play the sample, press the key to which the sample
is assigned (the key range that is highlighted in “Key-
board & Index”).
A sample waveform that was sampled with “Sample
Mode” set to Stereo will be displayed in two levels.
The upper level is the L channel, and the lower level
is the R channel.
3Specify the start address in “Start,” the loop start
address in “LoopS (Loop Start),” and the end address
in “End.”
Select “Start” (highlighted), and use the [VALUE] dial
or other VALUE controllers to modify the value. The
corresponding vertical line will move. Set “LoopS
(Loop Start)” and “End” in the same way. In the exam-
ple shown below, “Start” is set immediately before the
first waveform, “LoopS (Loop Start)” is set immedi-
ately before the second waveform, and “End” is set as
desired.
Start
LoopS (Loop Start)
End
By using the ZOOM button you can change the range
that is displayed. When “S (Start)” is highlighted,
zoom will be performed from the start address.
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3Set the end address so that it coincides with a dotted
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 (Loop Start)”
if looping is on. If looping is off, the grid will be based
at “Start.”
If the “Use Zero” check box is checked, only those
addresses where the waveform data crosses the zero
level will be found automatically when searching,
and can be set. This lets you easily make address set-
tings where noise is less likely to occur when looping.
4To hide the grid display, select the page menu com-
mand “Grid”, uncheck “Grid,” and press the OK but-
ton.
The grid is displayed according to the playback pitch
of the base key (the key shown in gray in the “Key-
board & Index” area).
You can select the base key by holding down the
[ENTER] key and playing a note on the keyboard.
4If necessary, use the page menu command “Truncate”
to delete unwanted data that falls outside the start (or
loop start) and end addresses.
Sampling and looping a drum phrase
Here’s how you can sample a drum phrase (or similar
phrase) from an audio CD, and loop the playback.
You will need to provide a drum rhythm loop sample. Ini-
tially, it is a good idea to begin with a rhythm loop sample
that has a fairly simple beat.
As an example, we will sample one measure of a 140 BPM
drum phrase in a 4/ 4 time signature. In this example we
will use a CD player. For details on how you can digitally
sample or “rip” from the USB A connector CD-ROM or
Set the parameters, and press the OK button to exe-
cute the operation. (☞PG p.119)
For cautions on the “Save to No.” and “Overwrite”
check boxes, refer to “About “Overwrite”” (☞PG
p.119).
This explanation assumes that you are starting from
the default state immediately after power-on.
If necessary, create a new multisample before you
The grid display
The page menu command “Grid” overlays the waveform
display with a grid based on the BPM tempo value. This
makes it easy to make loop settings that are synchronized
to the tempo.
1Connect the AUDIO INPUT 1, 2 jacks on the rear
panel to the LINE OUT L and R jacks of your CD
player.
In the same way, the grid display can also be used in
P1: Sample Edit page. The grid can help you to edit
the waveform in sync with the tempo.
Set the AUDIO INPUT [MIC/LINE] switch to the
LINE position, and set the [LEVEL] knob near the
center.
1Select the page menu command “Grid”.
The following dialog box will appear.
CD player
R
AUX OUT
L
Turn “Grid” On, set the desired “Resolution,” and
press the OK button. Dotted grid lines will appear.
2Press the [SAMPLING] key.
You will enter Sampling mode. Make sure that the
Sampling P0: Recording page is displayed. In this
example, choose the Input/ Setup page.
If this is not displayed, press the [EXIT] key and then
press the InputSetup tab.
3Press the page menu button, and choose “Auto Sam-
pling Setup” from the menu.
2Set “Grid” to the desired BPM tempo value.
The dialog box will appear.
In P0: Input Setup, you can use the tap tempo func-
tion to set the tempo. Press the [ENTER] key several
times while the sample plays, and the corresponding
tempo will be set for “Metronome Precount.” Setting
“Grid” to this value will make it easy to set the BPM
setting.
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4Choose “REC Audio Input.”
“Mode”: Stereo
The sound of the internal L/ R channels will be sam-
pled in stereo.
When you change the Bus setting from Off to L/ R or
IFX, the volume level of the AUDIO OUT L/ MONO
and R jacks or the headphone volume may rise
abruptly. Please use caution.
7Play back the audio source that you want to record.
If the display indicates “ADC OVERLOAD !!” (AD
converter input overload!), lower the level by turning
the rear panel [LEVEL] knob to an appropriate posi-
tion. Alternatively, lower the level of the output source.
5Make the following settings for REC Audio Input.
Set “Source Audio” to Analog. The external audio
input source (the analog audio output of an instrument
or other device connected to the INPUT 1, 2 jacks) will
be sampled.
The best audio quality will be obtained at a level
slightly lower than when the “ADC OVERLOAD !!”
indication appears (i.e., the highest level that does not
cause an input overload).
Set “Mono-1/Mono-2/Stereo” to Stereo. The input
from the INPUT 1, 2 jacks will be sent to the internal
L,R channels, and sampled in stereo.
Set “Save to” to RAM. The sampled data will be writ-
ten to sample memory (RAM).
8Press the SAMPLING [REC] key.
The level meter allows you to check the volume of the
input.
If the display indicates “CLIP!!,” use the VALUE con-
troller to lower the “Recording Level” slider (located in
the right of the display) from the +0.0 position to an
appropriate level.
Set “IFX” to Off. Insert effects will not be applied while
sampling.
6Press the OK button to execute the command.
Preparations for sampling are now completed.
9When you have finished making adjustments, once
again press the SAMPLING [REC] key. Also stop the
playback of your audio source.
0Press the SAMPLING [REC] key to enter record-
ready mode.
APlay back your audio source. At the moment you
want to start sampling, press the SAMPLING
[START/STOP] key.
Sampling will start.
It is a good idea to allow a bit of extra time before you
start and after you stop sampling.
BAt the moment that you wish to stop sampling, press
the SAMPLING [START/STOP] key.
Sampling will stop.
A 140 BPM drum phrase has now been sampled. The
sample will automatically be assigned to “Sample
(Sample select).”
Sampling will stop automatically if the remaining
amount of memory reaches zero.
CListen to the sound that was sampled.
You can play the “OrigKey” note to hear the sound that
was sampled.
Let’s check the settings that were made.
Input 1 “Level”: 127, “Pan”: L000
“BUS (IFX/Indiv.) Select”: L/R
Input 1 “Level”: 127, “Pan”: R127
“BUS (IFX/Indiv.) Select”: L/R
These settings specify the input level from the INPUT
1, 2 jacks, the panning, and select the L/ R bus as the
destination.
After you have verified the sound, assign a name to
characters can be input as the name of a stereo sam-
ple (the two characters -L and -R at the end are fixed).
When you assign a name to either the L or R channel,
the other sample will be named automatically.
“Source BUS”: L/R
DPress the [MENU] key to access the page jump menu,
and press P2: Loop Edit.
The sound sent to the L/ R bus will be sampled.
“Trigger”: Sampling START SW
After you press the SAMPLING [REC] key to enter
sampling-ready mode, recording will begin when
you press the SAMPLING [START/ STOP] key.
“Recording Level”: +0.0
The P2: Loop Edit page will appear. Make settings to
delete the unwanted portions at the beginning and end
of the sample, to ensure a natural-sounding loop tran-
sition.
This is the default setting for recording an external
input.
“Save to”: RAM
The sampled data will be written to sample memory
(RAM).
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GSelect the page menu command “Grid” to access the
dialog box.
Check “Grid,” set “Resolution” to ꢀ , and press the OK
button.
Set “Grid” to 140. With these settings, vertical dotted
lines will be displayed at 140 BPM quarter note inter-
vals.
ENotice that 0000: LOOP1-140BPM-L is selected for
“Sample (Sample Select),” and that the sample wave-
form data is displayed.
The selected sample is a stereo sample. The L and R
waveforms will be shown in the upper and lower parts
of the sample waveform display.
FUse “Start” to set the start address, “LoopS (Loop
Start)” to set the loop start address, and “End” to set
the end address.
The sample will sound as follows.
When looping is on: S → E → LoopS → E → (continue
repeating LoopS → E)
When looping is off: S → E
Set “End.”
Select “Start” (highlighted), and use the [VALUE] dial
etc. to specify the location at which the sample will
begin sounding. The vertical line in the display will
move accordingly.
When “Loop” is On, the dotted vertical “Grid” lines
will start at “LoopS (Loop Start).” If you want to set
“End” at the end of one 4/ 4 measure, the fourth verti-
cal line from the “LoopS (Loop Start)” line will be the
end of the first measure. Place “End” at this vertical
line.
If necessary, you can press the ZOOM buttons to
expand or shrink the waveform display. Zoom will
expand or contract the display beginning at the
“Start,” “LoopS (Loop Start),” or “End” point that is
selected.
Zoom-in vertically
Zoom-out horizontally
Zoom-in horizontally
1x horizontal zoom-in
Maximum
horizontal zoom-out
Zoom-out vertically
HUse “Truncate” to delete the unwanted data that is
outside of the start (or loop start) and end addresses.
Select the page menu command “Truncate” to access
the dialog box.
If you check “Use Zero,” locations where the wave-
form is at zero will automatically be found and
selected when you use the [VALUE] dial etc. to set
“Start,” “LoopS (Loop Start),” or “End” points. This
makes it easy to set these points to addresses that will
not produce clicks or noise in the loop.
Select the Front & End radio button.
In this example, we will not change the settings of the
“Save to No.” and “Overwrite” check boxes, so press
the OK button to execute. When you execute the oper-
ation, the truncated samples 0002: LOOP1-140B0002-L
and 0003: LOOP1-140B0002-R will be automatically
assigned to Index 1.
For this example, set “LoopS (Loop Start)” and
“Start” to the same value.
If desired, you can make a dotted vertical line appear
in the sample waveform display to indicate the BPM.
If you use this function with waveforms that have a
specific BPM, it will be easier to make accurate set-
tings for “End.”
for a cautionary note regarding the “Save to No.” and
“Overwrite” check boxes.
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● A note on saving samples
Sample (waveform data) editing
In the dialog boxes of some page menu, 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 number.
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 the sample that you wish to edit.
Use “Sample Select” or “Index” in the P1: Sample Edit
page or the P0: Recording, Recording page to select the
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 exe-
cute the Write operation without checking this, so that the
unedited data is preserved. When you are completely fin-
ished with your editing, you can use the page menu com-
mand “Delete Sample” to delete unneeded samples.
If you use “Sample Select” to select the sample, be
aware that the index assignment will also change.
2Select the P1: Sample Edit page.
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 mul-
tisample or sample, use “Copy Sample” or “Copy
MS” (☞PG p.108, 109) to copy the sample or multi-
sample before you begin editing.
For some page menu commands in P1: Sample Edit
or P2: Loop Edit, you can execute without checking
the “Overwrite” setting in the dialog box, so that the
sample data previous to editing will be preserved.
The waveform data of the currently selected sample
will be displayed.
Multisample editing
Sample waveforms that were recorded with a “Sam-
pling 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.
Editing a multisample is accomplished with a number of
operations i.e. creating indexes for the multisample and
assigning a sample to each index, editing 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.
3Use “Edit Range Start” and “Edit Range End” to spec-
ify the range that you wish to edit.
The selected range will be highlighted.
Basic settings such as creating indexes and assigning
samples can also be made in the P0: Recording,
Recording page.
Editing the indices
To change the number or order of the indexes, use the
Insert, Cut, Copy, and Create buttons.
1Select the P3: Multisample.
If you wish to hear the sound of the selected range,
press the SAMPLING [START/ STOP] key. The selected
range will play back at the pitch of the base key (the
key shown in gray on the keyboard display). You can
select the base key by holding down the [ENTER] key
and playing a note on keyboard.
When you play a key to which the sample is assigned
(the highlighted range of the keyboard displayed in
“Keyboard & Index”), the sample will be played back
according to its loop settings.
2Use “Multisample (MS)” to select the multisample
that you wish to edit.
The procedure for using the ZOOM and “Use Zero”
check boxes is the same as for P2: Loop Edit.
3Select the “Index.”
You can also select an index by holding down the
[ENTER] key and playing a note on the keyboard.
4From the list of page menu, select the desired editing
command. Make the appropriate settings in the dia-
log box, and press the OK button to execute.
4Press the buttons to modify the number or order of
the indices, and edit them.
For details on each command (☞PG p.119).
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.
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The Create button has the same function as the Create
Using Time Slice to divide a sample, and
playing it in Sequencer mode
Time Slice is a function that detects the attack of the kick
or snare etc. in a rhythm loop sample (a sample consisting
of a looped pattern of drums etc.), and automatically
divides it into separate instrumental sounds. Each of the
divided instrumental sounds is made into a sample of its
own, and then automatically expanded into a multisam-
ple and program. Pattern playback data for the Sequencer
mode using the divided samples is also created automati-
cally.
Modifying the settings of an index
1Make the settings described in steps 1–3of “Edit-
ing the indexes.”
2Set parameters for the selected index.
(☞PG p.135)
•
Changing the “Top Key” will change the upper limit
of the zone. Simultaneously, the lower limit of the
next-numbered index will also change.
The time-slices sample can be used in the following ways
by the song of Sequencer mode.
•
•
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 (☞PG
p.136).
•
Multiple rhythm loop samples of differing tempo can
be matched to the same tempo without changing their
pitch.
•
You can change the tempo in realtime without
affecting the pitch.
As an example, we will describe how a rhythm loop sam-
ple can be time-sliced in Sampling mode, and then how
the rhythm loop sample can be played in Sequencer
mode.
Converting a multisample to a program
In pages P0: Recording–P4: Controller Setup, you can
select and execute the “Convert MS To Program” page
menu command. When you execute this command, the
settings of the currently selected multisample will be con-
verted into a program. In Program mode you can make fil-
ter, amp and effect settings etc., and play the sample as a
program. The resulting program can be used in a combi-
nation or song.
You will need to provide rhythm loop samples of drums
etc. You can either record these on the TRITON Extreme,
or load them in Media mode. Initially, you should try this
using a one-measure pattern in 4/ 4 time with a fairly sim-
ple beat, and record the pattern as a mono rhythm loop
sample.
For this example, we will use a 120 BPM rhythm loop
sample.
For details on the “Convert MS To Program” page menu
command (☞PG p.110).
1Select “Sample Select” 120 BPM rhythm loop sample.
● Using samples in a drum kit
Play back the sample, and verify that the beats that
you want to loop are played cleanly. If they are not
played cleanly, make the appropriate settings for the
start address “Start” and end address “End,” and exe-
A sample you created in Sampling mode can be used as
one of the instruments in a drum kit. In the Global P5:
Drum Kit, Sample Setup page and Low Sample page, set
“Drumsample Bank” to RAM, and use “Drumsample” to
select the sample that you created.
2Access the P2: Loop Edit page.
3Select the page menu command “Time Slice.”
The Set Sample Tempo dialog box will appear.
4Specify the number of quarter-note beats in the sam-
ple, and its tempo.
If you know the BPM, set “Source BPM.”
If you do not know the BPM, set “Beat” and the BPM
will be calculated automatically. Since in this example
we know the beat, set “Source BPM” to 120.
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5Press the OK button.
Turn “Program” and “Seq.Event” On (checked)
Program: E102
Pattern: On
The sample will automatically be sliced, and a dialog
box will appear.
Song: 001, Pattern: U00, Meter: 4/ 4
RPPR: On (checked), Key: C#2, Track: 01
When you play the keyboard, C2 will play the original
sample (Source), and D2 and subsequent keys will play
the divided samples.
Press the Save button to save the data.
You will return to the dialog box of step 5.
While listening to each divided sample, adjust “Sensi-
tivity” so that each drum strike or other rhythm instru-
ment sound is divided into its own sample. In some
cases, it may not be possible to slice the sample cleanly
even if you adjust “Sensitivity.” If the attack of the next
sound is included in the end of the preceding sample,
or if one sample contains two notes, you will need to
edit the samples.
7Press the Exit button to return to the screen of step 2.
8Press the [SEQ] key to enter Sequencer mode, and
select 000 for “Song Select.”
If you want to edit, hold down the [ENTER] key and
select the “Index” that is assigned to the note that you
want to edit. (This portion of the waveform display
will be highlighted.) Then you can make adjustments
by adjusting “Start” or “End,” and by using Divide to
separate or Link to combine. (☞PG p.128)
6Press the Save button.
The following song data has been set/ created automat-
ically as you specified in step 6.
The Save Samples & MS dialog box will appear.
Here you can save the time-sliced samples and the
multisample.
At this time, set the items in the Save With area to spec-
ify the conversion destination for the program that will
use the samples and multisample, and for the perfor-
mance data (track or pattern) that will be used in
Sequencer mode to “recreate” the rhythm loop sample.
•
•
•
P0: Play/ REC page
Song: 000, Meter: 4/ 4, Tempo: 120
P0: Play/ REC, Program T01–08 page
Track01 Program: E101
P5: Track Edit, Track Edit page
Track01: track data: 8 measures (D2–)
•
If you want to create the performance data in a track
Turn “Program” and “Seq.Event” On (checked)
Program: E101
Track: On
Song: 000, Track: 01, Meter: 4/ 4
Start Measure: 001, Time: 008
Press the SEQUENCER [START/STOP] key to start
playback.
As an example, set “ꢀ (Tempo)” to 100. Notice that the
pitch does not change when you play back at a differ-
ent tempo.
If the beat of the original rhythm loop sample is not
reproduced correctly when you change the tempo, or
if obtrusive noise is heard, this is because the sample
was not sliced appropriately in step 5. The way in
which the percussion instrument sounds were
divided will have a major impact on the quality of the
playback when the tempo is changed. You will need
to adjust the way in which the samples are divided in
step 5.
Press the Save button to save the data.
You will return to the dialog box of step 5.
•
If you want to create the performance data in a
pattern
In order to audition the performance data as it would
be if created as a pattern, press the Save button once
again to access the Save Samples & MS dialog box.
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The silence between samples may become obtrusive
if you play back at a slower tempo, or noise may
occur between samples if you play back at a faster
tempo. To avoid such problems, you can set Stretch
“New BPM” or “Ratio” in step 6to the tempo at
which you want to play back, and execute time
stretch to adjust the length of each sample. (☞PG
p.130 9)
Sampling in Program, Combina-
tion, or Sequencer modes
External audio sources can be sampled from the various
input jacks in Program, Combination, and Sequencer
modes as well.
A performance in the above modes can also be internally
resampled in digital form. You can resample a perfor-
mance that uses the TRITON Extreme’s full range of fea-
tures (filters, effects, arpeggiator, and sequencer).
9In “Song Select,” choose 001.
You can also sample the TRITON Extreme’s performance
together with audio from an external input source, or
monitor the performance of the TRITON Extreme’s arpeg-
giator and sequencer etc. while you sample only the exter-
nal audio from the input jacks.
In Sequencer mode, you can sample external audio while
listening to a song play back, and automatically create
note data in the track that will play the sample when the
track is played back. This allows you to sample vocals or
guitar while the sequencer runs, just as though you were
using a multitrack recorder. (This function is called “In-
Track Sampling.”)
The following song data has been set/ created automat-
ically as you specified in step 6.
•
•
•
P0: Play/ REC page
Song: 001, Meter: 4/ 4, Tempo: 120, RPPR: On
P0: Play/ REC, Program T01–08 page
Track01 Program: E102
P6: Pattern/ RPPR, RPPR Setup page
Key: C#2, Assign: On,
☞ For examples of sampling in Program and Combina-
tion modes, refer to QS p.22. The sampling procedure
in Combination mode is the same as in Program mode.
Pattern: User, U00, Track: Track01
Pattern data: 1 measure (D2–)
Sample an arpeggiated drum phrase
together with an externally-input guitar
Here’s how you can resample an arpeggiated perfor-
mance together with an external audio input source.
In this example, we will explain how a guitar connected to
the AUDIO INPUT jack can be played along to a drum
pattern played by the TRITON Extreme, and how both
can be sampled together.
Sampling can be performed in a similar way in Com-
bination and Sequencer modes as well as in Program
mode.
In this example we will send the external audio input
source to INDIVIDUAL 1, so if you want to monitor
the sound being sampled, connect AUDIO OUTPUT
(MAIN) L/ MONO, R, and (INDIVIDUAL) 1 to your
mixer, and use headphones etc. to monitor the output
of the mixer.
1Press the [PROG] key to enter Program mode, and
select the K020: Processed Kit program.
2Turn on the arpeggiator (ARPEGGIATOR [ON/OFF]
key is lit), and play the keyboard to make sure that a
drum phrase is sounded.
In the P6: Pattern/ RPPR, Pattern Edit page, press the
SEQUENCER [START/ STOP] key to start playback of
pattern U00.
When you press the C#2 key in the P6: Pattern/ RPPR,
RPPR Setup page, the RPPR function will start playing
pattern U00.
Press the Arpeggio tab, and make sure that “Latch” is
checked.
Also adjust the arpeggiator tempo “ꢀ” as desired.
In the same way as in step 8, changing the playback
tempo will not affect the pitch.
3Press the ARPEGGIATOR [ON/OFF] key to turn off
the arpeggiator.
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4Connect your guitar to the rear panel AUDIO INPUT
1 jack.
9Press the SAMPLING [REC] key.
Play your guitar, and the level meter will indicate the
volume at which the guitar will be sampled.
Set the AUDIO INPUT [MIC/LINE] switch to the LINE
position, and set the [LEVEL] knob to approximately
the center position.
Press the ARPEGGIATOR [ON/OFF] key to turn it on,
play the keyboard to start the arpeggio, and play your
guitar while adjusting the final volume.
Adjust the recording level as necessary, using the
“Recording Level” slider located at the right of the dis-
play.
Guitar
If the balance between instruments is not to your lik-
ing, use the [LEVEL] knob or the performance editor
“Amp Level” to adjust the balance.
0When you have finished making adjustments, press
the SAMPLING [REC] key.
Press the ARPEGGIATOR [ON/ OFF] key to turn off
the arpeggiator.
If you are using a guitar with passive pickups (i.e.,
without an internal pre-amp), the mismatch of
impedance levels will make it difficult to sample at an
appropriate level. You should route the signal from
the guitar through a pre-amp or effect unit.
APress the ARPEGGIATOR [ON/OFF] key to turn it
on, and then press the SAMPLING [REC] key to
enter record-ready mode.
When you press the SAMPLING [START/STOP] key, a
count-down will begin. Play the keyboard during the
count-down.
5Use “Auto Sampling Setup” to make settings.
We’ll start by making settings to sample a drum
phrase. Make settings as described in “Resampling an
arpeggiated phrase in Program mode” (☞QS p.22),
steps 3–9.
After a four-beat count-down, recording will start.
Play your guitar. The arpeggiator will also start after
the count-down.
BPress the SAMPLING [START/STOP] key to stop
6Modify the settings so that the input signal from the
recording.
AUDIO INPUT 1 jack will be sent to the L channel.
CPress the ARPEGGIATOR [ON/OFF] key to turn it
Input 1 “Level”: 127, “Pan”: as desired
off.
“BUS (IFX/Indiv.) Select”: L/R
DListen to the sound that was sampled.
Press the Perf.Edit tab to select the P0: Play, Perfor-
mance Edit page, and select the convert-destination
program.
7Specify how recording will be initiated.
For this example, make settings so that recording will
begin after a metronome count-in.
“Trigger”: Sampling START SW
Sampling will begin when you press the SAMPLING
[START/ STOP] key.
“Metronome Precount”: 4
After you press the SAMPLING [REC] key to enter
record-ready mode and then press the SAMPLING
[START/ STOP] key, recording will begin after a four-
measure count-in.
