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COPYRIGHT WARNING
Data handling
This professional device is intended only for use
with works for which you yourself own the copy-
right, for which you have received permission from
the copyright holder to publicly perform, record,
broadcast, sell, and duplicate, or in connection with
activities which constitute “fair use” under copy-
right law. If you are not the copyright holder, have
not received permission from the copyright holder,
or have not engaged in fair use of the works, you
may be violating copyright law, and may be liable
for damages and penalties. If you are unsure about
your rights to a work, please consult a copyright
attorney. KORG TAKES NO RESPONSIBILITY
FOR ANY INFRINGEMENT COMMITTED
THROUGH USE OF KORG PRODUCTS.
Incorrect operation or malfunction may cause the con-
tents of memory to be lost, so we recommend that you
save important data on a floppy disk or other media.
Please be aware that Korg will accept no responsibility
for any damages which may result from loss of data.
Also, when digitally recording copyrighted audio
material from a DAT or CD etc., you must obtain per-
mission for use. Please be aware that Korg will accept
no responsibility for any copyright violations which
may occur through your use of this product.
Handling of the internal hard
drive
Do not apply physical shock to this device. In particu-
lar, you must never move this device or apply physical
shock while the power is turned on. This can cause
part or all of the data on disk to be lost, or may damage
the hard disk or interior components.
When this device is moved to a location where the tem-
perature is radically different, water droplets may con-
dense on the disk drive. If the device is used in this
condition, it may malfunction, so please allow several
hours to pass before operating the device.
Do not repeatedly turn the power on/ off. This may
damage not only the TRITON STUDIO, but also any
SCSI devices that are connected.
This device begins to access the hard drive immedi-
ately after the power is turned on.
Never turn off the power while the hard drive is being
accessed. Doing so can cause all or part of the data on
the disk to be lost, or may cause malfunctions such as
damage to the hard drive.
If the hard drive has been damaged due to incorrect
operation, power failure, or accidental interruption
of the power supply, a fee may be charged for
replacement even if this device is still within its war-
ranty period.
* Company names, product names, and names of for-
mats etc. are the trademarks or registered trade-
marks of their respective owners.
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Thank you for purchasing the Korg TRITON STUDIO music workstation/sampler.
To ensure trouble-free enjoyment, please read this manual carefully and use the instru-
ment as directed.
About this manual
Conventions in this manual
References to the TRITON STUDIO
The TRITON STUDIO is available in 88-key, 76-key
and 61-key models, but all three models are referred to
without distinction in this manual as “the TRITON
STUDIO.” Illustrations of the front and rear panels in
this manual show the 61-key model, but the illustra-
tions apply equally to the 88-key and 76-key models.
The owner’s manuals and how to use
them
The TRITON STUDIO come with the following
owner’s manuals.
•
•
•
Basic Guide
Abbreviations for the manuals BG, PG, VNL
References to the manuals included with the TRITON
STUDIO are abbreviated as follows in this document.
Parameter Guide
Voice Name List
BG: Basic Guide
PG: Parameter Guide
VNL: Voice Name List
Basic Guide
First read this manual carefully to gain a basic under-
standing of the instrument and to learn basic opera-
tion.
Keys and knobs [ ]
“Introduction” explains the function of each part, how
to make connections, basic operation, and gives an
overview of each mode.
“Quick Start” explains the basics of playing the TRI-
TON STUDIO (how to listen to the demo songs, select
sounds, and use convenient performance functions),
and describes examples of how to perform sampling
and use the sequencer.
References to the keys, dials, and knobs on the TRI-
TON STUDIO’s panel are enclosed in square brackets
[ ]. References to buttons or tabs indicate objects in
the LCD display screen.
Parameters in the LCD display screen “ ”
Parameters displayed in the LCD screen are enclosed
in double quotation marks “ ”.
If you wish to begin playing immediately, read this sec-
tion first.
Boldface type
“Basic Functions” contains mode-by-mode explana-
tions of what you need to know to edit sounds, record
using the sequencer, and to record samples. This sec-
tion also explains how to use the arpeggiator, effects,
and MIDI.
Parameter values are printed in boldface type.
Content that is of particular importance is also printed
in boldface type.
Procedure steps 123...
“Appendices” contains information on troubleshoot-
ing, specifications, and various other information.
Steps in a procedure are listed as 123...
ꢀp.I
Parameter Guide
These indicate pages or parameter numbers to which
you can refer.