8Play your guitar at the volume that you will be
recording.
If the display indicates “ADC OVERLOAD !!” (AD
converter input overload), turn the rear panel [LEVEL]
knob toward MIN to adjust the level appropriately.
The best audio quality will be obtained at the highest
possible level that does not cause an overload; i.e., a
level that is slightly below the point where “ADC
OVERLOAD !!” is displayed.
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7Press the OK button to execute the command.
Preparations for In-Track Sampling are now com-
pleted.
Record an external audio input source
while a song plays, and create event data
at the same time (In-Track Sampling
function)
As an example, here’s how the sound of a guitar con-
nected to the AUDIO INPUT 1 jack can be added to a song
you created.
In this example we will send the external audio input
source to INDIVIDUAL 1, so if you want to monitor
the sound being sampled, connect AUDIO OUTPUT
(MAIN) L/ MONO, R, and (INDIVIDUAL) 1 to your
mixer, and use headphones etc. to monitor the output
of the mixer.
Let’s take a look at the settings that were made.
Input 1 “Level”: 127, “Pan”: L000
“BUS (IFX/Indiv.) Select”: 1/2
These settings specify the input level from the INPUT
1 jack and the panning, and select the 1/ 2 bus as the
destination.
1In Sequencer mode, select the song to which you
want to add the guitar sound.
You can either create a song, or use Media mode to
load a previously-created song.
2Connect your guitar to the rear panel AUDIO INPUT
1 jack.
“Source BUS”: Indiv 1/2
The sound sent to the 1/ 2 bus will be sampled.
“Trigger”: Sampling START SW
After you press the SAMPLING [REC] key to enter
sampling-ready mode, recording will begin when
you press the SAMPLING [START/ STOP] key.
“Recording Level”: +0.0
This is the default setting for recording an external
input.
“Save to”: RAM
Set the AUDIO INPUT [MIC/ LINE] switch to the LINE
position, and set the [LEVEL] knob near the center
position.
If you connect a passive-type guitar (without an
internal preamp), the impedance mismatch will make
it difficult to sample at an appropriate level. This type
of guitar should be sent through a preamp or effect
processor.
The sampled data will be written to sample memory
(RAM).
3Access the Sequencer P0: Play/REC, Sampling page.
“Mode”: Stereo
The sound of the internal L/ R channels will be sam-
pled in stereo.
4Press the page menu button, and choose “Auto Sam-
pling Setup” from the menu.
The dialog box will appear.
Be aware that if you change the “BUS” setting from
Off to L/ R or IFX1–5, the volume level sent to the
AUDIO OUT L/ MONO, R jacks and to the head-
phones may rise excessively.
5Choose “In-Track Sampling.”
8For this example, change the settings as follows.
“Pan”: C64
“Trigger”: Threshold, “Level”: as desired
“Sample Time”: as desired
6Make the following settings for “In-Track Sam-
pling.”
Set “Source Audio” to Analog. The external audio
input source (the analog audio output of an instrument
or other device connected to the INPUT 1, 2 jacks) will
be sampled.
Set “Mono-1/Mono-2/Stereo” to Stereo. The sound
will be sampled in stereo.
Set “To” to the track you want to use for In-Track Sam-
pling. A MIDI note for triggering the sample will be
recorded in the track you specify.
9Set the recording level.
Play your guitar at the volume at which you will
record.
If the display indicates “ADC OVERLOAD !!” (AD
converter input overload), adjust the rear panel
[LEVEL] knob toward MIN until the level is appropri-
ate.
Set “Program” to the convert-destination program
number. When sampling is completed, a new multi-
sample will be automatically created, converted to a
program, and assigned as the program for the track.
Press the SAMPLING [REC] key.
When you play your guitar, the level meter will indi-
cate the volume at which the guitar will be sampled.
If the display indicates “CLIP!!,” use the VALUE con-
trollers to lower the “Recording Level” slider (in the
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right of the display) below +0.0 to an appropriate level.
This adjustment will not affect the output volume, but
will affect the data that will be sampled.
Resampling a song to create a Wave file
Here’s how you can resample your song to media.
When you have finished making adjustments, press
the SAMPLING [REC] key.
A Wave file you resampled to media can be burned to
a CD-R/ RW drive connected to the USB A connector
0Begin sampling.
Press the SAMPLING [REC] key, and then the SAM-
PLING [START/ STOP] key to enter recording-standby
mode.
For details on the types of media you can use, refer to
Press the [LOCATE] key to reset the song playback
location to the beginning of the song, and press the
SEQUENCER [START/ STOP] key to play back.
If you want to verify the location, press the Prog.9–16
tab to access the Program T09–16 page.
1In Sequencer mode, select the song from which you
want to create a WAVE file.
Either create a song, or use Media mode to load a pre-
viously-created song.
A maximum of 80 minutes for either mono or stereo
can be written to media in one sampling operation
(mono: approximately 440 Mbytes, stereo: approxi-
mately 879 Mbytes).
Begin playing at the point where you want to record.
Sampling will begin when the Threshold “Level” vol-
ume is exceeded.
AAt the point where you want to stop sampling, press
the SEQUENCER [START/STOP] key.
Song playback and sampling will end.
2Access the Sequencer P0: Play/REC, Sampling page.
3Press the page menu button, and choose “Auto Sam-
pling Setup” from the menu.
Sampling will also stop if the specified “Sample Time”
is reached.
A dialog box will appear.
Event data and a program will be assigned to the track
you specified in “Select Bank & Smpl No.”
4Choose “2ch Mix to Media.”
BPress the [LOCATE] key to return to the beginning of
the song, and press the SEQUENCER [START/STOP]
key. Notice that the sampled audio is played back
along with the song.
For details on how the Compare function works for
5Press the OK button to execute the command.
Preparations for In-Track Sampling are now complete.
Let’s take a look at the settings that were made.
Input 1 “BUS (IFX/Indiv.) Select”: Off
Input 2 “BUS (IFX/Indiv.) Select”: Off
Nothing will be input from the INPUT 1, 2 jacks.
“Source BUS”: L/R
The sound sent to the L/ R bus will be sampled.
“Trigger”: Sequencer START SW
After you press the SAMPLING [REC] key and the
[START/ STOP] key to enter record-ready mode,
recording will begin when you press the sequencer
[START/ STOP] key.
“Recording Level”: –12.0
This is the default setting for resampling.
“Save to”: MEDIA
The resampled data will be written to media.
“Mode”: Stereo
The sound of the internal L/ R channels will be sam-
pled in stereo.
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6Select the page menu command “Select Directory,”
and specify the destination to which the WAVE file
will be written.
9Start sampling.
Press the SAMPLING [REC] key and then the SAM-
PLING [START/ STOP] key to enter recording-standby
mode.
Press the SEQUENCER [START/ STOP] key to play
back the song. Sampling will begin at the same time.
0When the song finishes playing back, press the SAM-
PLING [START/STOP] key to stop sampling.
Use the page menu command “Select Directory” to
verify that the WAVE file was created. Select the file
and press the SAMPLING [START/ STOP] key to listen
to the sound that was sampled.
The pickup level of a WAVE file is specified by the
“WAVE File Play Level” (☞PG p.158).
Use media select and the Open and Up buttons to
select the directory in which the WAVE file will be
saved.
If you want to create a new directory, access the Media
mode Utility page, and execute the page menu com-
mand “Create Directory.”
Press the text edit button to access the text edit dialog
box, and input a filename (up to six characters).
Leave “Take No.” checked. The number at the right of
“Take No.” will be input as the last two characters of
the filename.
This number will increment each time you sample,
ensuring that the filename will not be the same even if
you sample repeatedly.
After you have made the settings, press the Done but-
ton to close the dialog box.
7Set “Sample Time” to the length that you want to
sample.
Set this to a length slightly greater than the length of
the song.
8Set the recording level.
Press the SAMPLING [REC] key.
It will take between several seconds to nearly a
minute from the moment you press the SAMPLING
[REC] key until the TRITON Extreme enters standby
mode (i.e., until the SAMPLING [REC] key changes
from blinking to lit). This time is required in order to
allocate sufficient space on the media.
Press the SEQUENCER [START/ STOP] key to play
back the song, and adjust the resampling volume while
you watch the level meters.
If the level meter indication is too low, use the VALUE
controller to raise the level from –12.0 as far as possible
without causing the “CLIP!!” indicator to appear. The
output volume will not change at this time, but your
adjustment will affect the data that will be sampled.
The power-on default setting is –12.0 dB. At the –12.0
dB setting, CLIP!! will not appear even if the song is
played back at the maximum level.
When you finish making adjustments, press the SAM-
PLING [REC] key.
Press the SEQUENCER [START/ STOP] key to stop the
song playback. Then press the [LOCATE] key.
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SMF (Standard MIDI File) playback
In Song Play mode you can load and play Standard MIDI
File (SMF) data directly from media. If you’re playing
SMF data, using Song Play mode will provide a higher
degree of reproducibility than using Sequencer mode to
play the data.
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 set-
tings of the song, use the page menu command “Save
Template Song” to save them.
For details on the types of media you can use, refer to
● About Standard MIDI Files (SMF)
Song Play mode will play SMF Format 0 or Format 1 data.
Only files with an extension of .MID are recognized as
SMF by the TRITON Extreme.
● About MIDI
How Song Play mode is
structured
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 Extreme’s
keyboard and controllers will sound the TRITON
Extreme’s internal tone generator, and/ or will sound an
external tone generator.
Song Play mode is structured as follows.
This mode consists of tracks 1–16, song parameters such
as song name etc., effects, and the arpeggiator.
Song Play mode page structure
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 Extreme will play
and control the TRITON Extreme’s internal tone genera-
tor. 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 TRITON
Extreme will play and control an external tone generator.
(The MIDI channel of the external tone generator must
match the “MIDI channel” of the TRITON Extreme track
that is set to EXT or BTH.) With a setting of BTH, the
external tone generator and the TRITON Extreme’s own
tone generator will be played and controlled simulta-
neously. (☞PG p.146)
Page
Explanation
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 parameters.
P2: Controller Setup
Controller settings.
P3: Select Directory/ Select the directory that contains the desired
Jukebox
SMF, and select the playback order of SMF
files. Create jukebox lists.
P4:
P5:
P6:
---
---
---
P7: Arpeggiator
P8: Insert Effect
Arpeggiator settings
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.
Synchronization with external devices
In Song Play mode, the TRITON Extreme will be the mas-
ter (the controlling device) regardless of the MIDI Clock
setting (Global P1: MIDI “MIDI Clock”).
P9: Master Effect
Select and make settings for the master
effects. Master EQ and Valve Force settings.
For details on how to access each mode and page,
● Effects and Valve Force
You can use the TRITON Extreme’s insert effects, master
effects, and Valve Force in the same way as in Sequencer
If the separately sold EXB-MOSS is installed, the spe-
cial 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.
Arpeggi-
ator
: P7
Controller
Setup
: P2
Musical data
Musical data
Musical data
Musical data
Musical data
Musical data
Musical data
Musical data
Track 1
Track 2
Track 3
Track 4
Track 5
Track 6
Track 7
Track 8
Parameter settings
Parameter settings
Parameter settings
Parameter settings
Parameter settings
Parameter settings
Parameter settings
Parameter settings
Routing : P8-1
Master
Effect
1, 2 : P9
Valve
Force
: P9
Placement:
Final
Track
Insert
Effect
1 ... 5 : P8
Master
EQ
: P9
AUDIO OUTPUT
L/MONO, R
Insert Effect
Master Effect
Individual Outputs
AUDIO OUTPUT
INDIVIDUAL
1, 2
3, 4
Placement:
Insert (Use Indiv.3/4 BUS)
Musical data
Track 16
Parameter settings
Valve
Force
: P9
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4Press the “File Select” popup button. From the file
list, choose the filename that you wish to play back.
Playing SMF data
File Select
Direct playback from media
When you wish to playback SMF data that is compat-
ible with the GM/ GS/ XG standards, set “Bank Map”
(Global P0: Basic Setup, System Preference page) to
GM(2).
If you want to play back from media inserted in the
TRITON Extreme’s CF card slot, you must turn off
the power before inserting the media.
1Press the [S.PLAY] key to enter Song Play mode.
5Press the SEQUENCER [START/STOP] key.
Playback will begin. At this time, all songs displayed in
the “File Select” popup button will playback consecu-
tively (if “Auto Start” is checked).
2Press the [EXIT] key to display the P0: Prog/Mix page.
3Make sure that the media containing the SMF data
can be detected.
6Press the SEQUENCER [START/STOP] key once
If there is no SMF data in the media, or if there is no
SMF data in the currently selected directory, no file-
name will be displayed (as shown below).
again to stop playback.
Starting/ stopping playback for each song
In the P0: Prog/ Mix, Preference page, uncheck “Chain to
next file” or “Auto Start,” and press the SEQUENCER
[START/ STOP] key. Playback will begin, and will stop
when each song ends. For details on these settings (☞PG
p.145).
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.
Mute/ Solo function
In P0: Prog/ Mix, the Program T01–08 and T09–16 pages
provide PLAY/MUTE buttons and SOLO ON/OFF but-
tons that allow you to 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-
Media Select
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 (☞PG p.58, 144).
Use “Media Select” to choose the drive containing the
data you want to play. Then use the Open button and
Up button to move between directories to 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.
“File Select” will show the SMF filenames.
If no jukebox list has been created, no filenames will
be displayed if the “Jukebox” check box is checked.
Uncheck the “Jukebox” check box.
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Saving a Jukebox list
Playback using the Jukebox func-
tion
Saving procedure
1Use the procedure described above to create a juke-
The TRITON Extreme provides a Jukebox function that
can be used to playback SMF data.
This function allows you to specify the order in which
files in the same directory will be played.
box list.
2If you want to save the jukebox list on the media, use
the P3: Jukebox drive select button to select the drive
on which you want to save the data.
Any jukebox list you create will be erased when the
power is turned off, and cannot be recovered. If you
wish to keep your jukebox list, refer to the section
“Saving a Jukebox list,” and save it onto media.
3In P3: Jukebox, select the “Save Jukebox List” page
menu command.
Playing back in the order of the jukebox
list
4Use the text edit button to enter a name for the juke-
1Press the [EXIT] key to display the P0: Prog/Mix page.
2Check the “Jukebox” check box.
5Press the OK button.
The jukebox list will be saved to the media.
3Select P3: Jukebox.
Loading procedure
1In the Jukebox page, select a jukebox list (filename
extension .JKB).
2Press the “Load Jukebox List” page menu command.
The jukebox list will be loaded into the TRITON
Extreme.
Media Select
Press the media select popup button, and select the
drive that contains the data that you want to play back.
4Use the scroll bar to display the SMF (filename exten-
sion .MID) that will be played first, and select that
file.
5Press the Add button.
The filename you specified in step 4will appear in the
Jukebox list.
6Select 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 regis-
tered in the Jukebox list.
To delete a file from the Jukebox list, press the Delete
button.
7Press the [EXIT] key to display P0: Prog/Mix.
8Press the SEQUENCER [START/STOP] key.
The files will playback in the order in which they were
registered.
9Press the SEQUENCER [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 creat-
ing a jukebox list, the jukebox list will be lost.
• Change the directory
• Exchanging the media
• Change drives
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Playing along with SMF data
Minus-one play
You can enjoy “minus-one” play by playing back SMF
data, muting a specific part, and playing that part your-
self.
1Playback the SMF data, identify the track whose part
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 3to 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 SEQUENCER [START/STOP] key to begin
playback, and play along on the keyboard with the
song.
Arpeggiator
You can use the arpeggiator for your keyboard perfor-
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Settings for the entire TRITON Extreme
(Global mode)
How Global mode is structured
Basic Setup
P0: Basic Setup
In Global mode you can make overall settings that apply
to the entire TRITON Extreme, such as master tune, key
transpose, effect global switch, global MIDI channel, and
system clock.
Basic Page
Tuning to another instrument/ Transposing
In addition, you can create user drum kits, user arpeggio
patterns, and scales, make settings for the damper pedal
and assignable foot switches/ pedals, and specify category
names for programs and combinations.
Song Play mode page structure
Page
Explanation
P0: Basic Setup
Basic settings for the entire TRITON
Extreme. Audio input settings for use outside
of Sampling mode.
P1: MIDI
MIDI-related settings for the entire TRITON
Extreme.
P2: Controller
P3: User Scale
P4: Category Name
Controller settings for the pedals etc. con-
nected to the rear panel.
“Master Tune” adjusts the overall pitch. Edit this setting
when you are playing the TRITON Extreme with other
instruments, or when playing along with music on CD or
tape. You can adjust the pitch in a range of ±50 cents (one
semitone = 100 cents).
User registered scale settings. Specify 16
octave scales, and one all-note scale.
Edit category names for programs and com-
binations.
“Key Transpose” shifts the pitch in semitone steps. Edit
this setting when you want to transpose the sound of the
entire TRITON Extreme. You can adjust the transposition
in a range of ±1 octave.
P5: Drum Kit
Edit drum kits.
P6: User Arpeggio
Edit user arpeggio patterns.
P7:
P8:
P9:
---
---
---
Adjusting the way in which velocity or
after touch will affect the volume or tone
For details on how to access each mode and page,
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 appropriate for your own
playing dynamics, playing style, and the effect that you
wish to obtain (☞PG p.155).
The edits you perform in Global mode will be pre-
served until the power is turned off, but will not be
preserved after the power is turned off unless you
first save your settings. Three types of data are han-
dled in Global mode: user drum kit settings (Global
P5), user arpeggio pattern settings (Global P6), and
all other global settings (Global P0–P4). Each of these
can be written into their respective memory area. This
data can also be saved to various types of media in
“Velocity Curve” selects the velocity curve, and “After
Touch Curve” selects the aftertouch curve.
Global mode does not provide a “Compare” function.
Bypassing the effects
You can bypass the insert effects and master effects for the
entire TRITON Extreme. For example if you’ve connected
the TRITON Extreme’s outputs to an external mixer and
are using an external effect processor to apply reverb or
chorus to the sound along with other audio sources, you
can turn off the TRITON Extreme’s master effects.
If the Effect Global SW “IFX 1–5 Off,” “MFX1 Off,” and
“MFX2 Off” items are checked, the insert effects, master
effect 1, and master effect 2 will respectively be bypassed.
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Input/ Sampling page
Linking the arpeggiator to programs and
combinations
Making audio input settings for other than
Sampling mode
You can specify whether the arpeggiator settings written
into a program or combination will also be selected when
you select a program or combination, or whether the cur-
rent arpeggiator settings will be retained even if you
switch programs or combinations.
When shipped from the factory, the former setting is
selected. Choose the latter setting if you want to keep the
same arpeggio pattern running while you switch only the
program or combination.
MIDI-related settings
P1: MIDI
If the Auto Arpeggiator “Program” or “Combination” box
is checked, the arpeggio settings will also change when
you select a program or combination respectively.
MIDI Setup, MIDI Filter
System Preference page
Recalling the last-selected mode and page
at power-on
☞ Refer to PG p.161.
Pedal and other controller
settings
P2: Controller
The state of TRITON Extreme when the power is turned
on will depend on the setting of “Power On Mode”.
If “Power On Mode” is Reset (factory setting), TRITON
Extreme will automatically selects the Combination mode
P0: Play.
If “Power On Mode” is Memorize, TRITON Extreme will
power on using the same mode and page that were last
selected when the power was turned off.
Specifying the function of the ASSIGNABLE
Switch and ASSIGNABLE Pedal
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 combination num-
ber or program number.
Sets the function of an assignable switch such as the
optional Korg PS-1 connected to the ASSIGNABLE
SWITCH jack.
Sounding a beep when you press the LCD
screen
•
This is set by “Foot Switch Assign.”
If the “Beep Enable” check box is checked, a beep will
sound when you press an object in the LCD screen.
Uncheck this item if you don’t want a beep to sound.
This switch can act as a source for alternate modulation or
effect dynamic modulation, or switch portamento on/ off,
control the sostenuto effect, turn the soft pedal effect on/
off, turn the arpeggiator on/ off, select programs or combi-
nations (up/ down), start/ stop the sequencer, punch-in/
out on the sequencer, or be a trigger and tap tempo to
advance the cue list step (☞PG p.281).
Protecting the memory
If one or more of the Memory Protect check boxes are
checked, operations such as writing, loading, or song
recording will be prohibited for the corresponding type of
memory.
You can specify the function that will be performed by an
assignable pedal (the optional XVP-10 or EXP-2) con-
nected to the ASSIGNABLE PEDAL jack.
•
This is set by “Foot Pedal Assign.”
This pedal can be used to control master volume, alternate
modulation or effect dynamic modulation, portamento
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pitch change speed, volume, the pan following an insert
effect, pan, volume, or send levels to the master effects
(☞PG p.282).
Creating original scales
P3: User Scale
You can use this as a source for alternate modulation
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).
Creating a scale and assigning it to a
program etc.
Here we will show how to make settings that allow an
assignable switch to change programs or combinations.
1Press the “Foot Switch Assign” popup button, and
press either Program Up or Program Down.
Program Up will cause the next higher program num-
ber 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.
2Set the “Foot Switch Polarity” to the polarity of the
foot switch you have connected.
You can create your own original scales. You can create
sixteen different User Octave Scales in which the pitch of
each note of 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 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.
3Either press the [PROG] key to enter Program P0:
Play, or press the [COMBI] key to enter Combination
P0: Play. When you press the foot switch, the pro-
gram/combination will change.
By adjusting the pitch of each key in the range of ±99, you
can raise or lower it by as much as approximately one
semitone relative to the normal pitch.
The user scales you create here can be used by specifying
the scale for a program, for each timbre of a combination,
or for each track of a song (Sequencer/ Song Play).
These settings are made by the Scale “Use Prog’s Scale”
parameters in the following pages.
Program mode
Program P1: Edit-Basic, Program Basic
Combination P2: Edit-Trk Param, Other
Sequencer P2: Trk Param, Other
Combination mode
Sequencer mode
Song Play mode
Song Play P1: Track, Status/Scale
Here is how to set the scale type for each timbre in
Sequencer mode.
1Create a user octave scale or a user all notes scale.
Select a key, and use the VALUE controller to adjust the
pitch. The range of ±99 raises or lowers the pitch
approximately one semitone above or below the stan-
dard pitch.
You can also select a key by holding down the
[ENTER] key and playing the desired note on the
keyboard.
You can copy one of the preset scales and edit it to
create an original scale. Execute the page menu com-
mand “Copy Scale.”
2Press the [SEQ] key to enter Sequencer mode.
3After pressing the [MENU] key, press the P2: Trk
Param.
4Press the Other 1–8 tab or Other 9–16 tab to select the
Sequencer P2: Trk Param, Other page.
5If you wish the program assigned to a track to use the
scale saved with that individual program check the
“Use Program’s Scale” check box for that track.
Tracks that are not checked will use the scale specified
by Scale “Type (Song’s Scale).”
6Set “Type (Song’s Scale)” to select the scale for the
currently selected song.
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1In Program P0: Play, select the program that you wish
to use while editing the drum kit
Drum kit settings
P5: Drum Kit
Select a drum kit program from the preload programs
etc. If the drum kit that you will be editing is already
being used by a program, select that program. Other-
wise, assign the drum kit you wish to edit to the pro-
gram in the Program P1: Edit-Basic, OSC Basic page (In
the separate “VNL,” programs that use a drum kit are
marked by a “d” symbol.)
What is a drum kit?
A drum kit assigns a different drum sample (PCM wave-
form data for drum sounds) to each note.
If you set a program’s oscillator (specified by “Oscillator
Mode”) to Drums, the program will use a drum kit
instead of a multisample.
Set “Octave” (Program P1: Edit-Basic, OSC Basic
page) to +0 [8']. With a setting other than +0 [8'], the
relationship between the keys and the sounds will be
incorrect.
The TRITON Extreme has 144 drum kit memory areas.
When shipped from the factory, some of the 000 (A/ B)–
045 (I) and 128 (User)–131 (User) areas contain preloaded
drum kits suitable for various musical styles.
144 (GM)–152 (GM) contain nine different preset drum
kits that are compatible with the GM2 sound map. (☞For
details on the factory-set drum kits, refer to “VNL”.)
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.
In the Global P5: Drum Kit page you can create your own
original drum kit by changing the drum sample assigned
to each key of a drum kit, and adjusting the pitch and
level of each assigned drum sample. You can also create
original drum kits using sample waveforms that you sam-
pled on the TRITON Extreme or loaded into sample mem-
ory (RAM) in Media mode.
2Access the Sample Setup page of Global P5: Drum
Kit.
Key
High Drumsample
Bank
A drum kit that you edited or created can be written into
one of the user drum kit memory areas 000 (A/ B)–143
(User). Drum kits can also be saved to various types of
media in Media mode.
High Drumsample
Low Drumsample
Bank
Low Drumsample
●
Multisample programs and drum kit programs
There are two types of programs: those whose oscillator
uses a multisample, and those whose oscillator uses a
drum kit.
3In “Drum Kit,” select the drum kit that you wish to
edit.
If necessary, use the page menu command “Copy
Drum Kit” to copy settings from a preload drum kit or
a GM drum kit.
This selection is made by the Program P1: Edit-Basic, Pro-
gram Basic page “Oscillator Mode” setting. To use a mul-
tisample for the program, set “Oscillator Mode” to Single
or Double. To use a drum kit, set “Oscillator Mode” to
Drums.
GM drum kits 144 (GM) – 152 (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 144 (GM) – 152 (GM), you can use
“Copy Drum Kit” to copy it to 000 (A/ B) – 143 (User),
and then edit the copy.
● About program parameters
Just as the character and effect processing of a melodic
instrument such as piano, organ, trumpet, or strings is
fundamentally different from that of percussion instru-
ments such as drums or timpani, the program parameter
structure of a multisample program (“Oscillator Mode” =
Single or Double) is fundamentally different from that of
a drum kit program (“Oscillator Mode” = Drums).
The program parameters of a multisample specify filter
and amp settings etc. appropriate for a multisample. For
this reason, it is difficult to convert such a program for use
with a drum kit. Thus if you wish to edit a drum kit, you
should first use Program mode to select a program that
uses a drum kit (“Oscillator Mode” = Drums), and then
move to the Global P5: Drum Kit page.
4Use “Key” to select the note number that you wish to
edit.
The drum sample parameters for the selected note
number will be displayed in the High Drumsample, Low
Drumsample, and Voice/ Mixer pages.
To select a note number, you can use the VALUE con-
trollers, or you can hold down the [ENTER] key and
press a note on the keyboard.
5Use the “Assign” check box to specify whether a
drum sample will be assigned to the note number.
If this is checked, a drum sample will be assigned to
that note number. Normally you will check this.
If this is not checked, no drum sample will be assigned
to that note number. That note number will sound the
drum sample assigned at its right, but a semitone
lower. Use this setting when you want only to change
the pitch, such as with tom or cymbal sounds.
Editing a drum kit
Here’s the procedure for editing a drum kit.
Before editing a drum kit, uncheck the Memory Pro-
If you uncheck the “Assign” check box so that the
drum sample at the right will be played at a pitch one
semitone lower, access the Program P2: Edit-Pitch,
OSC1 Pitch Mod. page, and set “Pitch Slope” to +1.0
before you enter Global mode.
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6Use “High Drumsample Bank,” “High Drumsam-
ple,” “Low Drumsample Bank,” and “Low Drumsam-
ple” to specify the drum sample that will be assigned
to this note number.
BUse “BUS Select” to specify the output routing.
Set this when you wish to send the output of the drum-
sample assigned to each note number to its own insert
effect or AUDIO OUTPUT (INDIVIDUAL) jack 1–4.
For example you might send all snare sounds to IFX1,
all kick sounds to IFX2, and the remaining sounds to L/
R. You can also specify 1, 2, 3, 4, 1/2, or 3/4 so that spe-
cific drum samples will be sent to the AUDIO OUTPUT
(INDIVIDUAL) 1–4 jacks.
If you have selected a Low Drumsample, use “Velocity
Sample SW Lo→Hi” to specify how velocity will
switch between the High Drumsample and Low
Drumsample. (☞7)
If you set “High/ Low Drumsample Bank” to ROM,
you’ll be able to select ROM drum samples. If you set it
to RAM, you’ll be able to select samples you sampled
on the TRITON Extreme or loaded in Media mode.
The settings you make here are used if “Use DKit Set-
ting” (Program P8: Edit-Inert Effect, Routing page) is
checked for the program that uses this drum kit. (☞PG
p.30, 207)
About the ROM drum samples
CUse “Pan” to specify the stereo output position.
The setting you make here is valid if the “Use DKit
Setting” is checked (Program P4: Edit-Amp., Amp1
Level/ Pan page) for the program that uses this drum
kit (☞PG p.23).
The TRITON Extreme contains 1,175 different drum
samples in ROM. When you press the popup button,
you will be able to select ROM drum samples from 15
categories. (☞For a list of the drum sample names,
refer to “VNL”)
DUse “Send1(MFX1)” and “Send2(MFX2)” to set the
send levels to the master effects.
7Use “Velocity Sample SW Lo→Hi” to specify how
velocity will switch between drumsamples.
The drumsample that sounds when you perform will
depend on the velocity (keyboard playing strength) of
the incoming note. This is called velocity drumsample
switching.
The settings you make here are valid if the “Use DKit
Setting” is checked (Program P8: Edit-Insert Effect,
Routing page) for the program that uses this drum kit.
EUse the page menu command “Write Drum Kits” to
save the data.
If you set this to 001, only the High Drumsample will
sound.
If you wish to change the name of the drum kit before
you save it, use the page menu command “Rename
☞ This is the same type of function as the Velocity Multi-
If you turn off the power before writing the data into
8Set the parameters of the drumsamples that you
assigned.
Set the parameters for the High Drumsample and Low
Drumsample.
You can set parameters such as volume level (“Level”),
pitch (“Transpose,” “Tune”), and tone (“Cutoff,” “Res-
onance”). (☞For details on each parameter, refer to PG
p.168.)
When you play the keyboard in Global mode, the
TRITON Extreme 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 sample memory (RAM) contained no
data (such as immediately after the power is turned
on), playing the keyboard will not produce sound.
9As necessary, repeat steps 4–8to set drumsample
parameters for each note number.
When you move from Sequencer to Global mode,
playing the keyboard will sound the program or
arpeggiator that corresponds to the global MIDI
channel (set in Global P1).
If you wish to use the settings of another “KEY,” select
the page menu command “Copy Key Setup”.
0Select the Voice/Mixer page in Global P5: Drum Kit.
The settings that you edit in Global mode are pre-
served as long as the power remains on, but will be
lost if not written to memory before the power is
turned off. The data handled in Global mode can be
classified into three types: user drum kit settings
(Global P5), user arpeggio pattern settings (Global
P6), and all other global settings (Global P0–P4). Each
of these three types of data can be written into the
memory area. This data can also be saved to various
Global mode does not provide a Compare function
that lets you make before-and-after comparisons of
your editing. Before editing user drum kits, or user
arpeggio patterns, you may wish to use “Copy Drum
Kit” or “Copy Arpeggio Pattern” to copy the user
drum kit or user arpeggio pattern to an unused num-
ber.
ASet the “Exclusive Group.”
The “Exclusive Group” setting is used when you wish
to group drumsamples of the same type.
For example if the note number assigned to an open hi-
hat drumsample and a closed hi-hat drumsample are
set to the same exclusive group number, the open hi-
hat and closed hi-hat can not be sounded simulta-
neously, ensuring that the hi-hat performance will
sound natural.
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P000: UP
Arpeggiator settings
P7: Edit-Arpeggiator
UP
This chapter describes the procedure for making arpeg-
giator settings in each mode.
Arpeggiator settings for a program
P001: DOWN
Arpeggiator on/ off
Pressing the ARPEGGIATOR [ON/OFF] key will turn the
arpeggiator on or off. When on, the ARPEGGIATOR
[ON/ OFF] key will light. When you play the keyboard, an
arpeggio will play according to the selected arpeggio pat-
tern.
DOWN
The on/ off setting is stored when the program is
written.
P002: ALT1
Arpeggiator settings
ALT1
1Select the Program P7: Edit-Arpeggiator, Arpeg.
Setup page.
P003: ALT2
ALT2
2Use “ꢀ (Tempo)” to set the tempo.
You can adjust the tempo by rotating ARPEGGIATOR
[TEMPO] knob. The LED will blink at the specified
tempo.
P004: RANDOM
If “MIDI Clock” (Global P1: MIDI) is set to External
MIDI or External USB, the display will indicate “ꢀ =
EXT.” This setting lets you synchronize the tempo
with an external MIDI device. In this case, it will not
be possible to change the tempo on the TRITON
Extreme.
RANDOM
3In “Pattern,” select the arpeggio pattern.
You can select from preset arpeggio patterns P000–
P004 and user arpeggio patterns U000 (A/ B)–U506
(User).
U000 (A/ B)–U199 (A/ B)
With the factory settings, various arpeggio patterns are
preloaded. These include a variety of patterns such as
drum or bass phrases, or guitar or keyboard backing riffs
(☞VNL).
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 only one possibility.
U200 (H) – U506 (User)
When the TRITON Extreme is shipped from the factory,
arpeggio patterns are preloaded in some of these memo-
ries (☞VNL).
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4Adjust the settings of the various parameters.
“Octave”: Selects the octave range in which the arpeg-
gio will be played.
“Latch”: If this is checked, the arpeggio will continue
playing even after you take your hand off the key-
board. If this is unchecked, the arpeggio will stop play-
ing when you take your hand off 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 suitable
when you are playing in realtime, and want the arpeg-
gio to start at the beginning of the measure. If this is
unchecked, the arpeggio pattern will always be syn-
chronized to the tempo of the MIDI clock. For details
on synchronization, refer to “Synchronizing the arpeg-
Octave: 4
UP
“Keyboard”: If this is checked, the notes you play on
the keyboard will be heard as well as the arpeggiated
notes. If this is unchecked, only the arpeggiated notes
will be heard.
The same setting can be made by editing the parameter
of the same name (or abbreviation) in the Program P0:
Play, Arpeggio page.
If a user arpeggio pattern is selected, the “Octave
Motion” setting (Global P6: Arpeggio, Pattern Setup
page) will affect the way in which the arpeggio is
played.
“Resolution”: Specifies the timing value of the arpeg-
You can use the page menu command “Copy Arpeg-
giator” to copy arpeggiator settings from another
program or combination (☞PG p.29).
gio notes over a range of ꢁ3 – ꢀ .
“Gate”: Specifies 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: User Arpeggio, Pattern
Edit page) will be used.
5In the Scan Zone page, specify the range in which the
arpeggiator will operate.
This value will be in effect when the ARPEGGIATOR
[GATE] knob is in the center position (12 o’clock). Be
sure that the knob is in the center position when you
make this setting.
“Velocity”: Specifies the velocity of the notes in the
arpeggio. If this is set to Key, the velocity with which
you actually played each note will be used. If a user
arpeggio pattern is selected, you can set this to Step. In
this case, the value of the “Vel” setting for each step
(Global P6: User Arpeggio, Pattern Edit page) will be
used.
“Bottom Key,” “Top Key”: The arpeggiator will oper-
ate 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.
This value will be in effect when the ARPEGGIATOR
[VELOCITY] knob is in the center position (12
o’clock). Be sure that the knob is in the center position
when you make this setting.
For example if you set “Pattern” to P000: UP, check
“Latch,” set “Top Key” to B3, and “Bottom Key” to C-
1, playing a note B3 or lower will trigger the arpeg-
giator. Since “Latch” is on, the arpeggio will continue
even after you release the keys. You can use the C4
and higher keys to play conventionally along with
the arpeggio sounded by the B3 and lower keys. To
change the arpeggio, play keys in the range of B3 and
below.
When a preload user arpeggio pattern is selected, set-
ting 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 arpeggio will be sounded
in order of pitch, regardless of the order in which notes
were played on keyboard (On). If this is unchecked,
the arpeggio will be sounded in the order in which the
notes were played on keyboard (Off).
“Bottom Velocity” “Top Velocity”: The arpeggiator
will operate when you play notes with a velocity (play-
ing strength) that is within the specified range. Notes
played with a velocity outside this range will be
sounded normally, without regard to the arpeggiator
on/ off.
Sort
OFF, UP
6If you wish to save the edited program settings to
internal memory, turn off memory protect in Global
Sort
ON, UP
Linking the arpeggiator to a program
If you want the arpeggiator settings written in a program
to be selected when that program is selected, check Pro-
gram for “Auto Arpeggiator” (Global P0: Basic Setup,
Basic page).
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3Select Combination P7: Edit-Arp., Setup page.
Arpeggiator settings in Combination and
Sequencer modes
In Combination, Sequencer and Song Play modes, the
TRITON Extreme provides dual arpeggiator functionality
that lets you use two arpeggio patterns simultaneously.
The settings in each of these modes are made in the simi-
lar way.
As an example, the following explanation shows how to
make settings in Combination mode. For a detailed expla-
nation and example settings (☞PG p.50, 93, 149).
The dual arpeggiator functionality lets you do the follow-
ing things.
4Set “ꢀ (Temp)” to specify the tempo.
the tempo is shared by both arpeggiators A and B.
•
•
•
•
Assign an arpeggiator for each timbre. Choose from
Off, (arpeggiator) A, or (arpeggiator) B.
Independently specify whether A and B will operate.
☞step6
☞step5
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.
Select an arpeggio pattern and set parameters
independently for A and B.
☞step7
6Make “Arpeggiator Run” settings.
Make Scan Zone page settings so that you can use
keyboard range or playing velocity to switch between
normal playing and arpeggiated playing, or to switch
Check the arpeggiator(s) that you want to operate. The
arpeggiator(s) checked here will run when the ARPEG-
GIATOR [ON/ OFF] key is turned on.
between arpeggiators A and B.
☞step8
•
Make settings for timbres that will be silent when the
arpeggiator is Off, and will sound only when the
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 timbres 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 “Assign” are Off, or if “Arpeggiator
Run” A or B is unchecked, the arpeggiator will not
function.
arpeggiator is On.
☞step0
Arpeggiator on/ off
Each time you press the ARPEGGIATOR [ON/ OFF] key,
the arpeggiator will be switched on or off. When on, the
ARPEGGIATOR [ON/ OFF] key will light. The selected
arpeggio pattern will begin when you play the keyboard.
The on/ off setting is saved when the combination is writ-
ten into memory.
7In the Arpeggiator A and Arpeggiator B pages, set the
parameters for arpeggiators A and B.
The parameters for A and B are the same as for a pro-
If “Assign” is Off or “Arpeggiator Run” is not
checked, the arpeggiator will not operate even if this
key is on.
8In the Scan Zone A/B page, specify the range in
which arpeggiators A and B will operate.
The parameters for A and B are the same as for a pro-
Arpeggiator settings
1Select Combination P1: Edit-Program/Mixer page.
Select programs for the timbres that you wish to use.
For this example, select any desired program for tim-
bres 1–4.
You can use keyboard ranges or playing velocity to
operate the arpeggiator, or to switch between arpeggia-
tors A and B. By using the Combination P4: Edit-Zone/
Ctrl, Key Zone page, and Vel Zone page to set key-
board ranges and velocity ranges in conjunction with
each other, you can create even more variations.
2Select Combination P2: Edit-Trk Param, MIDI Ch
page.
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 Chan-
nel”).
9If you wish to save the edited combination settings in
internal memory, turn off memory protect in Global
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.
0The “Status,” “MIDI Channel” and “Assign” settings
shown in the LCD screen of steps 2and 3can be
made so that certain timbres will sound only when
the arpeggiator is On, and will be silent when the
arpeggiator is Off.
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Combination D062: Old Vox Organ
Combination J056: “In The Pocket”
Although this is a somewhat sophisticated editing tech-
nique, we will describe the settings of one of the preset
combinations as an example.
Select and play combination J056: “In The Pocket.”
Before you play, make sure that the global MIDI channel
(Global P1: MIDI “MIDI Channel”) is set to 01.
Select combination D062: Old Vox Organ, press the
ARPEGGIATOR [ON/ OFF] key to turn it on, and play.
•
Arpeggiator A is assigned to T7 and T8, and
arpeggiator B is assigned to T5. When you play the
keyboard, the T7 program J068: HipHop Kit will be
sounded by the arpeggio pattern U444(User): Dr-In
The Pocket. The T5 program M034: Chord Trigger
will be sounded by the arpeggio pattern U123(A/B):
Syn-Echo.
Before you play, make sure that the global MIDI channel
(Global P1: MIDI “MIDI Channel”) is set to 01.
•
Arpeggiator A is assigned to T (timbre) 7 and 8. When
you play the keyboard, the arpeggio pattern
U396(User): Dr-Jump Up DnB will sound only the T7
program J068: HipHop Kit.
•
•
The B “Bottom Key” and “Top Key” (Combination P7:
Edit-Arp., Scan Zone page) are set so that arpeggiators
B will operate only for the G3 note and above.
•
The arpeggio pattern uses Fixed Note mode, which is
suitable for playing drums from the arpeggiator
(Global P6: User Arpeggio, Pattern Setup page
“Arpeggio Tone Mode” Fixed Note).
Arpeggiator B is assigned to T8 as well, but this
setting is so that the T7 program J068: HipHop Kit
will sound only when the arpeggiator is on. Refer to
the preceding section “Combination D062: Old Vox
Organ.”
With this setting, the arpeggio pattern will always play
the specified pitches regardless of the note numbers
received from the keyboard. (☞PG p.171)
•
•
The A “Bottom Key” and “Top Key” (Combination P7:
Edit-Arp., Scan Zone A/ B page) are set so that
arpeggiator A will operate only for notes B3 and
lower.
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” (Global P0: Basic
Setup, Basic page).
Arpeggiator A is also assigned to T8, but this is so that
the T7 program J068: HipHop Kit will sound only
when the arpeggiator is on.
Notice the timbre settings for T7 and T8
Status
INT
MIDI Channel
Assign
T7
T8
02
A
A
Off
Gch
•
•
If the arpeggiator is off, playing the keyboard will
sound the timbre(s) that are set to Gch or to the global
MIDI channel (in this case, 01). Since the “MIDI
Channel” of T7 is set to 02, it will not sound. T8 is set
to Gch, but since “Status” is Off it will not sound.
Any MIDI channel that is assigned to a timbre will
trigger the arpeggiator. In this case, these will be
“MIDI Channel” 02 and Gch (global MIDI channel).
When the arpeggiator is on, playing the keyboard will
trigger arpeggiator A which is assigned to T8 (Gch).
T7 will be sounded by arpeggiator A. Since the
“Status” of T8 is Off, it will not sound.
•
Since the “Status” of T8 is Off, it will not sound,
regardless of whether the arpeggiator is on or off. It is
a dummy timbre that causes T7 to sound only when
the arpeggiator is on.
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5In “Pattern,” select the arpeggio pattern that you
Creating an user arpeggio pattern
wish to edit.
For this example, select an empty user arpeggio pat-
tern.
About user arpeggio patterns
The patterns that can be selected on the TRITON
Extreme’s arpeggiator are called “arpeggio patterns.”
There are two types of arpeggio patterns: preset arpeggio
patterns and user arpeggio patterns.
If a blank pattern is selected, playing the keyboard
will not start an arpeggio. Although preset arpeggio
patterns P000–P004 can be selected, they cannot be
edited.
Preset arpeggio patterns:
When you edit a user arpeggio pattern, the changes
will have an effect anytime that this pattern is used in
Program, Combination, Song or Song Play modes.
There are five patterns; UP, DOWN, ALT1, ALT2, and
RANDOM.
The operation of these patterns is fixed, and cannot be
edited.
6In “Length,” specify the length of the pattern.
After the pattern has played for the length specified, it
will return to the beginning. This setting can also be
changed during or after editing. For this example, set it
to 08.
User arpeggio patterns:
There are 507 patterns - U000(A/B)–U506(User) - 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.
For the preload arpeggio patterns U000(A/ B)–
U488(User), simply changing the “Length” can signif-
icantly change the character of the pattern. Try chang-
ing the length and listening to the result.
In Global P6: User Arpeggio, Pattern setup you can mod-
ify these user arpeggio patterns, or create a new user
arpeggio pattern from an initialized condition. Edited
user arpeggio patterns can be written to internal memory
7Make settings for the “ꢀ (Tempo),” “Resolution,”
“Octave,” “Sort,” “Latch,” “Key Sync.,” and “Key-
board” parameters.
In Media mode, user arpeggio patterns can also saved to
media.
These are program parameters, but can be set from
here as well.
Editing a user arpeggio pattern
If you want to edit a user arpeggio pattern, you must
first make sure that memory protect is unchecked.
If after moving here from Program mode, you modify
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.”
If you enter this mode from the Program mode, your edit-
ing will apply to the arpeggio pattern specified for the
selected program.
For this example, make the settings shown in the
LCD screen on step 3.
1In Program mode, select a program for which the
arpeggio pattern you wish to edit is selected, or a pro-
gram that you wish to use as a basis for editing the
arpeggio pattern.
8In Arpeggio Pattern Setup, specify how the arpeggio
will be developed.
These settings can be changed during or after editing
(☞PG p.171).
2Press the ARPEGGIATOR [ON/OFF] key to turn the
arpeggiator on (the key will light).
9Select the Pattern Edit page.
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.
3Select the Global P6: User Arpeggio, Pattern Setup
page.
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,
in steps equal to the timing 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.”
4“Arpeggiator Select” will automatically be set to A
when you move here from Program mode.
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•
Tone: At each step, a chord consisting of up to 12 tones
(Tone No. 00–11) can be sounded.
“Velocity”: Specifies the strength of the note. With a
setting of Key, the note will sound at the strength with
which it was actually played.
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 [./ 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.
The “Gate” and “Velocity” settings you make here
will be valid if the “Gate” and “Velocity” parameters
(Program P7: Edit-Arpeggiator, Arpeg. Setup page) 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.
Tone00–09: [0]–[9] keys
Tone10: [–] key
Length: 8
Tone No.
Tone11: [./ 10’s HOLD] key
Set the “Gate” and “Velocity” by using the ARPEG-
GIATOR [GATE] and [VELOCITY] knobs to the cen-
ter position (12 o’clock).
01
05 Step No.
Creating an example
pattern
ATo change the user arpeggio pattern name, use the
“Rename Arpeggio Pattern” page menu command.
BIf you wish to save the edited user arpeggio pattern to
internal memory, be sure to Write the user arpeggio
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.
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 pro-
Other examples of creating a user arpeggio
pattern
Melody pattern
9When you play the keyboard as shown in the illustra-
tion, 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.)
1Set “Step No.” to 01, and press the [0] key.
Set “Pitch Offset” to +00.
0For steps 01–08, make settings for “Pitch Offset,”
“Gate,” “Velocity,” and “Flam.”
2Set “Step No.” to 02, and press the [0] key.