The Parameter Guide contains explanations and other
information regarding the operations of the parame-
ters and settings on the TRITON STUDIO. The expla-
nations are organized by mode, and page.
Explanations and other information on the effects and
their parameters are also provided for each effect.
Refer to this guide when an unfamiliar parameter
appears in the display, or when you need to know
more about a particular function.
Symbols
,
,
These symbols respectively indicate cautions, advice,
and MIDI-related explanations.
Example screen displays
The values of the parameters shown in the example
screens of this manual are only for explanatory pur-
poses, and may not necessary match the values that
appear in the LCD screen of your instrument.
Voice Name List
This lists the multisamples and drumsamples that are
built into the TRITON STUDIO, and the factory preset
combinations, programs, drum kits, and user arpeggio
patterns.
Refer to these lists when you wish to know more about
the preloaded sounds.
MIDI-related explanations
CC# is an abbreviation for Control Change Number.
In explanations of MIDI messages, numbers in square
brackets [ ] always indicate hexadecimal numbers.
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ARPEGGIATOR [TEMPO] knob, [GATE] knob,
Playing with the RPPR (Realtime Pattern Play/
Sampling a vocal from a mic, and playing it as a
Applying an insert effect to the audio input and
Resampling an arpeggiated phrase in Program
Sample an arpeggiated drum phrase together with
2. Selecting and playing a demonstration song in
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4. Changing the key
Creating and recording RPPR (Realtime Pattern
Writing global settings, user drum kits, and user
Loading .PCG files and .SNG files from the floppy
settings..............................................................102
2. Setting the recording level (Recording Level
3. Specifying the recording method (Recording
4. Making settings for the sample to be recorded
Applying an insert effect to a sample and
EXB-MOSS options ............................................... 65
Using Time Slice to divide a sample, and playing
Sampling in Program, Combination, or Sequencer
Record an external audio input source while a
(In-Track Sampling function).............................115
Resampling the song playback to create a WAVE
Timbre 1–8 program, pan and volume
Settings for status, MIDI channel, and pitch
Layer, split, and velocity switch settings/
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Creating an audio CD from WAVE files sampled to hard
Setting the B-mode functions of REALTIME
Adjusting the contrast (brightness) of the LCD
Sounding a beep when the LCD screen is
Settings for the entire TRITON STUDIO (Global
Adjusting the way in which velocity or after touch
Recalling the last-selected mode and page at power-
Specifying the function of the ASSIGNABLE Switch
Arpeggiator settings in Combination and Sequencer
Synchronization between arpeggiators A
Synchronization between the arpeggiators and
Synchronization with an external sequencer in
Effect settings in Combination, Song, and Song
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viii
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Introduction
Effect section:
Main features
•
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.
Overview
The TRITON STUDIO 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 and an effect section, and functions such as
sampling, sequencer, song play, dual polyphonic arpeg-
giator, RPPR, six audio outputs and can support up to six
audio inputs.
A rich array of controllers such as the joystick, ribbon con-
troller, assignable switches [SW1] & [SW2], assignable/
preset knobs REALTIME CONTROLS [1]–[4], ARPEG-
GIATOR [TEMPO], [GATE], [VELOCITY] knobs, and a
variety of optional pedals can be used to modify the
sound while you play.
You can further expand the potential of the TRITON STU-
DIO by installing options such as a MOSS tone generator,
PCM expansion boards, additional sampling memory,
ADAT digital output, mLAN interface board, and a CD-
R/ RW drive. (ꢀPG p.286)
•
Alternate Modulation and Effect Dynamic Modula-
tion:
•
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.
•
Programs and combinations
•
In preset ROM, the TRITON STUDIO provides 1,536
user programs, and 256 programs + 9 drumsets for
GM2 compatibility. When shipped from the factory, it
contains high-quality preload programs (512) that
cover a wide range of musical needs.
The TRITON STUDIO music workstation is a powerful
tool for music production or live performance.
HI (Hyper Integrated) synthesis system
The 1,536 user programs can be modified by adjusting
the numerous editing parameters, the effects and the
arpeggiator, to create your own original programs.
When the EXB-MOSS option is installed, 128 programs
for use with the Korg MOSS tone generator will also be
available.
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.
•
The TRITON STUDIO provides 144 user drum kits as
well as 9 ROM drum kits compatible with GM2. The
factory settings contain 20 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 417 drum samples or to an origi-
nal 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.