Set “Pitch Offset” to +10.
“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 Offset” value
for each to create a melody using a single tone.
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.
“Gate”: Specifies the length of the arpeggio note for
each step. With a setting of Legato, the note will con-
tinue sounding either until the next note of the same
tone or until the end of the pattern. With a setting of
Off, the note will not sound.
5Set “Step No.” to 05, and press the [0] key.
Set “Pitch Offset” to +12.
6For “Step No.” 06, do not enter a tone.
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7Set “Step No.” to 07, and press the [0] key.
If you set this to Trigger As Played, the tones will be
sounded according to the notes you play on the key-
board (☞PG p.171).
Set “Pitch Offset” to +00.
8Set “Step No.” to 08, and press the [0] key.
Set “Pitch Offset” to –02.
Chordal pattern
3Select the Pattern Edit page.
1Set “Step No.” to 01, and press the [0] key.
Set “Gate” to Legato.
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]
Let’s input the following rhythm pattern.
keys.
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.
To simulate the timing nuances of a strummed guitar
chord, select “Flam.” In Program mode, select an
acoustic guitar program, and choose the user arpeg-
gio pattern that you created here. In the Arpeg. Setup
page of Program P7: Edit-Arpeggiator, set “Gate” to
Step.
Then return to the Global P6: User Arpeggio, Pattern
Edit page. For odd-numbered steps, set “Flam” to a
positive (+) value. For even-numbered steps, set
“Flam” to a negative (–) value.
4Make settings for “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 screen, you will spec-
ify the drumsample (note number) of the drum kit.
Each Tone will be displayed as a small circle.
For this example, set “Tone No.” and “Fixed Note No.”
as follows.
Tone No.
Fixed Note No.
00
01
02
03
C2 (kick)
F2 (snare)
F#3 (closed hi-hat)
A#3 (open hi-hat)
Drum pattern
You can use the arpeggiator to play a rhythm pattern by
using “Fixed Note” with a drum program.
The drumsamples that correspond to each note num-
ber will differ depending on the drum kit. It is conve-
nient to audition the drum sounds from the keyboard,
and then input “Fixed Note No.” by holding down the
[ENTER] key and playing the desired key.
1In Program mode, select a drum kit program.
For this example, select the preset program J036: Stan-
dard Kit 1.
5Input the kick (Tone00).
2In Global P6: User Arpeggio, select the Pattern Setup
page, and make Arpeggio Pattern Setup settings.
“Arpeggio Tone Mode”: Set this to Fixed Note. This
will cause the tone to always sound at the specified
pitch.
Set “Step No.” to 01, and press the [0] key. Then set
“Step No.” to 05, and press the [0] key.
6Input the snare (Tone01).
Set “Step No.” to 03, and press the [1] key. Then set
“Step No.” to 07, and press the [1] key.
“Fixed Note Mode”: If you set this to Trigger All
Tones, playing a single note on the keyboard will
sound all tones.
7Input the closed hi-hat (Tone02).
Set “Step No.” to 01, 02, 03, 05, 06, and 07, and press
the [2] key for each.
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8Input the open hi-hat (Tone03).
Dual arpeggiator editing
Set “Step No.” to 04, and press the [3] key. Then set
“Step No.” to 08, and press the [3] key.
If “Fixed Note Mode” is set to Trigger All Tones, play-
ing a single note on the keyboard will cause the rhythm
pattern to play.
Here we will use a combination as an example in our
explanation.
The same procedure applies when editing an arpeggio
pattern in Sequencer and Song Play modes.
If you have entered this mode from the Combination
mode, the arpeggio pattern selected by the combination
will be affected by your editing.
If “Fixed Note Mode” is set to Trigger As Played, play-
ing 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 number of tones.
1In Combination mode, select a combination that uses
the arpeggio pattern you wish to edit.
For this example, select a combination to which both
arpeggiators A and B are assigned.
9Set the parameters for each step.
Use “Velocity” etc. to add accents to the rhythm pat-
tern.
2Press the ARPEGGIATOR [ON/OFF] key to turn on
the arpeggiator (the key 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 “Arpeggiator Run”
A or B are not checked, and if “Arpeggiator Assign,” is
set to off, then the arpeggiator will not operate.
The “Gate” and “Velocity” settings you make here
will be valid if the “Gate” and “Velocity” parameters
(Program P7: Edit-Arpeggiator, Arpeg. Setup page) 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 the notes
of the arpeggio will be sounded according to the set-
tings of the Program P7: Edit-Arpeggiator, Arpeg.
Setup page. Check the settings of the program.
3Select the Global P6: User Arpeggio, Pattern Setup
page.
4If you moved here from Combination mode, use the
“Arpeggio Select” A and B to select the arpeggiator
that you wish to edit.
If this is A, your editing will apply to the parameters
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.
Set the “Gate” and “Velocity” by using the ARPEG-
GIATOR [GATE] and [VELOCITY] knobs to the cen-
ter position (12 o’clock).
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 Combination P0: Play,
select the Arpeggio Play A or the Arpeggio Play B page
and uncheck the “Arpeggiator Run” check box.
6To modify the name of a user arpeggio pattern, use
7If you wish to save the edited user arpeggio pattern
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 writ-
8If you wish to save the state of the combination at the
same time, return to Combination mode and write
When editing a user arpeggio pattern, pay attention
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 arpeg-
giator will not turn on. Nor will it be possible to edit
arpeggio patterns.
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Synchronizing the arpeggiator
Synchronization with an external
sequencer in Program, Combination, or
Sequencer modes
The note timing of the arpeggiator will differ depending
on the state of the arpeggiator “Key Sync.” check box.
If this is checked, the arpeggiator will operate at the tim-
ing of the first note-on you play from a state in which all
keys are released.
In Program, Combination, and Sequencer modes when
“ꢀ (Tempo)” is EXT (Global P1: MIDI “MIDI Clock” set to
External MIDI or External USB), the TRITON Extreme
will synchronize to MIDI Clock and Start messages
received from an external MIDI sequencer (or similar
device) connected by a MIDI cable.
If this is unchecked, the arpeggiator will operate in syn-
chronization with the internal or external MIDI clock.
The paragraphs below explain how synchronization
occurs when the “Key Sync.” check box is unchecked.
(However, synchronization with Song Start and with the
MIDI realtime command Start message are exceptions to
this.)
Synchronization to external MIDI clock
•
The arpeggiator will synchronize to the “ꢀ (Tempo)”
based on the timing of the external MIDI clock.
Synchronization between arpeggiators A and B
Synchronization to the MIDI Start message
In Combination, Sequencer and Song Play modes, two
arpeggiators can operate simultaneously. In this case, if
you start an arpeggiator (whose “Key Sync.” is
unchecked) while the other arpeggiator is already run-
ning, the arpeggiator you started will synchronize to the
“ꢀ (Tempo)” based on the timing of the already-running
arpeggiator.
•
When the arpeggiator is on and operating, receiving a
MIDI Start message will cause the arpeggiator to reset
to the beginning of the pattern. (This has no relation to
the “Key Sync.” setting.)
In Song Play mode, the TRITON Extreme will not
synchronize to an external MIDI clock.
If “Key Sync.” is checked, A and B will each operate
on their own timing.
Synchronization between the arpeggiators
and sequencer in Sequencer or Song Play
mode
When song playback is stopped
•
The arpeggiator will synchronize to the “ꢀ (Tempo)”
based on the timing of the internal MIDI clock.
•
In Sequencer mode when an RPPR pattern is playing,
the arpeggiator will synchronize to the beats of that
pattern.
•
In Sequencer mode if you want RPPR pattern
playback to be synchronized to the currently-running
arpeggiator, set “Sync” to SEQ (Sequencer
P6:Pattern/ RPPR, RPPR Setup page).
The pattern playback will synchronize to the
“ꢀ (Tempo)” timing of the arpeggiator.
When a song is being played or recorded
•
The arpeggiator will synchronize to the beats based on
the timing of the song.
Synchronization with Song Start
•
•
When the arpeggiator is on (the ARPEGGIATOR
[ON/ OFF] key is on) and running, receiving a Song
Start message will reset the arpeggiator to the
beginning of the pattern. (This has no relation to the
“Key Sync.” setting.)
In Sequencer mode when the “Key Sync.” setting is
unchecked and the ARPEGGIATOR [ON/ OFF] key is
on, starting the arpeggiator by pressing notes during
the pre-count before recording will cause the
arpeggiator to start (and be recorded) from the
beginning of the arpeggio pattern at the moment that
recording begins.
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Effect and Valve Force settings
The effect section of the TRITON Extreme provides five
In Sampling mode, you can sample while applying insert
effects to the audio coming in via AUDIO INPUT 1, 2, or
S/ P DIF IN jacks. Settings in Sampling mode are made in
Input (SAMPLING) (Sampling P0: Input/ Setup). These
settings are valid only for Sampling mode.
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.
You can also sample while applying an insert effect to the
samples assigned to a multisample.
Categories of the 102 effect types
Sample
Recording
AUDIO INPUT (1, 2)
S/P DIF IN (L, R)
Insert Effect 1-5
001–015 Filter and dynamics effects, such as EQ and compressor
016–031 Phase modulation effects, such as chorus and phaser
Sample
Insert Effect 1-5
Resampling
032–040 Other modulation and pitch-shift effects such as rotary
speaker and pitch shifter
The external input from the AUDIO INPUT 1, 2, or S/P
DIF IN jacks is also valid in modes other than Sampling
mode. In Program, Combination, Sequencer, and Song
Play modes, you can use the insert effects, master effects,
and master EQ. Settings for external signal input via the
AUDIO INPUT 1, 2, and S/ P DIF IN can be made in
“Input (COMBI, PROG, SEQ, S.PLAY, MEDIA)” (set in
Global P0: 0–3a or in the corresponding mode).
In these modes, the external input sound from each jack
can be processed by the TRITON Extreme’s effects and
sampled, or the TRITON Extreme can be used as a 4-in
(AUDIO INPUT 1, 2, and S/ P DIF IN L, R) 6-out effect
processor. The TRITON Extreme can also be used as a
vocoder effect (093: Vocoder) that uses external mic input
to control internal sounds.
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
You can select effects 000–089 for IFX1, 2, 3, 4, 5, MFX1,
and MFX2.
You can select effects 090–102 for IFX2, 3, or 4. This is
because these are double-size effects which require twice
as much processing as the other effects.
Effects in each mode
Send
Return
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 is located immediately before the
OUTPUT (MAIN) L/ MONO and R outputs and is used to
make final adjustments in tone. These settings can be
made independently for each program.
Master Effect 1,2
OUTPUT
L/MONO, R
Master EQ
Oscillator
Filter
Amplifier
Insert Effect 1-5
AUDIO INPUT (1, 2)
S/P DIF IN (L, R)
When effects are applied to the external input sound
from the AUDIO INPUT 1, 2, and S/ P DIF IN jacks,
certain effect types or parameter settings may cause
oscillation to occur. If this occurs, adjust the input
level, output level, or effect parameters. Please be
aware of this particularly when using an effect that
has a high gain.
Send
Return
Master Effect 1,2
OUTPUT
L/MONO, R
Insert Effect 1-5
Master EQ
Oscillator
Filter
Amplifier
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 master EQ is used to
make overall adjustments in tone.
You can make these settings independently for each com-
bination in Combination mode, independently for each
song in Sequencer mode, and in Song Play mode for the
entire mode.
Send
Return
Master Effect 1,2
OUTPUT
L/MONO, R
Timbre 1
Timbre 2
/
/
Track 1
Track 2
Master EQ
Insert Effect 1-5
Timbre 8
/
Track 16
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Insert effects
Routing settings and effect set-
tings
4Select the Insert FX page.
The insert effects, master effects, and master EQ have the
same structure in all modes, but the routing settings will
determine how the oscillators of a program or the timbres
of a combination or track of a song will be sent to each
insert effect or master effect. 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
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
pages located at the left to select a category, and select
an effect from that category on the LCD screen.
1In Program P8: Edit-Insert Effect, select the Routing
page.
You can select effects 000–089 for IFX1, 2, 3, 4, 5,
MFX1 and MFX2. You can select the double-size
effects 090–102 for IFX2, IFX3, or IFX4.
You can use the “Copy Insert Effect” page menu com-
mand to copy effect settings from another program
etc. Also, you can use “Swap Insert Effect” to
exchange (for example) IFX1 and IFX5.
6Press the ON/OFF button to turn on the insert effect.
Each time you press the button, the insert effect will be
switched on/ off. When OFF, the result will be the same
as when 000: No Effect is selected. The input sound
will be output without change.
2Use “BUS Select (IFX/Indiv.Out Assign) to specify
the bus (insertion effect) to which the output of the
oscillator will be sent.
7Make “Chain” settings.
L/R: Send the output to the L/ R bus. Instead, it is sent
to AUDIO OUTPUT (MAIN) L/ MONO and R after the
Master EQ.
IFX1–5: The signal is sent to Insert Effects IFX 1, 2, 3, 4,
5.
1, 2, 3(Tube), 4(Tube), 1/2, 3/4(Tube): The signal is sent
to AUDIO OUTPUT (INDIVIDUAL) 1, 2, 3(Tube),
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 1, making settings as
shown in the diagram 4would connect all five inser-
tion effects IFX1 → IFX2 → IFX3 → IFX4 → IFX5 in
series, so that these effects would be inserted into the
output of the oscillator.
8Make settings for “Pan (CC#8),” “BUS Sel. (BUS
Select),” “Send 1,” and “Send 2” for the sound after it
has passed through the insert effects.
Off: The output will not be sent to the L/ R bus, IFX1–5
buses, or 1–4(Tube) buses. Choose the Off setting if you
want to connect the oscillator output to a master effect
in series. Use “Send 1 (to MFX1)” and “Send 2 (to
MFX2)” to adjust the send level.
If the “Chain” check box is checked, the settings that
follow the last IFX will be used.
“Pan”: Sets the pan. This is valid only when BUS Sel. is
L/ R.
3OSC MFX Send specifies the send level from each
oscillator to the master effects.
“BUS Sel.” (BUS Select): Specifies 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(Tube), 1/ 2, or 3/ 4(Tube). For details on 3(Tube),
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 page) after the signal passes
through the insert effects.
“Send 1”, “Send 2”: Sets the send levels to the master
effects. For this example, set this to 127.
9Select the IFX1–5 pages, and set the parameters for
each of the selected effects.
For details on the parameters of each effect (☞PG
p.217–).
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Master effects
Effect settings in Combination, Song, and
Song Play modes
The input levels to the master effects are set by the “Send
1, 2” levels (step 3or 8). If “Send 1, 2” are zero, the mas-
ter effects will not apply. “Send 1” corresponds to MFX1,
and “Send 2” corresponds to MFX2.
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.
0In Program P9: Edit-Master Effect, select the Master
FX page.
Routing
1In Combination P8: Edit-Insert FX, select the Routing
page.
AIn MFX1 and MFX2, select the type of each master
effect.
The procedure is the same as when selecting an inser-
tion effect (☞5).
The master effects cannot use double-size effects.
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 master effects are mono-in/ stereo-out. Even if a
stereo-input effect is selected, it will function as mono
input.
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 page.
BPress the ON/OFF button to turn on the master effect.
Each time you press the button, the master effect will
be switched on/ off. When OFF, the output of the mas-
ter effect will be muted.
CUse “Return 1” and “Return 2” to adjust the output
levels of the master effects.
3“Send1,” “Send2” specifies the send level from each
timbre to 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 mas-
ter effect.
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 oscilla-
tors 1 and 2 within the program selected by the tim-
bre. 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.
DSelect the MFX1 and MFX2 pages, and set the param-
eters for each selected effect.
For details on the parameters of each effect (☞PG
p.217–).
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 page) following the insert effects.
Master EQ
EUse the stereo 3-band master EQ to make final equal-
izing adjustments just prior to the sound being sent
to the AUDIO OUTPUT L/MONO and R jacks.
Move the slider for each band to make adjustments.
You can select the Master EQ page, and adjust the band
frequency of the master EQ (☞PG p.269).
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Insert effects
Effect settings in Sampling mode
Select an effect for IFX1–IFX5, and set “Pan (CC#8),” “BUS
Sel. (BUS Select),” “Send 1” and “Send 2” for the signal
that has passed through each insert effect. If the “Chain”
check box is checked, the settings that follow the last IFX
in the chain will be used. “Send 1” and “Send 2” adjust the
amount of master effect that is applied to the signal that
has passed through the IFX.
In Sampling mode, an external audio source connected to
the AUDIO INPUT 1, 2, or S/ P DIF IN jacks can be sam-
pled with insert effects applied. You can also apply an
insert effect to the samples assigned to a multisample, and
resample the result.
Routing
1Use “Input (SAMPLING)” to specify the external
audio input, and set the Sampling P0: Recording,
Input/Setup page “BUS (IFX/Indiv.) Select” parame-
ter to specify the bus (i.e., the insert effect) to which
the signal will be sent. (☞QS p.21)
You can edit these settings in the same way as for a pro-
modulation (Dmod), post-IFX pan (CC#8), Send1, and
Send2. This is particularly useful in Sequencer mode. An
“*” is shown at the right of Ch01–16 for channel numbers
whose track is routed to IFX. If multiple tracks with differ-
ent MIDI channel settings are routed to an IFX, this setting
specifies the channel that will control the effect.
The Input settings allow you to input simultaneously
from each input source.
Master effects
Master EQ
These settings can be made in the same way as in “Effect
The bus (the insert effect) to which the samples
assigned to the multisample will be sent is specified
by the Sampling P8: Insert Effect, Routing page “BUS
Select (Indiv.Out Assign)” parameter.
You can use the “Ctrl Ch.” to control these effects;
dynamic modulation (Dmod) on the specified MIDI chan-
nel will control the master effects or master EQ.
Insert effects
Select an effect for IFX1–IFX5, and set “Pan (CC#8)” for
the signal that has passed through each insertion effect. If
the “Chain” check box is checked, the settings that follow
the last IFX in the chain will be used.
Master effects
Master EQ
The master effects and master EQ cannot be used in Sam-
pling mode.
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When you apply effects to external input signals from
the AUDIO IN 1, 2, and S/ P DIF IN inputs, oscillation
may be heard depending on the type of effect and the
parameter settings of the effect. If this occurs, adjust
the input level, output level, and effect parameters.
Particular care should be taken when using high-gain
effects.
AUDIO INPUT effect settings
In Program, Combination, Sequencer, Song Play, and
Media modes, you can apply the TRITON Extreme’s
effects to an external audio source connected to the
AUDIO INPUT 1, 2, or S/ P DIF IN jacks. In these modes
you can use the insert effects, master effects, and master
EQ. Use “Input (COMBI, PROG, SEQ, S.PLAY, MEDIA)”
to make settings for the external input from the AUDIO
INPUT 1, 2, and S/ P DIF IN jacks. Normally you will
make these settings in the Global mode P0: Basic Setup,
Input/ Sampling page, but you can also make them from
Combination, Program, Sequencer, or Media modes.
In these modes, you can apply the TRITON Extreme’s
effects to the external audio signals from each jack and
sample the result, or use the TRITON Extreme as a 4-in
(AUDIO INPUT 1, 2, S/ P DIF IN L, R) 6-out effect proces-
sor. You can also use TRITON Extreme to as a vocoder
(093: Vocoder) in which internal sounds are controlled by
an external mic input.
2Set the parameters for Input1 and 2.
Input1 and 2 correspond to the following inputs.
Analog
AUDIO INPUT
1
2
Input1
Input2
S/P DIF
S/P DIF
Lch
Rch
Input1
Input2
“Level”: Sets the level of the input signal that you
selected in “Input (COMBI, PROG, SEQ, S.PLAY,
MEDIA).” Normally you will set this to 127. If the
sound is distorted even though you lower this setting
significantly, it is possible that the sound is distorting
before the AD converter. Adjust the [LEVEL] knob or
the output level of the external audio source.
“Pan”: Sets the pan of the input signal that you
selected in “Input.” When inputting a stereo audio
source, you will normally set Input1 to L000, and
Input2 to R127 (or Input1 to R127 and Input2 to L000).
When inputting a mono audio source, you will nor-
mally set this to C064.
“BUS (IFX/Indiv.) Select”: In the same way as when
making settings for the oscillator(s) of a program, Spec-
ifies the bus to which each external audio input will be
“Send1 (to MFX1),” “Send2 (to MFX2)”: In the same
way as when making settings for the oscillator(s) of a
program, sets the master effect send levels for each
external audio input. This can be set only if “BUS (IFX/
If “BUS (IFX/ Indiv.) Select” is set to IFX1–5, the master
effect send levels are set by the “Send1” and “Send2”
parameters following the insert effect (in each Insert FX
page).
Routing
In Program, Combination, Sequencer, Song Play, and
Media modes (i.e., in other than Sampling mode), the
routing of the external audio input signals from the vari-
ous jacks is specified by “BUS (IFX/ Indiv.) Select.”
1Use “Input (COMBI, PROG, SEQ, S.PLAY, MEDIA)”
to select the source that you want to input.
This setting can be made in any of the following pages.
If you want to save the edited settings into internal
memory, you must write them. Use the Global mode
page menu command “Write Global Setting” to write
your settings.
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 Extreme.
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 Extreme via the AD converter
even if no audio input is actually present, and
depending 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.
Program, Combination
Sequencer
Global
P0: Play, Sampling page
P0: Play, Sampling page
P0: Basic Setup, Input/Sampling page
Play Audio CD page
Media
Input-related settings are shared between all of the
above modes. For each input source that you select in
“Input (COMBI, PROG, SEQ, S.PLAY, MEDIA),” a
routing can be specified independently. If desired,
you may input simultaneously from all input sources.
Similarly, if you will not be using the S/ P DIF IN jack,
set these inputs to “BUS (IFX/ Indiv.) Select” Off, or
set their “Level” to 0.
If you want to make these settings in Global mode,
move to Global mode from the mode (other than
Sampling mode) in which you will be inputting the
external audio signals. If you move from Sampling
mode to Global mode, the Input (SAMPLING) settings
of Sampling mode will be maintained, and it will not
be possible to view the settings of this page.
If no audio cables are connected to the rear panel
AUDIO INPUT 1 and 2 jacks, the data that is input to
the TRITON Extreme from the AD converter will be
set to zero, and no noise will be output.
These settings are ignored in Sampling mode. Audio
input settings for Sampling mode are made in a simi-
lar way, in Sampling P0: Recording, Input/ Setup
page Input (SAMPLING).
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7Set “Amt” to +30.
About dynamic modulation (Dmod)
Dynamic modulation (Dmod) is a function that lets you
use MIDI messages or the TRITON Extreme’s controllers
to control specific effect parameters in realtime.
BPM/ MIDI Sync is another function that controls effect
parameters, and is used to synchronize the LFO speed of
modulation-type effects or the delay time etc. of delay-
type effects to the tempo of the arpeggiator or an external
sequencer.
For details on each of these functions, refer to PG p.276,
278.
When you (move the joystick away from yourself and)
press the [SW1] key, the feedback level will increase,
and the delay sound will continue for a longer time.
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.
Setting example:
We will show how you can use dynamic modulation to
control an effect parameter in realtime.
Delay. Verify that a delay sound is being output.
Using the BPM/ MIDI Sync. function to synchronize the
delay time to arpeggiator tempo changes.
2Access the Program P8: Edit-Insert Effect, IFX1 page.
Using Dmod to change the delay level by moving the
joystick away from yourself
8Set “BPM” to MIDI.
9For L, C, and R, set “Delay Base Note” and “Times” as
desired.
3Set “Input Level Dmod” to +100.
4Set “Src” to JS+Y: CC#01. The delay sound will disap-
pear.
For this example, set “Delay Base Note” to ꢂ 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.
The input level to the effect can be controlled by the
joystick. As you move the joystick away from yourself,
the delay sound will gradually increase.
0Rotate the [TEMPO] knob, and the delay time will
change.
Using Dmod to modify the feedback level from [SW1]
key
When you (push the joystick away from yourself and)
press the [SW] key, the feedback level will rise, and the
delays will become longer.
5In P1: Edit-Basic, select the Controller Setup page,
and set the function of “SW1” to SW1 Mod.: CC#80
(Toggle).
AWhen you turn on the ARPEGGIATOR [ON/OFF]
switch, the arpeggiator will begin playing.
6Return to P8. Set “Feedback Src” to SW 1: CC#80.
Select any desired arpeggio pattern. When you rotate
the [TEMPO] knob, the delay time will change in syn-
chronization 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 malfunction.
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 PG p.278.
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In/ Out
Valve Force settings
You can’t use Valve Force on the L/ R output from S/
P DIF, nor when resampling the L/ R output in the
various modes.
Valve Force is an analog circuit that uses a 12AU7 (ECC82)
vacuum tube. It uses a single vacuum tube to deliver ste-
reo-in/ stereo-out operation.
4Specify the input/output destination for Valve Force.
By generating the rich overtones and smooth distortion
that are typical of vacuum tubes, Valve Force produces
natural depth and a fat, driven tone. Valve Force also
includes a low-frequency enhancing “ultra boost” circuit.
If “Placement” = Final:
Valve Force will be inserted as the final stage of the L/
R output.
If “Placement” = Insert (Use 3/4 BUS):
You can apply Valve Force to the final stage of a program,
combination, song, or sample playback to add rich over-
tones and smooth distortion, or use insert effects and mas-
ter effects (except for sample playback) in conjunction
with Valve Force to create your sound.
If you want to send the output of oscillator 1,2 to Valve
Force, set “BUS Select (IFX/Indiv.Out Assign)” to 3/
4(Tube), 3(Tube), or 4(Tube).
Valve Force settings for a program
1Press the Valve Force [ON/OFF] key to turn Valve
Force on. (The key will light.)
Placement
2Access the Program P9: Edit-Master Effect, VALVE
page.
If you want to send the signal through an insert effect
and then into Valve Force, set “BUS Select (IFX/
Indiv.Out Assign)” to the insert effect, and set the
post-IFX “BUS Sel.” to 3/4(Tube), 3(Tube), or 4(Tube).
3Use “Placement” to specify where you want to place
the Valve Force circuit.
If you set “Placement” to Final, the Valve Force circuit
will be placed after conversion to an analog signal by
the Main Output L/ R output DAC (Digital Analog
Converter). After passing through Valve Force, the sig-
nal will be output to AUDIO OUTPUT L/ MONO, R
and from the headphone jack.
The output from Valve Force is assigned by the Pro-
gram P9: Edit-Master Effect, VALVE page “BUS Sel.”,
“Send1,” and “Send2” settings.
Use “BUS Sel.” to send the signal to the L/ R bus,
insert effect IFX1–5 bus, or 1, 2 bus. “Send1” and
“Send2” adjust the send levels to the master effects.
If you set “Placement” to Insert (User 3/4 BUS), Valve
Force will be placed after conversion to an analog sig-
nal by the Indiv. Output 3/ 4 output DAC (Digital Ana-
log Converter). Bus 3/ 4 will be the input to Valve
Force, and will simultaneously be output from Individ-
ual 3/ 4.
After passing through Valve Force, the signal will be
converted back into digital form by the ADC (Analog
Digital Converter), and sent to the insert effects, master
effects, L/ R, Individual 1/ 2, and 3/ 4 buses as specified
by the “Pan (CC#8)” “BUS Select,” “Send1,” and
“Send2” settings.
Adjusting the Valve Force settings
5Adjust the Valve Force settings.
Select VALVE FORCE as the control function for the
front panel REALTIME CONTROLS knobs, or use the
Program P9: Edit-Master Effect, VALVE page to adjust
the settings.
Input Trim: adjusts the input level to Valve Force
Ultra Boost: adjusts the mix level to the ultra-boost
circuit located at the beginning of Valve
Force
Tube Gain:
adjusts the vacuum tube gain
Output Level: adjusts the output level of Valve Force
Depending on the sound you are using, you may hear
noise if you turn the Valve Force knobs or edit Valve
Force parameters while sound is being produced.
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The output from Valve Force is assigned by the Combi-
nation P9: Edit-Master FX, VALVE page parameters
“BUS Sel.”, “Send1,” and “Send2.”
Use “BUS Sel.” to send the signal to the L/ R bus,
insert effect IFX1–5 buses, or 1, 2 buses. Use “Send1”
and “Send2” to adjust the send levels to the master
effects.
Valve Force settings for Combination,
Song, and Song Play modes
In Combination, Sequencer, and Song Play modes, you
can set “Placement” to Final or Insert (User 3/ 4 BUS) just
as for a program.
If you want to apply Valve Force to a specific timbre or
track, set “Placement” to Insert (Use 3/ 4 BUS). The proce-
dure is the same for making settings in Combination,
Sequencer, and Song Play modes. As an example here, we
will describe the procedure for Combination mode.
Adjusting the Valve Force settings
5Adjust the Valve Force settings.
1Press the VALVE FORCE [ON/OFF] key to turn Valve
Force on. (The key will light.)
Valve Force settings in Sampling mode
Placement
In Sampling mode you can apply Valve Force to an exter-
nal audio source connected to the AUDIO INPUT 1, 2 or
S/ P DIF IN jacks, and sample the result. You can also
apply Valve Force to the samples assigned to a multisam-
ple, and resample the result.
2Access the Combination P9: Edit-Master FX, VALVE
page.
3Use “Placement” to specify where the Valve Force cir-
cuit will be placed.
1Press the VALVE FORCE [ON/OFF] key to turn Valve
Force on. (The key will light.)
In/ Out
Placement
You can’t use Valve Force on the L/ R output from S/
P DIF, nor when resampling the L/ R output in the
various modes.
2Access the Sampling P9: VALVE FORCE page.
3Use “Placement” to specify the placement of the
Valve Force circuit.
4Specify the input/output destination for Valve Force.
If “Placement” = Final:
Valve Force will be placed at the final stage of the L/ R
output.
In/ Out
You can’t use Valve Force on the L/ R output from S/
P DIF, nor when resampling the L/ R output in the
various modes.
If “Placement” = Insert (Use 3/4 BUS):
If you want to send the output of each timbre (Combi-
nation)/ track (Sequencer, Song Play) to Valve Force,
set “BUS Select” to 3/4(Tube), 3(Tube), or 4(Tube). You
can send more than one timbre/ track to Valve Force.
4Specify the input/output destination for Valve Force.
If “Placement” = Final:
Valve Force will be placed at the final stage of the L/ R
output. Use this setting if you want to apply Valve
Force to the sound of a multisample.
Set “BUS (IFX) Select” (P8: Insert Effect, Routing page)
to L/R or IFX1–IFX5. If you use IFX1–IFX5, set the post-
IFX “BUS Sel.” (P8: Insert Effect, Insert FX page) to L/
R.
If “Placement” = Insert (Use 3/4 BUS):
If you want the external audio source from the AUDIO
INPUT 1, 2, or S/ P DIF IN jacks to be input to Valve
Force, set “BUS (IFX/Indiv.) Select” to 3/4(Tube),
3(Tube), or 4(Tube).
If you want to send the signal through an insert effect
and then to Valve Force, set the Routing page “BUS
Select” to the insert effect, and set the post-IFX “BUS
Sel.” to 3/4(Tube), 3(Tube), or 4(Tube).
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If you want to route the sound through an insert effect
and then into Valve Force, set the post-IFX “BUS Sel.”
to 3/4(Tube), 3(Tube), or 4(Tube).
Resampling the output of Valve Force
If you want to send a multisample through Valve Force
and resample the result, refer to the example of applying
4(Tube), or 3/ 4(Tube), and then resample.
Use “BUS Sel.” to assign the output of Valve Force.
You can send the output to the L/ R bus, the insert
effect IFX1–IFX5 bus, or the 1, 2 buses.
Valve Force settings for AUDIO INPUT
In Program, Combination, Sequencer, Song Play, and
Media modes, you can send an external audio input from
the AUDIO INPUT 1, 2, or S/ P DIF IN jacks through
Valve Force and output the result.
This is specified by the “Input (COMBI, PROG, SEQ,
S.PLAY, MEDIA)”; the setting is common to each of these
As an example here, we will explain the settings for Pro-
gram mode.
5If you want to sample the sound that has passed
through Valve Force, set “Source BUS” to the final
output bus of the Valve Force signal.
1Press the VALVE FORCE [ON/OFF] key to turn Valve
Force on. (The key will light.)
You can sample the signal if you’ve set “Placement” to
Insert (Use 3/ 4 BUS).
Placement
2Access the Program P9: Master Effect, VALVE page.
3Use “Placement” to specify the placement of the
In/ Out
You can’t use Valve Force on the L/ R output from S/
P DIF, nor when resampling the L/ R output in the
various modes.
4Specify the input/output destination for the Valve
Force circuit.
Adjusting the Valve Force settings, and sam-
pling
If “Placement” = Final:
The external audio source input to the L/ R bus will be
sent through Valve Force at the final stage of the L/ R
output.
Set “BUS (IFX/ Indiv.) Select” to L/ R or IFX1–IFX5. If
you use IFX1–IFX5, set the post-IFX “BUS Sel.” (inset
FX page) to L/ R.
6Adjust the Valve Force settings, and sample the
result.
For the sampling procedure, refer to QS p.21.
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If “Placement” = Insert (Use 3/4 BUS):
If you want to send the external audio source to Valve
Force, set “BUS (IFX/Indiv.) Select” to 3/4(Tube),
3(Tube), or 4(Tube).
If you want to send the signal through an insert effect
and then into Valve Force, set “BUS(IFX/Indiv.)
Select” to the insert effect, and set the post-IFX “BUS
Sel.” (Insert FX page) to 3/4(Tube), 3(Tube), or 4(Tube).
The Valve Force output is assigned by “BUS Sel.”,
“Send1,” and “Send2” (Valve Force page).
Use “BUS Sel.” to send the signal to the L/ R bus, insert
effect IFX1–IFX5 bus, or 1, 2 bus. “Send1” and “Send2”
adjust the send levels to the master effects.
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Loading and saving data, creating audio
CDs, and editing Wave files
(Media mode, etc.)
•
.MID file:
Saves a Sequencer mode song in Standard MIDI File
(SMF) format.
Types of data that can be saved
•
.EXL file:
You can save data by writing it to internal memory, saving
it to media, or sending it as a MIDI data dump.
System exclusive data from an external device that was
saved on the TRITON Extreme (This allows the TRI-
TON Extreme to be used as a data filer.)
In addition to these methods, data stored on media in
the CF card slot can be saved to your computer.
You can also use Wave files to create an audio CD that
can be played in a CD player.
•
•
•
.JKB file:
other types of file are saved in Media mode.
.WAV and .AIF files:
A sample you recorded can be exported (written) as a
WAVE file or AIFF file.
Writing to internal memory
The following types of edited data can be written into the
internal memory.
.KCD file:
Audio track list
•
Program
Programs 000–127 in banks A–F, H–N
(However, bank F is available only if the EXB-MOSS
option is installed.)
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.
•
•
Combination
Combinations 000–127 in banks A–E, H–N
Global settings
(Global P0: Basic Setup–P4: Category Name)
User drum kits 000 (A/ B)–143 (User)
User arpeggio patterns U000 (A/ B)–U506 (User)
User template songs U00–U15
•
Programs, combinations, global settings, user drum
kits, and user arpeggio patterns
Songs, cue lists
•
•
•
•
For details on MIDI data dump, refer to PG p.163.
Song settings such as the song name and tempo, track
tings can be saved (written) to internal memory. How-
ever, the musical data for song tracks and patterns are
not saved to internal memory. Furthermore, settings
that govern how the musical data is played back such
as “Meter,” “Metronome,” “PLAY/ MUTE,” “Track
Play Loop (including Start/ End measure),” and RPPR
settings will not be saved either. Use the Sequencer
mode page menu command “Save Template Song” to
write this data (☞PG p.60).
● About preloaded data and preset data
“Preloaded data” refers to the data that is loaded in the
TRITON Extreme when it is shipped from the factory. You
are free to rewrite this data, and with the exception of the
demo songs, the data will be written to the location listed
in “Writing to internal memory.” All of this data is stored
in the TRITON Extreme’s ROM.
•
Program banks
A–D, H–M: 000–127
N: 000–063
•
•
Combination banks
User drum kits
A–D, H–M: 000–127
000 (A/ B)–045 (I), 128 (User)–
131 (User)
If multisamples or samples from the RAM bank are
used in the Multisample or Drum Kit of a program,
you should be aware that these multisamples or sam-
ples cannot be written into memory. This means that
if you turn the power of and then on once again, pro-
grams or combinations that use such multisamples or
samples will not sound as intended. To reproduce
such programs or combinations, the necessary multi-
samples or samples must be saved on media, and
then reloaded.
•
•
User arpeggio patterns U000 (A/ B)–U488 (User)
Demo songs S000–S002
Preset data is data that cannot be rewritten by the Write
operation. This includes the following data.
•
•
•
•
•
Program banks G, g(1)–g(9), g(d): 001–128
Preset drum kits 144 (GM)–152 (GM)
Preset arpeggio patterns P000–P004
Preset template songs P00–P15
Data that you edit in Sequencer, Song Play, or Sam-
pling cannot be saved in internal memory by the
Write operation.
Preset patterns P000–P149
Saving to various types of media
The following data can be saved to various types of
media.
•
.PCG file:
Programs, combinations, global settings, user drum
kits, user arpeggio patterns (The data that was checked
in the check boxes of the Save dialog box will be
saved.)
•
•
.SNG file: Song and cue list data
.KSC, .KMP, .KSF files:
Lists of sample and multisamples (.KSC file), multi-
samples (.KMP file), samples (.KSF file).
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5Use “To” to specify the bank and number of the writ-
ing destination program/combination.
Use the VALUE controllers or the BANK keys to make
your selection.
Writing to internal memory
6To execute the Write operation, press the OK button.
To cancel without executing 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.
Writing a program or combination
The programs or combinations that you create by using
the Performance Editor or by editing parameters in the
various Edit pages can be saved in the internal memory of
the TRITON Extreme. This action is referred to as “writing
a program” or “writing a combination.” If you want your
edited data to be preserved after the power is turned off,
you must write it.
Using the (SEQUENCER) [REC/ WRITE] key to
write
This method can only be used to re-write (update) the
There are two ways to write a program or combination.
selected program/ combination number.
1Press the SEQUENCER [REC/WRITE] key.
The following Update Program/ Update Combination
dialog box will appear.
Before you write data into memory, you must turn off
the memory protect setting in Global mode.
The screen shown is for Program mode
A combination does not contain the actual program
data for each timbre, but simply remembers the num-
ber of the program used by each timbre. If you edit a
program that is used by a combination, or exchange it
with a different program number, the sound of the
combination will also change.
Using a page menu command to write
2To write the data, press the OK button. To cancel
1Select the page menu command “Write Program” or
“Write Combination.”
without writing, press the Cancel button.
The Write Program/ Write Combination dialog box will
appear.
● About the Edit Buffer
When you select a program or combination in Program
P0: Play and Combination P0: Play, the program or combi-
nation data is called into the “edit buffer.”
You can also access the same dialog box by holding
down the [ENTER] key and pressing the [0] key.
When you modify the parameters in P0: Play or in the Edit
pages P1–P9 of Program mode or Combination mode, the
changes you make will affect the data in the edit buffer.
If you wish to save this modified data into internal mem-
ory, you must perform the Write operation.
The screen shown is for Program mode
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 combi-
nation will be called into the edit buffer, and your changes
will be lost.
2Check the program/combination name displayed in
the upper line (the writing source).
When you press the [COMPARE] key in Program
mode or Combination 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.
3If you wish to change the name of the program/com-
bination, press the text edit button.
The text dialog box will appear. Input the name of the
After you have input the name, press the OK button to
return to the Write Program/ Write Combination dialog
box.
Editing applies to the data in the edit
buffer. Programs or combinations will
play according to the data in the edit
buffer.
4In “Category,” specify the category of the program/
combination.
Edit
Edit Buffer
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.
In the case of a program, the category you specify here
will be used when you select a program by category in
Program P0: Play “Category” (Category/ Program
Select). Program categories can also be used when
selecting programs in Combination P0: Play, in P1:
Edit-Program/ Mixer “Category” (Category/ Timbre
Program Select), or in Sequencer P0: Play/ REC “Cate-
gory” (Category/ Track Program Select).
Write
Select
Internal Memory
Program
Program
Bank H 0...127
Combination
Bank A 0...127
Combination
Bank A 0...127
Bank H 0...127
In the case of a combination, the category you specify
here will be used when you select a combination by
category in Combination P0: Play “Category” (Cate-
gory/ Combination Select).
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Assigning a name (Rename)
Memory protect
You can modify the name of an edited program, combina-
tion, song, drum kit, user arpeggio pattern, multisample
or sample etc..
You can also modify the category names for programs and
combinations.
To prevent programs, combinations, songs, user drum
kits, and user arpeggio patterns from being overwritten
accidentally, the TRITON Extreme provides a Memory
Protect setting that prohibits writing to memory.
Before you save edited data or load data from media, use
the following procedure to turn the memory protect off
(uncheck the appropriate check box).
These renaming operations can be performed in the fol-
lowing pages.
You must also turn memory protect off before loading the
above data from media or via a MIDI data dump, or
before recording in Sequencer mode.
Program
Combination
Song
Program P0...9 page menu command: Write
Program
Combination P0...9 page menu command: Write
Combination
1Press the [GLOBAL] key to enter Global mode.
Sequencer P0, 2...4, 7 page menu command:
Rename Song
2After pressing the [MENU] key, press either P0: Basic
Setup or the [0] key.
Cue List
Track
Sequencer P1 page menu command: Rename Cue List
Sequencer P5: Track Name
3Press the System Pref. tab.
The System Preference page will appear.
Pattern
Sequencer P6: Pattern Name
Multisample
Sample
Sampling P0...4 page menu command: Rename MS
Sampling P0...4 page menu command: Rename
Sample
Drum Kit
Global P5 page menu command: Rename Drum Kit
User arpeggio Global P6 page menu command: Rename
pattern
Arpeggio Pattern
Program
category
Global P4: Program Cat.
Combination
category
Global P4: Combination Cat.
File
Media Save: Save All...Save Audio CD Track List,
Utility page menu command: Rename
4Press the “Memory Protect” check box for the type of
data you wish to write to internal memory, so that the
box is unchecked. When the box is unchecked, Mem-
ory Protect is off, and data of this type may be written
to internal memory.
As an example, here’s how to input “Extreme01” in step
3of “Using the page menu command Write.”
1Press the text edit button
to open the text edit dia-
log box.
2Press the Clear button.
Press the Shift button to switch to uppercase charac-
ters, and press E.
Press the Shift button once again to switch to lower-
case characters, and press the characters x, t, r, e, m, e,
0, 1.
3Press the OK button to close the dialog box.
If you don’t need to make any corrections, press the
OK button to close Write Program.
Text
Cursor
Character Set
Selects the type of
character.
Character buttons
Shift button
Switches between
uppercase and
lowercase
characters.
Delete button
Deletes the
character to the left
of the cursor.
Cursor buttons
Move the cursor
to left or right.
Clear button
Delete all characters
of the 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.
Space button
Insert a space at the
cursor location.
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Using the (SEQUENCER) [REC/ WRITE] key to
write
Writing global settings, user drum kits,
and user arpeggio patterns
1In the following pages, press the SEQUENCER [REC/
WRITE] key.
The settings you edit in Global mode can be written into
internal memory. This is done using the operations Write
Global Setting, Write User Drum Kits, and Write User
Arpeggio Patterns. If you wish to use these edited set-
tings after you turn the power off, be sure to write the
data first.
A dialog box will appear.
Global settings:
User drum kits:
Global P0–P4
Global P5
User arpeggio patterns:
Global P6
There are two ways to write global settings, user drum
kits, and user arpeggio patterns.
The example shown is for Update Arpeggio Patterns
Before you write a user drum kit or user arpeggio
pattern, the Global mode memory protect setting
The user arpeggio pattern parameter settings
“Tempo,” “Pattern,” “Octave,” “Resolution,” “Sort,”
“Latch,” “Key Sync,” and “Keyboard” are set inde-
pendently in the Program, Combination, and Song
modes. These settings are not saved when you per-
form the Write operation described here.
2To execute the Write operation, press the OK button.
To cancel, press the Cancel button.
● Memory in Global mode
If you have edited these parameters in Program or
Combination mode you must return to that mode to
write them.
When the power is turned on, the Global mode data is
called from internal memory into the Global mode mem-
ory 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 writ-
ten into the global settings, drum kits, and arpeggio pat-
terns of internal memory.
Using a page menu command to write
1To write global settings (the various settings in Glo-
bal P0–P4), press the page menu command “Write
Global Setting” in Global P0–P4.
The Write Global Setting dialog box will appear.
If you turn off the power without writing, the modified
data in the memory area will be lost.
Editing will affect the data that has
been called into the memory area.
Edit
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.
To write user drum kits, press the page menu com-
mand “Write Drum Kits” in Global P5.
Write
Power On
The Write Drum Kits dialog box will appear.
Internal Memory
Drum Kit
Arpeggio
Pattern
Global Setting
To write user arpeggio patterns, press the page menu
command “Write Arpeggio Patterns” in Global P6.
The Write Arpeggio Patterns dialog box will appear.
The pages of Media mode
Media mode page structure
Page
Explanation
Load
Save
Utility
Load the selected file or directory into internal
memory.
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.
Save data from internal memory to media
such as a media.
Rename, copy, or delete a disk or file, create
new directories, and set the date and time.
2To execute the Write operation, press the OK button.
To cancel, press the Cancel button.
Make Audio CD
Play Audio CD
Edit WAVE
Write Wave files to an audio CD.
Play back an audio CD.
When you press the OK button, the display will ask
“Are you sure?” Press the OK button once again to
write the data.
Edit Wave files stored in media.
View information for the selected media.
Media Information
For details on how to access each mode and page,
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The TRITON Extreme’s USB A/ B connectors support
hot-plugging; you can connect or disconnect the USB
cable while the power is on. However in order to do
so, your USB device must also support hot-plugging.
Saving on media
Media, Save
For details on the data that can be saved on storage media.
2Turn on the power.
The Media mode Save page is where you save data to
media.
Do not insert or remove CF slot media while the
power is on. Doing so may cause the stored data to be
damaged.
Song data and cue lists in the TRITON Extreme’s
Sequencer mode, as well as multisamples and sam-
ples cannot be written into internal memory. This
data will disappear when the power is turned off. If
you want to keep this data, save it to the media
described below.
3If you are using a USB hard disk, removable disk, or
CD-R/RW drive, turn on the power of your USB
device and use a USB cable to connect it to the TRI-
TON Extreme’s USB A connector.
You can also save other types of data to media. When
you’ve come up with settings you like, it’s a good
idea to save them, so that even if you subsequently
edit those settings, you’ll always be able to reload the
previous settings if desired.
The above step assumes that your USB device sup-
ports hot-plugging. If you are using a device that
does not support hot-plugging, connect it with the
power turned off. Then turn on the power, and exe-
cute the Utility page menu command “Scan USB
Device.”