A multisample or sample that was sampled or
resampled in Sampling mode or other modes (or
loaded in from media using the Disk mode) can be
easily used to create a program. These programs can
also be used in a combination or song. Samples can
also be used as drum instruments in a drum kit.
The TRITON STUDIO provides 1,536 user
combinations. With the factory settings, these contain
a wide variety of preload combinations (512).
A combination allows you to use layers, splits, or
velocity switches to combine up to eight programs
together with effects and two arpeggiators, in order to
create complex sounds that could not be produced by a
single program. You can also make settings that
include external tone generators.
Tone generator section:
•
•
•
48 Mbytes of preset PCM ROM contains 429
multisamples and 417 drumsamples.
By installing optional EXB-PCM series PCM expansion
boards (16 Mbytes PCM ROM), you can expand the
PCM data to a maximum of 112 Mbytes.
16 Mbytes of RAM is standard (expandable to a
maximum of 96 Mbytes). Samples or multisamples
that you sampled or resampled in Sampling mode or
other modes (or that you loaded in Disk mode) can be
used as sound sources.
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).
•
•
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.
•
A broad range of editing parameters gives you precise
control over every aspect of the sound.
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In Combination mode, Sequencer mode, and Song Play
mode, the TRITON STUDIO provides dual arpeggia-
tors that can simultaneously play two arpeggio pat-
terns. 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.
Sampling
The TRITON STUDIO features an Open Sampling System
that allows sampling and resampling to be performed not
only in Sampling mode, but also in Program, Combina-
tion, or Sequencer modes.
You can perform 48 kHz 16-bit linear mono or stereo sam-
pling; 16 Mbytes of sample memory (RAM) as well as a
hard drive are factory-installed. (For the capacity of the
RPPR
The TRITON STUDIO features Korg’s RPPR (Realtime
Pattern Play/ Recording) function.
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 maxi-
mum 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 (ste-
reo), for a total 17 minutes 28 seconds of sampling time.
The hard drive lets you record up to 80 minutes as a sin-
gle 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
hard disk sample from the TRITON STUDIO’s keyboard,
it must be able to be loaded into the sampling memory
(RAM). Sample files of up to 16 Mbytes (mono) or 32
Mbytes (stereo) can be loaded into RAM.)
In Sequencer mode, this function allows you to assign pre-
set patterns or user patterns (with a specified playback
track) to individual notes of the keyboard, and playback
that pattern in realtime simply by pressing the assigned
note. Numerous preset patterns, including patterns ideal
for drum tracks, are built into the internal memory.
6-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. (If the EXB-mLAN option is installed, two
more input channels will be added.)
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 digital inputs support S/ P DIF format.
Audio inputs can also be routed to the effects. You can
apply effects while sampling, and use the TRITON
STUDIO as a 6-in/ 6-out effect processor or even create
a vocoder effect in conjunction with internal sounds.
6 channels of audio output are standard: four
individual audio outputs in addition to the L/ MONO
and R main stereo audio outputs. Oscillators, drums,
timbres/ tracks, and the insert effect outputs can all be
freely routed to any output.
As analog outputs, the TRITON STUDIO provides
AUDIO OUTPUT (MAIN) L/ MONO, R, and (INDI-
VIDUAL) 1, 2, 3, and 4.
As digital output, you can use S/ P DIF (2 channels: L/
MONO and R), ADAT (when the EXB-DI option is
installed), and mLAN (6 channels: when the EXB-mLAN
option is installed).
For more on the sampling features of the TRITON STU-
Sequencer
A sophisticated 16-track MIDI sequencer is built in. The
sequencer can be used in conjunction with other functions
such as the dual arpeggiator and RPPR, making it an even
more powerful music production tool than a stand-alone
sequencer.
In addition, you can sample while listening to sequencer
tracks play back – just as if you were recording an audio
track (In-Track Sampling).
Song Play
In Song Play mode, SMF (Standard MIDI File) songs can
be played back directly from floppy disk or other media.
You can also play the keyboard along with the SMF play-
back. You can play along on the keyboard as you listen to
the SMF playback, and even play the arpeggiator in sync
with the playback tempo of the SMF.
S/ P DIF input and output support 48 kHz/ 96 kHz
sampling frequencies.
You can interface directly to a 96 kHz sampling fre-
quency digital recording system.