While the TRITON Extreme is accessing the USB
device, do not connect another USB device or discon-
nect the connected device. Doing so may damage
your data.
Media you can use for saving and loading
A card inserted in the CF card slot
•
CompactFlash (Type I, Type II)
Only power supply voltage +5V is supported; 16
Mbyte–1 Gbyte
4Press the [MEDIA] key to enter Media mode.
•
Microdrive Only power supply voltage +5V is
supported
1 Gbyte
External USB storage media
•
•
Hard disk
Removable disk
Hard disks and removable disks in MS-DOS format
FAT16 or FAT32 are supported.
Capacity recognized: FAT32: up to 2 terabytes = 2,000
Gbytes
Media Select
FAT16: up to 4 Gbytes
5Use “Media Select” to select your media.
•
CD-R/RW
If you are using a removable disk, insert the media.
After you exchange media in your USB device, press
the LCD screen to make the TRITON Extreme detect
the media. When the media has been detected, the
LCD screen will display information about the media.
This supports UDF format. UDF format CD-R/ RW
discs can be written or read. (Packet writing is sup-
ported ☞PG p.330).
You can also record/ play CD-DA (audio CD), and load
ISO 9660 (level 1) format data.
For details on connecting a device to the USB A or B
connector, refer to PG p.325.
6If the media needs to be formatted, execute the For-
mat operation.
Media requiring formatting is indicated as Unformat-
ted in “Media Select.”
These types of media are not included. You will need
Setting up media
How to save data
1If you are using a CompactFlash or Microdrive card,
insert it into the TRITON Extreme’s CF card slot.
For details on handling CompactFlash and Microdrive
we will save the following data. As an example, we will
explain how to save the following data.
You must turn off the power before inserting media
into the CF card slot. Failing to do so may cause your
data to be damaged.
•
Internal memory programs, combinations, global
settings, user drum kits, user arpeggio patterns
Songs, cue lists
Multisamples and samples created in Sampling mode
etc.
•
•
Be sure to insert the media in the correct orientation.
Press the media all the way into the CF card slot.
If you save this data to low-capacity media, you may
need more than one disk.
If you are using a USB hard disk, removable disk, or
CD-R/RW drive, use a USB cable to connect your
device’s USB connector to the TRITON Extreme’s
USB A connector.
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1Prepare the media on which you want to save the
If the data does not fit on one volume of media
The “No space available on medium” dialog box will
appear.
data.
2Press the [MEDIA] key to enter Media mode.
3Press the Save tab to access the Save page.
4Press “Media Select” to select the save-destination
media.
5If the media contains directories, select the directory
in which you want to save the data.
Press the OK button and the file will be divided and
saved to multiple volumes of media (for the Save pro-
cedure ☞PG p.187). If you don’t want to divide the file,
press the Cancel button, and re-save it to larger-capac-
ity media.
Press the Open button to move to a lower level, or
press the Up button to move to an upper level.
If you are saving data on high-capacity media, we
recommend that you create directories to organize
the media into sections.
To create a new directory, move to the level at which
you want to create the directory, and execute the Util-
ity page menu command “Create Directory.”
0When saving ends and you return to the Save page,
the LCD screen will show the file that was saved.
The data will be saved to the media, and you will
return to the Save page.
The amount of time required will depend on the
amount of data.
6Press the page menu button to access the page menu,
and press “Save All.”
If a file with the same name already exists on the
media, you will be asked whether you want to over-
write. If you wish to overwrite, 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 7before saving it.
“Save All” will save .PCG, .SNG, and .KSC files.
The LCD screen will show the files that were saved.
The various types of data are saved as the following
files.
.PCG file
A dialog box will appear. The contents, settings, and
operations for the dialog box will depend on the type
of data that you are saving.
Programs, combinations, user drum kits, user arpeggio
patterns, and global settings that were saved in inter-
nal memory
.SNG file
Sequencer songs and cue lists
.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
When using “Save All,” “Save PCG & SNG,” and
“Save PCG” to save combinations, you should also
remember to save the programs used by each timbre
(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.
7Press the text edit button and input a filename for the
8Press each Selection button to access the dialog box,
and use the check boxes to uncheck any items that
you do not need to save.
If your programs or drum kits use multisamples and
samples that were created in on TRITON Extreme, 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 mul-
tisample or sample that you created, we recommend
that you save them under the same filename in the
same directory. 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.
In order to accurately reproduce the data you created,
we recommend that you check all of the boxes.
9Press the OK button to execute the Save operation.
If the data fits on one volume of media
The data will be saved on the specified media, and you
will return to the Save page.
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Using the TRITON Extreme as a data filer
File copying, deleting, and for-
matting (Media, Utility)
The TRITON Extreme can receive MIDI exclusive data
sent by an external device, and save this data to media.
(This is referred to as Data Filer functionality.) Execute the
page menu command “Save Exclusive.” (☞PG p.189)
In the Media mode Utility page you can rename, copy, or
create new files on media. You can also format or optimize
media. In this page you can also transfer data between a
computer connected to the USB B connector and media
inserted in the TRITON Extreme’s CF card slot.
Formatting media
Here’s how to format media.
Newly purchased media or media that has been used by
another device cannot be used “as is”; you must format
the media before you can use it with the TRITON
Extreme.
When you format, all data saved on that media will
be erased. If you had used a computer etc. to set up
that drive so that it can be used as multiple drives
(partitions), this data will also be erased. Be sure to
double-check before you format.
After formatting, it is not possible to press the [COM-
PARE] key to return to the previous state.
1Make sure that the media you want to format is
inserted.
2Press the [MEDIA] key to enter Media mode.
3Press the Utility tab to select the Utility page.
Media Select
4Press “Media Select,” and choose the media that you
want to format.
5Press the page menu button to access the page menu,
and press “Format” to open the dialog box.
6In “Volume Label,” use the text edit button to access
the text input dialog box, and specify the volume
label.
The previously-specified volume label will be dis-
played. If no volume label had been specified for the
media, or if a non-DOS media was inserted, this will
indicate “NEW VOLUME.”
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7Specify the initialization format.
Setting the calendar function
Quick Format: Normally you should use Quick For-
mat to initialize the media.
Select this if the media has already been physically for-
matted, or if you want to format media that has been
UDF-formatted by the TRITON Extreme.
Here’s how to set the date and time for the TRITON
Extreme’s internal calendar. The date and time are
recorded when you save data. Use the page menu com-
mand “Set Date/ Time” (Media, Utility page) to make
these settings.
Since only the system area of the media need be for-
matted, this will require less time.
You will need make these settings after you purchase
the TRITON Extreme, and after you replace the calen-
dar backup battery.
Full Format: Select this when formatting media that
has not been physically formatted, or media (CD-RW)
that has not been UDF-formatted.
1In the 0–3: Utility page, select the page menu com-
mand “Set Date/Time.”
Normally, it is not necessary to perform a Full Format
on media that has been physically formatted at 512
bytes/ block. Execute the Quick Format for such
media.
The following dialog box will appear.
You will normally select Full Format for CD-RW
media etc. that has not been UDF-formatted. If an
error message of “Media not formatted” appears, exe-
cute Full Format.
Depending on the capacity of the media, executing
Full Format may require a substantial length of time.
2Use the VALUE controllers to set “Year,” “Month,”
“Day,” “Hour,” “Minute,” and “Second” to the correct
year, month, day, hour, minute, and second.
Some USB devices don’t support the Full Format
operation. For details, refer to the owner’s manual for
your device.
3Press the OK button.
8Specify the file system.
If the calendar backup battery runs low, a message of
“Battery voltage for calendar IC” will appear in the
LCD screen. If the calendar backup battery runs
down completely, the calendar will be initialized, and
the date and time will not be recorded correctly.
FAT16 can format a maximum of 4 Gbyte. If you are
using media larger than 4 Gbyte, use FAT32 format to
format it.
Use FAT16 to format CompactFlash or Microdrive
media of 4 Gbytes or less.
You can replace the calendar backup battery by your-
self. Refer to PG p.324 for details.
9Press the OK button to format, or press the Cancel
button if you decide to cancel.
When you press the OK button, a message will ask you
for confirmation. Press the OK button once again to
execute the Format operation.
Saving data from CF card slot media to
your computer
You must format a CD-R/ RW disc before you can use
it for packet-writing.
You do not need to format a CD-R/ RW disc that you
will use to create an audio CD. If a CD-R/ RW disc
has previously been used by another device, you
must format it.
You can use your computer to access media inserted in the
CF card slot, and save the data to your computer ’s hard
disk, or copy Wave files or other data from your com-
puter’s hard disk to the media in the CF card slot.
Execute the Utility page menu command “USB Storage
Mode.”
You must use the TRITON Extreme to format the
media. The TRITON Extreme will not correctly recog-
nize media that has been formatted by another
device.
For details on the procedure and on the requirements
for your computer, refer to PG p.193, 325.
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When you load a .PCG file, the data in the TRITON
Extreme’s internal memory will be overwritten by the
data of the .PCG file (programs, combinations, drum
kits, user arpeggio patterns, global settings). If you
want to keep the data that is currently in internal
memory, use “Save All” to save it before you proceed.
Loading data
Media, Load
The types of data that can be loaded from media are
shown in the diagram below. (☞For details on each type
of data, refer to PG p.177)
1Make sure that the media is ready for you to load
data.
The Media mode Load page lets you load data from
media.
which you can load media.
2Press the [MEDIA] key to enter Media mode.
Loading data
Loading .PCG, .SNG, and .KSC files
As an example here, we will explain how to load a song.
We’ll assume that this song uses edited programs and pro-
grams that use multisamples you sampled. In such cases,
it is best to load “all data.”
When loading programs, combinations, songs, user
drum kits, or user arpeggio patterns, you must make
sure that the Global mode memory protect setting is
3Press the Load tab to select the Load page.
4Press “Media Select” and select the media from
which you want to load.
Files that can be loaded
DOS file
DOS files
DOS directory
All programs
All combinations
All drum kits
.PCG file
1 program
bank A...F, H...N
1 program
1 combination
1 drum kit
.JKB file
.MID file
.EXL file
Undefined DOS file
1 combination
bank A...F, H...N
1 drum kit group
A/B, H...N, User
All user arpeggio
patterns
1 user arpeggio
pattern
1 user arpeggio
pattern group
A/B, H...N, User
.KMP file
.KSF file
.KSC file
Global settings
.SNG file
Cue list
1 song
Track
.AIF file
[000–199]
.WAV file
1 user pattern
[00–99]
.KCD file
AKAI format
Program file
Partition
Volume
AKAI format
Sample file
Up
Open
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5Navigate to the directory that contains the file you
want to load, and select the .SNG file.
Loading individual banks from a .PCG file
1Select the .PCG file containing the data you want to
load, and choose the page menu command “Load
Selected.”
Press the Open button to move to a lower level, or
press the Up button to move to a higher level.
The selected .SNG file will be highlighted.
Refer to steps 1–4of “Loading .PCG, .SNG, and .KSC
files,” select the .PCG file in step 5.
6Press the page menu button to access the page menu,
and choose “Load Selected.”
2Press the page menu button to open the page menu,
and choose “Load Selected.”
You can load individual banks by using “.PCG Con-
tents” in the dialog box to select the load-source bank,
and “To” to select the load-destination bank.
When you execute loading, only the programs, combi-
nations, drum kits, and user arpeggio pattern data of
the selected bank will be loaded into the load-destina-
tion bank you specify. Global setting data will not be
loaded.
A dialog box will appear.
If you set “.PCG Contents” to Bank A, and “To” to
Bank A, data will be loaded as follows.
The contents and settings of the dialog box will differ
depending on the type of file that you are loading.
7Check the “Load ********.PCG too” check box.
When you execute loading, the .PCG file will be loaded
along with the .SNG file.
Programs
•
Bank A: loaded into bank A
Combinations
Bank A: loaded into bank A
Drum Kits
Check the “Load ********.KSC too” check box.
When you execute loading, the .KSC file will be loaded
along with the .SNG file.
•
Use “.PCG Contents” to specify the data that you
want to load.
If you want to load all the data in the .PCG file, select
All.
•
000–015 (A/ B): loaded into bank A/ B
Arpeggio Patterns
•
000–199 (A/ B): loaded into bank A/ B
Use “Select .SNG Allocation” to specify the destina-
tion to which the song data will be loaded.
“Append” will load the song into the song number
that follows the song(s) currently existing in internal
memory, without leaving a vacant number.
“Clear” will erase all songs and the cue list from inter-
nal memory, and load the songs into the numbers from
which they were saved.
When data is loaded into a bank that is different than its
original bank, the data (bank, program, pattern, and kit
numbers, etc.) will automatically be reconfigured so that
after loading, the various types of data will correspond
correctly in each mode.
The following data will also be reconfigured automati-
cally if you have checked “Load .SNG too” (so that song
data is loaded at the same time), the following data will
also be reconfigured automatically in order to ensure that
the song data plays back correctly.
Use “Select .KSC Allocation” to specify where the
multisamples and samples will be loaded.
“Append” will load the data into the next available
vacant numbers following the multisamples and sam-
ples that are already in sample memory (RAM).
“Clear” will erase all multisamples and samples from
sample memory (RAM), and load the data in the same
configuration with which it was saved.
•
•
The bank of each program used by combinations
The pattern number of each user arpeggio pattern
used by the combinations/ programs/ songs
The kit number of the drum kit used by each program
The bank of the program used by each track of the
song
•
•
8Press the OK button to execute loading.
•
If the song contains track/ pattern events, the program
banks within these events
Never remove the media while data is being loaded.
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Loading data by individual item or bank
The TRITON Extreme lets you load programs and combi-
nations individually or by individual banks. Drum kits
and arpeggio patterns can also be loaded individually or
as a group.
This is a convenient way to rearrange combinations in the
order in which you will use them during a live perfor-
mance.
Use sampled Wave files to create
an audio CD and play it: Media,
Make Audio CD, Play Audio CD
Wave files can be arranged in any order you like and
burned to CD located in a CD-R/ RW drive connected to
the USB A port to create an original audio CD.
Be aware that if you change the order of programs,
the sounds played by combinations may also be
Make sure that both media are detected by the TRI-
TON Extreme.
As an example here, we will explain how a combination
saved in bank D can be loaded into E000.
When writing data to CD-R/ RW media, the media
containing the Wave files must have free space equal
in size to the Wave files you are writing. Before you
execute this operation, make sure that the drive con-
taining the Wave files contains enough free space.
1Move to the “Bank D” directory, and select the com-
bination that you want to load. (.PCG file/Combina-
tions/Bank D/)
The procedure is as follows.
1) Perform steps 1–5described above, press the
.PCG file containing the data you want to load (it
will be highlighted), and press the Open button.
2) Press “Combinations” to highlight it, and press the
Open button.
When writing Wave files to a USB CD-R/ RW drive to
create an audio CD, we recommend that you use a
drive that supports Just Link. Other drives are usable
only at single-speed (1x) writing. Depending on the
performance of your drive, there may be cases in
which writing is not possible.
3) Press “Bank D” to highlight it, and press the Open
button.
1Access the Media mode Make Audio CD page.
In the default state, the WAVE File area will show only
“====End====.”
4) Press the scroll bar to find the combination you
want to load, and highlight it in the display.
Alternatively, you could select any file, since the
desired file can be selected later from the dialog box.
2To the track list, add the WAVE files that you want to
write to the CD.
When you press the keyboard of the TRITON
Extreme, the selected combination will sound. How-
ever, the internal programs will be used as the pro-
gram of each timbre.
Select “====End====” (it will be highlighted), and
press the Insert button.
The Insert Track dialog box will appear.
2Press the page menu button and select the “Load
Selected” page menu command.
The dialog box will appear.
Use media select and the Open and Up buttons to
access the directory that contains the WAVE file, and
select the WAVE file that you want to add to the list.
3Use the “Combination” (upper line) to select the
load-source combination, and use “(To) Combina-
tion” (lower line) to specify the destination combina-
tion. For this example, select E000: InitialCombiE000.
If you want to audition the file, you can press the SAM-
PLING [START/ STOP] key to play back the sample.
4Press the OK button to execute loading; the loaded
If you have selected a WAVE file with a sampling fre-
quency other than 44.1 kHz or 48 kHz, it will not be
possible to press the Insert button.
combination will be assigned to E000.
WAVE files at a sampling frequency of 48 kHz will be
converted to 44.1 kHz when they are written to an
audio CD (when you execute “Write to CD”).
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To add the file, press the Insert button.
Be aware that if you use a faster writing speed in a
slower system, writing errors will occur.
You can continue adding files until you press the Exit
button. The files will be added to the track list in the
order in which you selected them. If you want to add
all the WAVE files in the directory, press the Insert All
button.
Use “Mode” to specify the writing method.
Depending on the drive you are using, it may not be
possible to write at the specified speed. We recom-
mend that the first time you write, you select Test to
perform a writing test in order to determine the
speed capabilities of your drive. Test will not write
data to the CD-R/ RW media, but will perform all
other processing just as when data is actually written.
If an error occurs, the display will indicate “Error in
writing to medium.”
When you have finished adding files to the list, press
the Exit button to close the dialog box.
Notice that the WAVE files have been added to the
track list.
Press the OK button to execute the writing test.
After verifying that data can be written correctly at
the specified speed, select Write.
“Execute finalize too” specifies whether Finalization
will be executed after the audio tracks have been writ-
ten to the CD-R/ RW media. If finalization has been
executed, the disc can be played back on a CD player,
but it will no longer be possible to add more tracks.
In this page as well, you can select a WAVE file and
press the SAMPLING [START/ STOP] key to play back
the sample.
If you only want to execute finalization, execute
“Finalize Audio CD.”
5When you are ready to write to the CD-R/RW media,
or to execute a writing test, press the OK button. To
cancel without executing, press the Cancel button.
To add other WAVE files to the track list, press the
Insert button once again.
If you want to add another track, select the WAVE file
that follows the track you want to add. If you want to
add the track to the end of the track list, select
“====End====.” Then press the Insert button.
When you press the OK button, the “Obey Copyright
Rules” dialog box will appear.
Carefully read “About copyright” (☞QS p.iii). If you
accept the terms, press the OK button to write to the
CD or to perform the test. If you do not accept the
terms, press the Cancel button to cancel the opera-
tion.
To delete a WAVE file from the track list, select the
WAVE file that you want to delete, and press the Cut
button.
Subsequent tracks will be moved forward in the list.
For details on editing operations such as Clear and
Swap Track, refer to PG p.195.
3Insert a blank CD-R or CD-RW disk into the drive.
In the Make Audio CD page, use “Media Select” to
select your CD-R/ RW drive. The CD-R/ RW drive is
shown as “CDD: Blank Disc.”
In order to avoid causing errors, do not subject the
drive to physical shock or vibration while CD-R/ RW
media is being written.
An audio CD cannot be created on a disc that con-
tains data other than audio (e.g., files). In this case, it
will not be possible to select the page menu com-
mands “Write to CD” or “Finalize Audio CD.”
6An audio CD to which audio tracks have been writ-
ten and which has been finalized can be played in the
Play Audio CD page, allowing you to hear the CD
you have created.
Even when the recommended CD-R/ RW media is
used, some audio CD players may be unable to play
back the disc. Also, since some audio CD players are
unable to play back CD-RW media, we recommend
that you use CD-R media.
Press the Play Audio CD tab to access the Play Audio
CD page.
4Select the page menu command “Write to CD” to
access the dialog box, and specify how the CD will be
written.
Use “Speed” to set the writing speed. This will indicate
the speeds supported by the CD-R/ RW drive you are
using.
In this example, set “Speed” to 1x.
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In “Drive,” select your CD-R/ RW drive. “Drive” will
indicate Audio CD.
Handling CompactFlash and
Microdrive media
Make the following settings to allow monitoring.
“Input”: Analog
Input1 “BUS (IFX/ Indiv.) Select” L/ R, “Level” 127,
Immediately after use, CompactFlash or Microdrive
media may be at a high temperature. Before removing the
media, power-off the TRITON Extreme and allow the tem-
perature to cool down.
“Pan” L000
Input2 “BUS (IFX/ Indiv.) Select” L/ R, “Level ”127,
“Pan” R127
“Volume” 127
CompactFlash and Microdrive media are precision
devices. Do not bend them, subject them to excessive force
or shock, or drop them. Microdrives in particular are
prone to damage from vibration; handle them with care.
Do not use or store these types of media in locations of
extremely high or low temperature, in direct sunlight, in a
closed automobile, near heating equipment, or in loca-
tions of excessive humidity or dust.
Use “Track” to select the track, and press the
SEQUENCER [START/ STOP] key to begin playback.
If you’re using a drive that does not have audio out-
put jacks or a headphone jack, you won’t be able to
monitor the sound.
Saving a track list that you have completed or par-
tially edited
Avoid using or storing these types of media in locations
where there may be strong static electricity or electrical
noise.
The track list will be lost when the power is turned
off. If you want to keep this data, you must save it.
Be careful not to let dust or dirt adhere to the terminals of
the CompactFlash or Microdrive media. If the terminals
should become soiled, wipe them lightly with a dry cloth.
When not using media, protect it from static electricity by
keeping it in the protective case that came with it.
Keep media out of reach of infants or children, since they
may place it in their mouth and possibly choke on it or
swallow it.
1In the Save page, select the directory in which you
want to save the track list.
2Select the page menu command “Save Audio CD
Track List” to access the dialog box.
3Press the OK button to save the data, or press the
Cancel button to cancel without saving.
Carefully read the instructions included with the media.
Editing a Wave file: Media, Edit
WAVE
You can edit Wave files stored on media.
This is a convenient way to edit large files to a size that
can be loaded into the TRITON Extreme’s sample mem-
ory (RAM).
•
In the Load, Save, Utility, or Make Audio CD page,
select the Wave file you want to edit and then access
this Edit WAVE page.
You cannot edit a Wave file that exceeds 230,400,000
samples (80 minutes at a 48 kHz sample rate).
The sample rates of Wave files that can be edited are
the same as the sample rates supported for KSF files.
(☞PG p.317)
Viewing information about
media: Media, Media Info
You can view information about the media selected by
“Media Select.” You can also mount a device connected to
the USB A connector. (☞PG p.203)
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Restoring the factory settings
The preload data stored in the TRITON Extreme can
When you press the OK button, a dialog box will ask
you for confirmation. Press the OK button to execute
loading.
restore all the programs, combinations, drum kits, user
arpeggio patterns, and global settings to their original fac-
tory settings. The original demo songs can also be re-
loaded at any time using this same method.
This is done by re-loading the preload data stored within
the TRITON Extreme.
From the powered-off state, you can automatically
perform the “All (Preload PCG and Demo Data)”
operation by turning on the power while holding
down the [MENU] key and [EXIT] key. (A message of
“Now writing internal memory” will appear while
the data is being loaded.)
Before you load the preload data, go to the Global
mode P0: Basic Setup, System Preference page, and
uncheck the “Memory Protect” settings for the data
that you want to load. If you execute this operation
with these settings checked, a message of “Memory
Protected” will appear, and the data will not be
loaded.
If the EXB-MOSS is not installed
Preload data will be loaded into the following banks
Program: Bank A, B, C, D, H, I, J, K, L, M, N (000–63)
Combination: Bank A, B, C, D, H, I, J, K, L, M
Drum Kit: 000(A/ B) – 045(I), 128(User) – 131(User)
Arpeggio Pattern: U000(A/ B) – U488(User)
Global Setting
Never turn off the power while the data is being
loaded.
Demo Song: S000–S002
When you load a .PCG file, the data in the TRITON
Extreme’s internal memory will be overwritten by the
data of the .PCG file (programs, combinations, drum
kits, user arpeggio patterns, global settings). If you
want to keep the data that is currently in internal
memory, use “Save All” or “Save PCG” to save it
before you continue.
If the EXB-MOSS is installed
Preload data will be loaded into the following banks
Program: Bank A, B, C, D, F*, H, I, J, K, L, M, N (000–
63)
Combination: Bank A, B, C, D, E*, H, I, J, K, L, M
Drum Kit: 000(A/ B) – 045(I), 128(User) – 131(User)
Arpeggio Pattern: U000(A/ B) - U488(User)
Global Setting
Demo Song: S000–S003*
Data for the EXB-MOSS will be loaded into Program
Bank F000–127, Combination Bank E000–063, and
song S003.
Restoring the factory settings
1Access the Global mode P0: Basic Setup, Basic page.
Press the [GLOBAL] key to enter Global mode.
Demo song data will be erased when the power is
turned off.
If the Global P0: Basic Setup, Basic page is not shown,
press the [EXIT] key and then press the Basic tab.
2Press the page menu button, and choose “Load Pre-
load/Demo Data.”
A dialog box will appear.
3In the “Kind” field, select All Preload PCG.
If you execute All (Preload PCG and Demo Song), the
following data will be loaded. If you execute, All Pre-
load PCG, the Demo Song data will not be loaded.
4Press the OK button to execute the load operation. If
you decide not to execute, press the Cancel button.
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EXB-MOSS combinations are created using EXB-
MOSS programs together with preload program
banks J and K. This is why you need to load preload
program banks J and K.
Loading the EXB-MOSS data
After installing the EXB-MOSS, you will need to load the
data for it. The TRITON Extreme contains preload data
and demo song data for the EXB-MOSS.
The preload combination data for the EXB-MOSS is
stored in Bank E, and will be available only if the
EXB-MOSS is installed.
There are two ways to do this; you can load all of the TRI-
TON Extreme’s preload data, or you can load the mini-
mum amount of data while erasing as little as possible of
the current data. If you load all data, all of the preload
data will be erased, but you’ll need to perform only a sin-
gle load operation. If you load only the minimum data,
the rest of your current data will be preserved, but you’ll
need to perform several load operations.
5If you want load the demo song data, access the Load
Preload/Demo Data dialog box, set “Kind” to All
Demo Songs, and press the OK button to load the
data.
Loading all data
1Execute loading as described in “Restoring the fac-
tory settings.”
If you are loading for the first time, you’ll probably
want to set “Kind” to All (Preload PCG and Demo
Song) so that the song data is loaded as well.
If the EXB-MOSS is installed, data for the EXB-MOSS
will be loaded automatically.
Since this method will load the following data, the
data of these banks will be overwritten.
Program: Bank J, K, F
2After you’ve executed the load operation, use
Sequencer mode to listen to the EXB-MOSS demo
song.
Combination: Bank E (000–063)
Drum Kit: 000 (A/ B)–015 (A/ B)
Arpeggio Pattern: U000 (A/ B)–U199 (A/ B)
Demo Songs: S000–S003
For details on the data that is loaded, refer to the pre-
ceding page.
The EXB-MOSS data will be loaded into Program
Bank F000–127 and Combination Bank E000–063.
Loading only the minimum data
1Perform steps 1and 2described in “Restoring the
factory settings” to access the “Load Preload/Demo
Data” dialog box.
2Specify the “Kind” and bank.
Set “Kind”: Program, and “Bank”: F To F (see the illus-
tration)
EXB-MOSS programs can be loaded only into Bank F.
3Press the OK button to execute loading. If you decide
to cancel, press the Cancel button.
When you press the OK button, a dialog box will ask
you for confirmation. Press the OK button to execute
loading.
4As described in steps 1–3, load three more sets of
data with “Kind” and the bank set as follows.
“Kind”: Program, “Bank”: J To J
“Kind”: Program, “Bank”: K To K
“Kind”: Drum Kit, “Bank”: A/ B To A/ B
“Kind”: Arpeggio Pattern, “Bank”: A/ B To A/ B
“Kind”: Combination, “Bank”: E To E
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Other functions
Setting the function of [SW1] and
[SW2]
Setting the B-mode functions of
REALTIME CONTROLS [1]–[4]
You can specify the function of the [SW1] and [SW2] keys
(☞PG p.279).
You can specify the B-mode functions of REALTIME
CONTROLS knobs [1]–[4] (☞PG p.280).
The function of the [SW1] and [SW2] keys can be specified
independently for each program, each combination, and
each song. These functions can also be set independently
for the entire mode in Sampling mode and Song Play
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).
The B-mode functions can be specified independently for
each program, each combination, and each song. These
functions can also be set independently for the entire
mode in Sampling mode and Song Play mode.
These settings are made in Realtime Control Knobs B-
Assign of the respective page. (☞“Specifying the function
of [SW1] and [SW2]”)
You can use these knobs as sources for alternate mod-
ulation 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.
These settings are made by Panel Switch Assign in the fol-
lowing pages.
Program
P1: Edit-Basic, Controller Setup
P4: Edit-Zone/Ctrl, Control
P4: Zone/Ctrl, Controller Setup
P4: Controller Setup
Here is an example of how knob [1] can be used to control
the filter and amp EG attack of a program.
Combination
Song
1Press the [PROG] key to enter Program mode.
Sampling mode
Song Play mode
2After pressing the [MENU] key, and press the P1:
P2: Controller Setup
Edit-Basic.
An example of settings in a program
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
the settings of Sampling mode cannot be saved.
When you write a program or combination, the on/
off status of the [SW1] and [SW2] keys is memorized.
Adjusting the contrast (brightness)
of the LCD screen
You can use these keys as alternate modulation or
effect dynamic modulation sources, and control pro-
gram parameters or effect parameters.
In this case, you will normally select SW1
Mod.:CC#80 and SW2 Mod.:CC#81.
Use the rear panel contrast knob to make adjustments.
For an example in which the [SW1] key is specified as an
effect dynamic modulation source for a program and used
If you wish to keep these settings after the power is
the settings of Sampling mode cannot be saved.
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Using tap tempo control
Shortcuts
In Program, Combination, Sequencer, and Song Play
modes, you can use the tap tempo function to control the
arpeggiator tempo. In Sequencer and Song Play modes
you can use this method to control the song tempo.
During playback, lightly press the [ENTER] key several
times at the desired tempo. The tempo will follow your
tapping in realtime. This is a convenient way to match the
tempo in realtime to the beat of a different source.
[MENU] key + numeric keys [0]–[9]
•
Accesses the pages within a mode
[ENTER] key + numeric keys [0]–[9]
•
Accesses the page menu commands in each page (up
to ten items)
[ENTER] key + [REC/ WRITE] key
•
Accesses the Song Setup function. In Program or
Combination mode you can press this combination of
keys to automatically assign the settings of the
program or combination to a song in Sequencer mode,
and then enter record-ready mode.
As an example, here’s the procedure for using tap tempo
to set the speed of the arpeggiator.
1In Program mode or Combination mode, start the
arpeggiator running.
[ENTER] key + keyboard
Turn on the ARPEGGIATOR [ON/ OFF] key, and play
the keyboard. If you check “Latch” (P0: Play, Arpeggia-
tor page), the arpeggiator will keep running even if
you take your hand off the keyboard.
•
•
Inputs note number values or velocity values
Selects “KEY” in Global P5: Drum Kit, Sequencer P6:
Pattern/ RPPR, RPPR Setup page
•
Selects base key and index in Sampling mode
2Lightly press the [ENTER] key several times at the
desired tempo.
[ENTER] key + [LOCATE] key
•
In Sequencer mode and Song Play mode, sets the
current location as the “Location” (equivalent to the
“Set Location” page menu command)
Notice that the “ꢀ =” in the upper right of the LCD
screen will change to indicate the tempo at which you
press the [ENTER] key.
If you press the [ENTER] key at slightly shorter inter-
vals, the playback tempo will become correspondingly
faster.
From the powered-off state, turn on the power while
holding down the [MENU] key and [EXIT] key
•
Automatically executes “Load All (Preload PCG and
Demo Songs).” (A message of “Now writing into
internal memory” will appear in the LCD screen while
the data is being loaded.)
You can use tap tempo control whenever the
[TEMPO] knob can be operated. For example in
Sequencer mode, tap tempo control will not be avail-
able if you are playing a song whose “Tempo Mode”
setting (☞PG p.56) is set to Auto.
From the powered-off state, turn on the power while
holding down the [MENU] key and [9] key
(Warning! This operation will cause all user data saved to
the internal memory to be lost)
You can also use a foot switch connected to the
ASSIGNABLE FOOT SWITCH jack to control the tap
•
Initializes the TRITON Extreme, and writes data into
internal memory. (A message of “Now writing into
internal memory” will appear in the LCD screen while
the data is being loaded.)
After initialization, you will need to load the preload
data. Execute the Global mode page menu command
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Appendices
In Combination, Sequencer, or Song Play modes, can’t edit
the value of Timbre/ Track parameters such as “MIDI
Channel” or “Status”
Troubleshooting
If you experience problems, refer to the relevant item and
take the appropriate measures.
Some parameters cannot be edited during a “note-on”
condition; i.e., while a note is held down on the
keyboard, or while the damper pedal is held down.
→ Are you using a damper pedal with a polarity that
does not match the “Damper Polarity” setting (Global
P2: Controller)?
Power supply
Power does not turn on
→ In some cases, this problem can be solved be executing
the page menu command “Half Damper Calibration”
(Global P0: Basic Setup).
Is the [POWER] switch turned on?
No beep is sounded when you touch the LCD screen
Check the “Beep Enable” check box (Global P0: Basic
LCD screen
The power is turned on, but nothing is shown in the LCD
screen.
The TRITON Extreme functions normally when you play the
keyboard or perform other operations.
Audio input and output
No sound
Are connections made correctly to your amp, mixer, or
Use the rear panel [Contrast adjustment] knob to
Is the connected amp or mixer powered-on, and is its
volume raised?
The power is turned on, but the LCD screen does not display
normally, or an error message is displayed. There is no
sound when you play the keyboard, and the TRITON
Extreme does not function normally.
Is Local Control turned on?
→ In Global P1: MIDI, check the “Local Control On”
check box. ☞PG p.161
This type of problem may occur if a data writing
operation to internal memory was not completed
correctly, for example if the power of the TRITON
Extreme was turned off while a program or other data
was being written. If this occurs, use the following
procedure to initialize the TRITON Extreme’s internal
memory.
If there is no sound from the OUTPUT (INDIVIDUAL)
1–4 jacks, make sure that “BUS Select” or “BUS Select”
following the insert effect is set to 1, 2, 3(Tube),
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
1Turn off the power.
2Hold down the [MENU] key and the [9] key, and turn
on the power.
The TRITON Extreme will be initialized, and data will
be written into internal memory. While the data is
being written, the LCD screen will indicate “Now writ-
ing into internal memory.”
Are the Key Zone and Velocity Zone set so that sound
will be produced when you play? ☞PG p.13, 47, 76
After initialization, all user data will be empty, and you
will need to re-load the preload data. Execute the Glo-
bal mode page menu command “Load Preload/ Demo
Notes do not stop
In Program P1: Edit Basic, select the Program Basic
page, make sure that the “Hold” check box is
unchecked. ☞PG p.10
Can’t operate the LCD screen correctly
In Global P2: Controller, make sure that “Damper
Polarity” or “Foot Switch Polarity” is set correctly.
☞PG p.165
In Global P0: Basic Setup, execute the “Touch Panel
Calibration” page menu command to adjust the
sensitivity of the touch panel. ☞PG p.157
Can’t input sound
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 [3] to display the dialog box.
Are the appropriate sources connected to the AUDIO
If there is no sound in Sampling mode, check that
“Input,” “Level,” and “BUS (IFX/ Indiv.) Select” are
set correctly in the Sampling P0: Recording, Input/
Can’t switch modes or pages
Are you recording or playing a song?
Are you sampling?
Are you playing a CD?
Are you playing a WAVE file?
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If there is no sound in Program, Combination,
Sequencer, Song Play, and Media modes, check that
“Input,” “Level,” and “BUS (IFX/ Indiv.) Select” are
set correctly in Global P0: Basic Setup, Input/
Sampling page; or in the P0: Sampling pages of
Program, Combination, or Sequencer modes; or in the
Has the CD been finalized?
→ A CD-R/ RW disc that you wrote using the Media
mode Make Audio CD page cannot be played in the
Media mode Play Audio CD page or in Sampling mode
unless you have finalized the disc. Execute the page
menu command “Finalize Audio CD” to finalize the
disc. ☞PG p.197
If you are inputting sound to the AUDIO INPUT 1 and
2 jacks, make sure that the AUDIO INPUT [LEVEL]
Excessive noise or distortion in the audio input or in the
sampled sound
If you are inputting to the AUDIO INPUT 1 and 2
jacks, are the AUDIO INPUT [LEVEL] knob and
“Recording Level” setting appropriate?
If you are inputting sound to the AUDIO INPUT 1 and
2 jacks, is the [MIC/ LINE] switch set appropriately?
→ If “Recording Level” indicates “ADC OVERLOAD !!,”
adjust the [LEVEL] knob. If “CLIP!!” is displayed,
adjust the “Recording Level” slider. Adjusting the
“Recording Level” will not affect the level of the out-
put sound, but will affect the level that is sampled.
While watching the level meter, adjust “Recording
Level” as high as possible without allowing “CLIP!!” to
If you are inputting the external source into the S/ P
DIF IN jack, is “System Clock” set to S/ P DIF? ☞PG
p.158
Is an unsupported format being input from the S/ P
DIF IN jack?
→ Please connect an instrument or digital audio device
that is compatible with CP-1201 or S/ P DIF.
If you are inputting to the S/ P DIF IN jack, are the
level of the output device and the “Recording Level”
set appropriately?
Is the correct sampling frequency being input from the
S/ P DIF IN jack?
→ Sampling frequencies of 48 kHz can be input. If you
input an unsupported sampling frequency, noise will
occur or a message of “S/ P DIF Clock Error!” will be
displayed.
→ If “CLIP!!” appears, adjust the “Recording Level”
slider.
Is the system clock set correctly?
→ If cyclic click noise is occurring, check that you have
selected the “System Clock” that is being input. ☞PG
p.158
If “System Clock” is set to S/ P DIF, and you want to
switch the sampling frequency being input to the S/ P
DIF IN jack from 96 kHz to 48 kHz or from 48 kHz to
96 kHz, you must first make sure that the TRITON
Extreme is not accessing data. You must also avoid
touching the TRITON Extreme. Be especially careful
not to switch the sampling frequency being input to
the S/ P DIF IN jack while the TRITON Extreme is
accessing data (i.e., while sampling, or while load-
ing/ saving media, sample memory, or internal mem-
ory). You must also avoid switching the S/ P DIF IN
jack input during such times.
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.
Digital audio input is sometimes not heard for two or
three seconds.
Can’t hear an audio CD in a USB CD-R/ RW drive connected
to AUDIO INPUT
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.
Make sure that you have selected the Media mode
Play Audio CD page or Sampling mode.
Some effects such as 015: St.Analog Record generate
noise intentionally. It is also possible to create
oscillation using a 24 dB/ oct LPF filter with resonance.
These are not malfunctions.
Make sure that the audio outputs of your USB CD-R/
RW drive are connected to the AUDIO INPUT jacks. If
your drive does not have output jacks, you won’t be
If you use Valve Force with “Placement” set to Insert,
make sure that the Valve Force output destination
(“BUS Sel.”) is not set to a bus or insert effect located
at an earlier stage, since this would cause a feedback
loop. (☞PG p.35, 54, 99, 141)
Is the CD output being correctly input?
→ If you want to listen to the audio CD playback in the
Media mode Play Audio CD page, set “Input (COMBI,
PROG, SEQ, S.PLAY, MEDIA)” to Analog, and make
the appropriate settings for “Level” and “BUS (IFX/
Indiv.) Select.” If you want to listen to the audio CD
playback in Sampling mode, make these settings in
Depending on the sound you are using, you may hear
noise if you turn the Valve Force knobs or edit Valve
Force parameters while sound is being produced. This
is because the level changes in steps; it is not a
malfunction.
Is the “Volume” slider raised? (Media mode Play
Audio CD page, Sampling P5: Audio CD, Ripping
page) ☞PG p.139, 197
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Program, Combination
RPPR does not start
Settings for oscillator 2 are not displayed
Is the Sequencer P0: Play/ REC “RPPR” setting
Make sure that the “Oscillator Mode” (Program P1:
Program Basic) parameter is set to Double.
☞PG p.9
Are “Assign,” “Pattern Select,” and “Track” set
A combination does not play correctly after you load data
In the dialog box when you saved the data, did you
If the “MIDI Clock” (Global P1: MIDI) parameter set to
check the items that you wanted to save?
☞PG p.187
Internal? ☞PG p.162
Are the bank/ numbers of the programs used by the
combination the same as when the combination was
created?
Can’t record exclusive data
Is “Enable Exclusive” (Global P1: MIDI) checked?
In Song Play mode, a GM/ GS/ XG-compatible SMF is not
played correctly
Song
Execute “GM Initialize” to initialize the settings.
☞PG p.144
A song does not play correctly after you load data
In the dialog box when you saved the data, did you
check the items that you wanted to save? ☞PG p.187
Is “Bank Map” set to GM(2)? ☞PG p.158
Is “Status” set to INT? ☞PG p.146
Are the programs used by the song the same as when
the song was created?
→ When saving the song, it is best to use “Save All” or
“Save PCG & SEQ” so that the programs are saved
together with the song. Then when loading, load both
the .PCG and the .SEQ data. ☞PG p.177, 187
Sampling
Can’t sample
Have you loaded the multisamples and samples used
by the program?
If you are sampling to media, have you selected media
Does the demo song “S001: WinterVariations” not
play correctly?
Are the audio input settings correct?
→ This song uses the preloaded User Octave Scale 15.
In Global P0: Basic Setup, execute the “Load Preload/
Demo data” page menu command to select the “Global
Setting.” ☞QS p.2, PG p.157
Is there free space in memory? ☞PG p.117, 203
→ If you are sampling to sample memory (RAM), select a
different memory bank. ☞PG p.6, 41, 64, 106
Playback does not start when you press the SEQUENCER
[START/ STOP] key in Sequencer mode
→ If you are sampling to hard disk, select a different hard
disk. ☞PG p.7, 41, 64, 112
Is the “MIDI Clock” (Global P1: MIDI) set to Internal?
☞PG p.162
→ Delete unneeded samples. ☞PG p.108
→ Save samples you want to keep, and then delete them.
Can’t record in Sequencer mode
☞PG p.108, 188
Is the Memory Protect “Song” check box (Global P0)
unchecked? ☞PG p.159
Is the “Trigger” setting correct? ☞PG p.5, 41, 63, 115
In Sampling mode if you are resampling with
“Resample” set to Auto, has the sample to be
resampled been assigned to the keyboard, and selected
Is the “MIDI Clock” (Global P1: MIDI) set to Internal?
☞PG p.162
The arpeggiator settings that were copied from a
combination using “Copy From Combi” cannot be recorded
in the same way as when they were played
Is the “Source BUS” setting correct?
→ If you want to listen to the performance of the internal
tone generator while sampling only the external input
sound (i.e., when using the In-Track Sampling func-
tion), you will normally set this to Indiv.1/ 2. For other
types of sampling or resampling, set this to L/ R.
Have you checked “Multi REC”? (Sequencer P0: Play/
REC, Preference) ☞PG p.67
Depending on the settings of the combination, it may
be necessary to adjust settings such as “Track Select,”
“MIDI Channel,” “Status,” and “Arpeggiator Assign.”
☞PG p.59
If a message of “Buffer underrun error occurred” is
displayed frequently when you are sampling to hard
disk, execute the page menu command “Check
Medium” (Media, Utility page) to find and correct any
errors on the selected MS-DOS format media. ☞PG
p.193
→ In the Copy from Combi dialog box, check the “Auto
adjust Arp setting for Multi REC” option before you
execute the copy. This will cause the settings to be
→ The settings that are made automatically by “Auto
adjust Arp setting for Multi REC” will be executed
according to the ARPEGGIATOR [ON/ OFF] key set-
ting of the combination. If you want to turn on the
arpeggiator in Sequencer mode and record the perfor-
mance of a combination, make sure that the ARPEG-
GIATOR [ON/ OFF] key is turned on for the
A stereo sample can’t be played in stereo
Is the multisample stereo?
→ Execute the page menu command “MS Mono To Ste-
reo” to convert the multisample to stereo. ☞PG p.110
Is the sample name assigned correctly? ☞PG p.106
combination when you write it in Combination mode.
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Volume of a recorded sample is too low/ too high
Arpeggiator
A sample that you resampled with “Recording Level”
set at approximately –12.0 (dB) plays back at a lower
volume than the volume at which you resampled it.
Arpeggiator does not start
Is the ARPEGGIATOR [ON/ OFF] key turned on (lit)?
→ Did you turn on the “Auto +12 dB On” setting when
If the arpeggiator does not start for a combination or
song, make sure that “Arpeggiator Run” is checked,
and that an arpeggiator is selected for “Assign.”
→ If you resampled with “Auto +12 dB On” turned off,
turn on “+12 dB” (Sampling mode Loop Edit page) for
that sample.
Is the “MIDI Clock” (Global P1: MIDI) parameter set
to Internal? ☞PG p.162
The playback volume of a sample is different than the
volume at which it was resampled or sampled.
If the ARPEGGIATOR [ON/ OFF] key does not
respond in Global P6: User Arpeggio, you may have
moved here from Sampling mode or Media mode.
→ If the sample playback is louder, did you set “Record-
ing Level” above +0.0? If it is lower, did you set
“Recording Level” below +0.0?
The “Recording Level” setting affects the level of the
sample data that is recorded, but it is not possible to
monitor that level.
Effects
→ If the sample playback is louder, is “Auto +12 dB On”
turned on? If the playback is softer, is this setting
turned off?
Effects are not applied
Have you selected effect program 000?
→ Select an effect other than 000: No Effect for “IFX1–5”
→ If you resampled the playback of a song or your play-
back performance using a program, combination, or
sample, or combined your performance with an exter-
nal audio source and sampled the result, did you set
“Recording Level” to approximately –12.0 dB and turn
or “MFX 1, 2.”
Are the “IFX 1–5 Off,” “MFX1 Off,” or “MFX2 Off”
If you are in Combination, Sequencer, and Song Play,
and master effects are not applied when you raise the
“Send1” or “Send2” of the timbre/ track, does “Return
1” or “Return 2” from the master effect need to be
→ If you sampled only an external audio source, did you
set “Recording Level” to approximately +0.0, and turn
Alternatively, has “Send 1” or “Send 2” for each oscilla-
tor of the program used by the timbre/ track been low-
Song or CD playback stops temporarily when you sample
Is “Auto Optimize RAM” checked?
→ If this is checked, RAM will be optimized automati-
cally when sampling ends, meaning that the sound will
stop when sampling ends. If a song is being played in
Sequencer mode or if a CD is being played back, the
playback will stop.
The actual send level is determined by multiplying
the send setting of each oscillator in the program with
the send setting of the timbre/ track.
Have you routed the output to an insert effect?
There is a time lag after you press the SAMPLING [REC] key
until you enter sampling-standby mode
The length of time until you enter sampling-standby
mode will depend on the state of the free space on the
media (i.e., whether the free space is continuous or
fragmented).
When sampling to the media, pressing the SAMPLING
[REC] key will cause the amount of space specified by
“Sample Time” to be allocated within the media.
→ You should set “Sample Time” slightly longer than the
length that you will actually sample, and avoid speci-
fying an excessively long sample time.
Drum kits
The pitch of a drum sample does not change
You have left the “Assign” check box unchecked, and
want to play the drum sample at the adjacent right a
semitone lower, but the pitch does not change.
→ If you have selected a drum program in Program
mode, and then want to edit the drum kit in Global
mode, go to the Program P2: Edit-Pitch, OSC1 Pitch
Mod. page and set “Pitch Slope” to +1.0 before you
enter Global mode.
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CD-R/ RW
MIDI
Can’t write
The TRITON Extreme does not respond to incoming MIDI
data
Was the drive subjected to physical shock or vibration
while data is being written?
If you are unable to save data such as PCG or SNG
files, has the disc been formatted?
Are all MIDI cables connected correctly?
☞PG p.288
Is the MIDI data being received on the channel on
If you are writing audio tracks to create an audio CD, it
is not necessary to format the disc.
which it is being transmitted? ☞PG p.289
The TRITON Extreme does not respond correctly to incoming
MIDI data
Are you using a drive that supports JustLink? With
other drives, only single-speed writing is possible.
Writing is not possible if your drive won’t let you
select single-speed writing. Depending on the
performance of your drive, there may be cases in
which even single-speed writing is not possible.
In addition, if you’re using a USB hub and writing
from a USB hard disk to a USB CD-RW drive, writing
may not be possible with a drive that doesn’t support
JustLink.
Are the Global P1: MIDI settings “Enable Program
Change,” “Enable Bank Change,” “Enable Control
Change,” and “Enable AfterTouch” each checked?
☞PG p.162
If you wish to receive MIDI exclusive messages, is the
“Enable Exclusive” (Global P1: MIDI) item checked?
☞PG p.162
Does the TRITON Extreme support the types of
messages that are being sent to it? ☞PG p.289
Are you using the recommended media for your
drive?
If you are writing from an USB drive to CD-R/ RW, it
is possible that the transfer speed is insufficient.
Media
→ Writing may be successful if you lower the writing
CompactFlash or Microdrive in the CF card
slot
speed. ☞PG p.196
→ In some cases, you may be able to succeed by first
copying the data from the USB drive to the CF card slot
media, and then executing the Write operation from
the CF card slot media.
Can’t format the CompactFlash or Microdrive
Does the media meet the requirements for use on the
In some cases, a certain length of time may be required
before the data begins to be saved. When first saving
data on high-capacity media (e.g., the first time after
powering-on the TRITON Extreme that you save in
Media mode or execute sampling to media in
Sampling mode), some time will be required to
allocate free area.
Is the media inserted correctly?
Can’t save/ load data on the CompactFlash or Microdrive
Is the media inserted correctly?
Has the media been formatted?
External USB device
Are you using blank media?
An external USB-connected drive is not recognized
→ If using CD-R, please use new media. If using CD-RW,
use the page menu command “Erase CD-RW” (Media,
Make Audio CD) to erase the contents of the media
before you execute Save.
Is the external device connected correctly? ☞PG p.325
Did you power-on the USB device before powering-on
the TRITON Extreme?
A CD-R/ RW saved on the TRITON Extreme is not
recognized by an external device.
Use the page menu command “Scan USB device”
(Media, Media Information) to re-mount the USB
device.
A CD-R/ RW saved or copied on the TRITON Extreme
using packet writing is not recognized on a computer.
→ If you install a UDF version 1.5 compatible UDF reader
or packet writing software on your computer, it will be
possible to recognize the disc. ☞PG p.330
When saving data to an external hard disk, the “Error in
writing to medium” message appears frequently
Execute the page menu command “Check Medium”
(Media, Utility page) to detect and correct errors on
the selected MS-DOS format media. ☞PG p.192
→ In the case of a CD-R, it may be possible to make the
disc be recognized by executing the page menu com-
mand “Convert to ISO9660 Format” (Media, Utility
page) to convert the disc to ISO9660 format. However
depending on the state in which the disc was saved, it
may be converted into ISO9660 level 3 format, and may
still not be recognized. In this case if you install
ISO9660 level 3 compatible reader software or packet
writing software on your computer, it will be possible
to recognize the disc. ☞PG p.330
A CD-R/ RW that was saved or copied on the TRITON
Extreme using packet writing is not recognized by the
TRITON/ TRITON pro/ TRITON proX/ TRITON-Rack.
→ These models do not support UDF version 1.5, and
therefore will not recognize such a disc.
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→ In the case of a CD-R, it may be possible to make the
disc be recognized by executing the page menu com-
mand “Convert to ISO9660 Format” (Media, Utility
page) to convert the disc to ISO9660 format. However
depending on the state in which the disc was saved, it
may be converted into ISO9660 level 3 format, and may
still not be recognized. ☞PG p.330
Included CD-ROM
Can’t install the driver
Is the USB cable connected correctly?
Is the CD-ROM inserted in your CD drive?
→ Make sure that the CD-ROM is inserted correctly.
Can’t write audio tracks
Could the lens of your CD drive be dirty?
Additional writing is not possible on a CD-R/ RW disc
that has been finalized.
→ Use a commercially-available lens cleaner to clean the
lens.
Are you attempting to install from a network CD
drive?
Can’t play back the disc on an audio CD player
Did you finalize the disc?
→ This software cannot be installed from a network-con-
→ If you want to finalize the disc after writing additional
data, check the “Execute finalize too” check box when
executing the page menu command “Write to CD”
(Media, Make Audio CD), so that the disc will be final-
nected CD drive.
Are you able to use USB?
→ If you are using Windows XP, go to [Control Panel] →
[System], and select the [Hardware] tab. In [Device
Manager], check the settings for Universal Serial Bus
Controller and USB Root Hub.
→ If you only want to finalize the disc, select the page
menu command “Finalize Audio CD” (Media, Make
Audio CD), and press the OK button to finalize the
disc. ☞PG p.196
Has the TRITON Extreme been detected as an
unknown device?
Are you using CD-R media?
→ If you are using Windows XP, go to [Control Panel] →
[System], select the [Hardware] tab, and check [Device
Manager]. If the TRITON Extreme has not been
detected correctly, it will be displayed in “Other
devices” or “Unknown devices.” Reconnect the USB
cable; if the TRITON Extreme is again displayed as an
“Unknown device,” the computer has failed to detect it
correctly. Delete the “Unknown device” entry, and
reinstall the driver. ☞PG p.326
→ Since some CD players are unable to play CD-RW
media, we recommend that you use CD-R media.
Have you tried using a different type of media?
→ Some CD-R/ RW media cannot be played by some CD
players. You may be able to play back successfully by
using a different type (brand) of CD-R/ RW media.
Your software does not respond to the TRITON Extreme
Is the USB cable connected correctly?
Did you install the driver?
WAVE files
Playback level of the WAVE file is too high
Set “WAVE File Play Level” to Normal. You should
usually set “WAVE file Play Level” at Normal, and set
it to High (+12 dB) only if the S/ P DIF output is too
low. With the High (+12 dB) setting, the output from
AUDIO OUTPUT L (MONO), R, and HEADPHONES
will be louder. ☞PG p.158
Has your computer detected the connected TRITON
Extreme?
→ If you are using Windows XP, go to Control Panel →
“Sounds and Audio Devices Properties” and click the
Hardware tab.
If you are using Mac OS X, go to Macintosh HD →
Application folder → Utility folder → “Audio MIDI
Settings,” select the “MIDI Devices” tab, and check that
the TRITON Extreme has been detected.
WAVE file playback level is louder/ softer than the RAM
samples
Adjust the “WAVE File Play Level.” You should
usually set “WAVE File Play Level” to Normal, and
use the “High (+12 dB)” setting only if the WAVE file
playback volume is lower than the playback of the
RAM samples. You should also use the “High (+12
dB)” setting if the S/ P DIF output is not loud enough.
Some computers may not recognize the microKON-
TROL because of their hardware configuration.
Check the TRITON Extreme’s assignments and USB-
MIDI port settings.
Can’t preview
The connected device or software may not support the
messages you are transmitting. Refer to the owner’s
manual of the connected device or software to verify
that it responds to the messages you are transmitting.
Is the WAVE file format supported?
→ Select a WAVE file of a supported format. ☞PG p.176,
195, 315
Other
Saved files or sampled WAVE files have an incorrect
date/ time.
→ Use the page menu command “Set Date/ Time”
(Media, Utility page) to set the current date and time.
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Operations that the TRITON Extreme can
perform on media
Media that can be used with the
TRITON Extreme
•
Save/ Load (Media mode)
Internal memory and sample memory (RAM) data can
be saved/ loaded. For details on the files that can be
saved or loaded, refer to the table on PG p.175.
Loading or saving a divided file is supported for media
connected to the USB A connector.
Types of media that can used with the
TRITON Extreme (as of July 2003)
•
Sampling/ resampling (Program, Combination,
Sequencer, Sampling modes)
If “Save to” = MEDIA, sampled/ resampled Wave files
will be written to media.
Wave file playback (Sequencer, Media modes)
Wave files can be played.
Wave file editing (Media mode)
Media inserted in the TRITON Extreme’s CF
card slot
•
CF: CompactFlash (Type I, Type II)
Power supply voltage 5V only is supported; 16 Mbyte–
1 Gbyte
•
•
•
•
•
MD: Microdrive
Power supply voltage 5V only is supported; 1 Gbyte
Wave files can be edited.
SMF direct playback (Song Play mode)
SMF can be played back directly from media.
Audio CD creation (Media mode)
External USB storage media
•
HD: hard disk
•
RM: removable disk (Magneto-Optical)
MS-DOS format FAT16 and FAT32 are supported for
HD and RM.
Capacity recognized: FAT32: up to 2 Tbytes = 2,000
Gbytes
A CD-R/ RW drive can be used to create an audio CD
from Wave files. Writing may not be possible depend-
ing on the media on which the Wave files are saved.
Data transfer to/ from a computer (Media mode)
Data from CompactFlash media inserted in the TRI-
TON Extreme’s CF card slot can be saved to the com-
puter, or data from the computer can be loaded to the
CompactFlash media.
•
•
FAT16: up to 4 Gbytes
•
CDR (CD-R/ RW)
UDF format is supported. UDF format CD-R/ RW can
be written and read. (Packet writing support ☞PG
p.330)
CD-DA (audio data) can be recorded/ played, and
ISO9660 (level 1) format can be loaded.
Convert to ISO9660 Format (Media mode)
UDF format CD-R media can be converted to ISO9660
format.
If you have any questions regarding the media that
can be used, please contact your local Korg distribu-
tor. You may also check the Korg website (http:/ /
www.korg.com/ downloads).
Requirements for external USB storage media that
can be recognized by the TRITON Extreme are
described on PG p.325.
For details on connecting the USB A/ B connectors,
refer to PG p.325.
Media
Built-in: MD
Built-in: CF
USB A: HD
USB A: RM
USB A: CD-R/RW USB A: CD-R/RW
(Micro drive)
(Flash Memory)
(Hard Disk)
(Removable Media)
(Packet Write)
(ISO9660)
Function
Save/Load
●
●
●
●
●
✕
▲ *2
Sampling/Resampling
WAVE File Play
Edit Wave
●
▲ *1
✕
✕
-
●
●
✕
✕
✕
✕
●
●
●
✕
✕
✕
SMF direct play
Make Audio CD
USB Storage
●
●
●
●
●
●
● (from)
● (from)
● (from)
● (from)
● (to)
✕
● (from)
●
●
✕
✕
✕
Convert to ISO9660 Format
-
-
-
-
● (to)
-
● : possible
✕ : not possible
- : not applicable
▲ : partial support
*1: Writing may not be possible for some media
*2: Only loading is possible
USB A: CD-DA (audio CD) can be ripped in Sampling
mode.
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Specifications and options
Specifications
System
HI (Hyper Integrated) synthesis system
Tone generator
Polyphony
24 dB/oct LPF with resonance
Filters
12 dB/oct LPF + HPF
Alternate modulation function
Keyboard
88 keys (RH2)*, 76 keys, 61 keys
*
The 88 keys model features an RH2 (Real Weighted Hammer Action 2) keyboard, which provides a differing key
weight in each of four keyboard ranges, just as on a grand piano.
Waveform memory
160 Mbytes PCM ROM (962 multisamples, 1,175 drumsamples)
16 Mbytes user sampling RAM (SIMM) (expandable to a maximum of 96 Mbytes)
1,536 user memory combinations (1,280 preload)
Combinations/
Programs
1,536 user memory programs (128 more when EXB-MOSS is installed) (1,344 preload)
256 + 9 drum ROM programs (GM2 sound map compatible)
48 kHz, 16 bit linear
Sampling
RAM: Maximum sample data memory capacity 96 Mbytes (when SIMM modules are installed). Maximum size of
one sample file is 16 Mbytes, allowing approximately 2 minutes 54 seconds of mono, or 1 minute 27 seconds of
stereo sampling. If memory is expanded to 96 Mbytes, a maximum of six such sample files can be created.
MEDIA: One sample file (either mono or stereo) can be a maximum of approximately 80 minutes; occupying
approximately 440 Mbytes for mono, or approximately 879 Mbytes for stereo.
4,000 samples, 1,000 multisamples (128 indexes for each multisample)
Record/playback/rip CD-DA (audio CD)
Able to load AIFF, WAVE, AKAI (S1000/3000), Korg format sample data can be loaded
Sample data can be exported in AIFF or WAVE formats
144 user drum kits (50 preload)
Drum Kits
9 ROM GM drum kits (GM2 sound map compatible)
5 insert effects (stereo in/out),
Effect section
2 master effects (mono in/stereo out), 1 master EQ (3-band stereo), all usable simultaneously
102 effect types (available for insert effects or master effects)
Effect dynamic modulation function
Valve Force
Valve Force circuit (Ultra Boost circuit + 12AU7 vacuum tube): Input Trim, Ultra Boost, Tube Gain, Output Level
(analog)
Placement: usable either as Final or Insert
Dual polyphonic
arpeggiator
Use two arpeggiators simultaneously (Combination, Sequencer, Song Play modes)
5 preset arpeggio patterns
507 user arpeggio patterns (489 preload)
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)
In-Track Sampling function (see Sampling “RAM”)
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)
Auto Song Setup function
Song play
Media
16 timbres, 16 tracks
SMF (formats 0 and 1) supported
Load, save, utility Audio CD writing/playback, Wave file editing
USB storage function (allows a computer to manipulate data on media inserted in the CF card slot),
Data filer function (save/load MIDI exclusive data)
CD-ROM/R/RW (read and write UDF format CD-R/RW, record and play CD-DA, load ISO9660 level 1 data) sup-
ported
Modes
Combination, Program, Sequencer, Sampling, Song Play, Global, Media
Controllers
Joystick, ribbon controller, [SW1]/[SW2] keys, REALTIME CONTROLS knobs [1]–[4] and A/B/VALVE FORCE
mode key, [VALVE FORCE ON/OFF] key, [VALUE] slider, ARPEGGIATOR [TEMPO], [GATE], [VELOCITY] knobs
and [ON/OFF] key
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User interface
TouchView graphical user interface (320 × 240 pixel LCD display)
[VOLUME] slider
Mode keys
[COMBI], [PROG], [SEQ], [SAMPLING], [S.PLAY], [GLOBAL], [MEDIA]
Value controllers
[VALUE] slider, [VALUE] dial, [
[ENTER])
][
] keys, numeric keys ([0]...[9], [–], [./10’s HOLD],
[MENU] key, [EXIT] key, [COMPARE] key
BANK keys
[A], [B], [C], [D], [E], [F], [G], [H], [I], [J], [K], [L], [M], [N]
[PAUSE], [REW], [FF], [LOCATE], [REC/WRITE], [START/STOP]
[REC], [START/STOP]
SEQUENCER keys
SAMPLING keys
Audio outputs
AUDIO OUTPUT (MAIN) L/MONO, R
Output impedance
1.1 [kΩ] (L/MONO is 550 [Ω] for mono)
AUDIO OUTPUT (INDIVIDUAL) 1, 2, 3, 4 Maximum output level +13.5 [dBu] or greater
Load impedance
100 [kΩ] or greater
AUDIO OUTPUT HEADPHONE
S/P DIF
Output impedance
Maximum output level
Load impedance
33 [Ω]
22 [mW]
33 [Ω]
Connector: optical, Format: 24-bit S/P DIF (IEC60958, EIAJ CP-
1201), Sample rate: 48 kHz
Audio inputs
AUDIO INPUT 1, 2
LEVEL [MIC/LINE] switch, [LEVEL] knob
Input impedance
Nominal level
10 [kΩ]
LINE:
MIC:
+4 [dBu] @ [LEVEL] knob= min.
–30 [dBu] @ [LEVEL] knob= max.
–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.
–43 [dBu] @ [LEVEL] knob= max.
600 [Ω]
Source impedance
S/P DIF
Connector: optical, Format: 24-bit S/P DIF (IEC60958, EIAJ CP-
1201), Sample rate: 48 kHz
Control inputs
USB
DAMPER (half-damper supported), ASSIGNABLE SWITCH/PEDAL
USB A (to Device), USB B (to Host) connector:
Supports USB specification version 1.1
Support for Full speed (12 Mbps) and Low speed (1.5 Mbps)
USB Mass Storage Class specification compliance: Interface Class 8 (Mass Storage), Interface Subclass
2(SFF8020i), 5(SFF8070i), 6 (SCSI), Bulk transfer support: Interface Protocol [0x50h] (Bulk Only)
Other
MIDI IN, OUT, THRU, LCD contrast knob, CF card slot, AC power inlet, power switch, Calendar backup battery
Support for options EXB-MOSS 72 pin SIMM memory slots × 3 (for user sample memory)
Dimensions
(W × D × H)
88Keys: 1452 × 420 × 144 (mm) Inches: 57.17" × 16.54" × 5.67",
76Keys: 1316 × 360 × 117 (mm) Inches: 51.81" × 14.17" × 4.61",
61Keys: 1109 × 360 × 117 (mm) Inches: 43.66" × 14.17" × 4.61"
Weight
88 Keys: 28.5 kg/62.83lbs., 76 Keys: 16.9 kg/37.26lbs., 61 Keys: 14.4 kg/31.75lbs.
AC Local Voltage
Power supply
Power consumption 38 W
Included items
Power cable, CD-ROM (TNECD-D00)
Options
System requirements for computer connection
Windows
Expansion boards EXB-MOSS (DSP Synthesizer Board)
Supported OS
Expression/
XVP-10
When using USB Storage: Microsoft Windows 98/Me/2000 SP3 or
later/XP
* For Windows 98/Me, a USB driver for Windows 98 is required.
When using USB MIDI: Microsoft Windows XP
Supported computers
volume pedal
Foot controller
Damper pedal
Pedal switch
Other
EXP-2
DS-1H
PS-1
A computer with USB port that meets the requirements of the
above operating systems
MIDI cable
Macintosh
Supported OS
*
Appearance and specifications of this product are subject to
change without notice. (January/’04)
When using USB storage: Mac OS 9.0.4 or later, Mac OS X 10.0
or later
When using USB MIDI: Mac OS X 10.2 or later
Supported computers
Apple Macintosh with USB port that meets the requirements of the
above operating systems
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[Music Workstation/Sampler]
TRITON Extreme
Date : 2003. 8.27
MIDI Implementation Chart
Remarks
Function
Transmitted
Recognized
Basic
Default
Memorized
Channel
Changed
Memorized
Messages
Altered
Mode
Note
Sequencer and Arpeggiator data
Number:
True Voice
can transmit all note numbers 0–127
Note On
Note Off
Velocity
Polyphonic (Key)
Monophonic (Channel)
Aftertouch
Pitch Bend
Polyphonic aftertouch transmitted *A
only as sequence data
*A
*C
0, 32
1, 2, 16, 18
4, 5, 7, 8, 10
11, 12, 13
64, 65, 66, 67
70 – 79
Bank Select (MSB, LSB)
Joystick (+Y, –Y), Ribbon, Slider
*P
*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)
Data Increment, Decrement
NRPN (LSB, MSB)
Control
Change
80, 81, 82, 83
93, 91, 92, 94, 95
6, 38
*C
*C
*C, *2
*C, *3
96, 97
98, 99
100, 101
0 – 95
0 – 101
120, 121
RPN (LSB, MSB)
Realtime Controls knobs 1–4 B-assign *C
Sequencer data
(receive *C)
All Sound Off, Reset All Controllers *C
Program
Change
*P
Variable Range
*E*4
System Exclusive
Song Position
Song Select
Tune
When cue list is selected, corresponds to cue list *1
System
Common
When cue list is selected, corresponds to cue lists 0–19
*1
Clock
Command
*1
*1
System
Real Time
Local On/Off
All Notes Off
Active Sense
Reset
Aux
Messages
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 USB.
*2:LSB, MSB = 02, 00: Arp. (Arpeggiator) ON/OFF, 0A,00: Arp. Gate, 0B, 00: Arp. Velocity, 10, 00: V.F. (Valve Force) ON/OFF,
11, 00: V.F. Input Trim, 12, 00: V.F. Ultra Boost, 13, 00: V.F. Tube Gain, 14, 00: V.F. Output Level
*3:LSB,MSB=00,00: Pitch bend range, 01,00: Fine tune, 02,00: Coarse tune
*4:In addition to Korg exclusive messages, Inquiry, GM System On, Master Volume, Master Balance, Master Fine Tune, and
Master Coarse Tune are supported.
Mode 1: OMNI ON, POLY
Mode 3: OMNI OFF, POLY
Mode 2: OMNI ON, MONO
Mode 4: OMNI OFF, MONO
: Yes
: No
Consult your local Korg distributor for more information on MIDI IMPLEMENTATION.
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Program/ Combination will
change 91
Index
Numerics
G
CompactFlash 125
Connection 15
24 dB/ oct low pass filter with reso-
nance 27
GM(2) 86
Grid 74
A
H
Amp
HI (Hyper Integrated) synthesis sys-
tem 1
LFO 29
I
D
AMS (Alternate Modulation Source)
Delete
Dialog 9
J
Dmod 108
Audio input/ output
K
E
B
L
F
Level
Multisample 25
C
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Load
Create 55
EXB-MOSS 128
File 121
Pan
Play 56
Realtime-recording 56
Combination 34
S
Sequencer 41
Parameter 13
Loop
Pattern
Pin 8
Media 117
Pitch 89
M
Combination 35
Scale 91
Send
Combination, Sequencer, Song
Play 105
Program 104
Polyphony 12
Microdrive 125
.MID 113
Recalling the last-selected mode
SIMM 18
Copy 50
Q
Naming 51
Save 117
Setting the number of measures
R
N
O
Realtime recording
Pattern 49
Overdub 43
Track 43
Step
Rename 115
Overwrite 43
P
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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. If you have
purchased this product via the internet, through mail order, and/or via a telephone sale, you must
verify that this product is intended to be used in the country in which you reside.
WARNING: Use of this product in any country other than that for which it is intended could be
dangerous and could invalidate the manufacturer’s or distributor’s warranty.
Please also retain your receipt as proof of purchase otherwise your product may be disqualified from
the manufacturer’s or distributor’s warranty.
KORG INC.
15 - 12, Shimotakaido 1 - chome, Suginami-ku, Tokyo, Japan.
2004 KORG INC.
1602 GTH Printed in Japan
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