•
•
Formats 0 and 1 are supported.
A jukebox function lets you edit the order in which
songs are played back.
TouchView user interface
The TRITON STUDIO uses a TouchView user interface
that lets you operate the instrument directly by touching a
large 320 × 240 pixel LCD screen, for a revolutionary leap
in ease of operation and user friendliness. When selecting
programs, combinations, multisamples, drumsamples, or
effects in the LCD screen, you can also view and select by
categories such as types of instrument.
Dual polyphonic arpeggiator
•
Five preset arpeggio patterns (UP, DOWN, ALT1
ALT2, RANDOM) and 507 user arpeggio patterns are
provided. With the factory settings, these contain a
wide variety of preload user patterns (367).
In addition to providing conventional arpeggiator
functions, the polyphonic arpeggiator of the TRITON
STUDIO 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
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.
CD-RW drive
When the CDRW-1 (CD-R/ RW drive) option is installed,
you can create original CD’s, back up your data, or play
back and sample from audio CD’s without the need to
connect any external equipment.
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Front and rear panel
Front panel
8
5
16
4
6
9
12
1
2
3
7
10 11
13 14
15
17 18 19
Use the [REALTIME CONTROLS] key to select A or B
mode for the realtime controllers, and use knobs [1]–[4] to
control the tone, effects, and MIDI control changes etc. in
1. [SW1] key, [SW2] key
These keys are on/ off switches, their function can be
assigned in Program, Combination, Sequencer, Song Play,
and Sampling modes. When on, the LED will light
[REALTIME CONTROLS] key
This key selects either A or B mode for the realtime con-
trollers. The selected mode will light.
2. Joystick
This controls pitch and modulation.
Move the joystick up/ down and left/ right (+Y, –Y, –X,
[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.
Various program parameters and effect parameters will
determine what is being controlled by the joystick.
3. Ribbon controller
Slide your finger to the left or right on this ribbon control-
Various program parameters and effect parameters will
determine what is controlled by the ribbon controller.
6. Mode keys
Use these keys to enter the desired mode.
When you press a key, the LED will light, and you will
4. [VOLUME] slider
This adjusts the volume that is output from the AUDIO
OUTPUT (MAIN) L/ MONO, R jacks and the headphone
jack.
[COMBI] key
Combination mode will be selected.
5. REALTIME CONTROLS
[PROG] key
Program mode will be selected.
[SEQ] key
Sequencer mode will be selected.
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[SAMPLING] key
9. LCD screen
Sampling mode will be selected.
The TRITON STUDIO features a Touch-View system that
uses 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
[S.PLAY] key
Song Play mode will be selected.
[GLOBAL] key
Global mode will be selected.
10. [EXIT] key
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.
When in P (page) 1–9 of each mode, pressing the [EXIT]
key will move to P (page) 0 of that mode.
[DISK] key
Disk mode will be selected.
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
11. [MENU] key
Use this key to move between pages. When you press the
[MENU] key, a list of the pages in the mode will appear in
the LCD screen. Press the desired page, and you will
move to that page. You can also move to a page by hold-
ing down the [MENU] key and pressing the correspond-
8. VALUE controllers
The following VALUE controllers are used to set the value
12. BANK keys
These keys are used to switch the program/ combination
bank.
[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.
This slider can also be used as a modula-
tion source.
[
][
] keys
These are used to increase or decrease the parameter
value in steps of one. It is convenient to use these to make
fine adjustments.
PROG BANK:
[INT-A], [INT-B], [INT-C], [INT-D], [INT-E] (SMPL),
[INT-F] (MOSS), [INT-G] (GM), [EXB-A], [EXB-B],
[EXB-C], [EXB-D], [EXB-E], [EXB-F], [EXB-G]
COMBI BANK:
[INT-A], [INT-B], [INT-C], [INT-D], [INT-E], [EXB-A],
[EXB-B], [EXB-C], [EXB-D], [EXB-E], [EXB-F], [EXB-G]
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 LED 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 at the program of each track,
these keys select the program bank just as in Combination
mode.
Numeric keys [0] – [9], [ENTER] key, [–] key
[./ 10’s HOLD] key
Use these keys to numerically input a parameter value.
Use numeric keys [0]–[9], the [–] key, and the [./ 10’s
HOLD] key to enter the value, and press the [ENTER] key
to confirm it. The [./ 10’s HOLD] key lets you input a
value with a decimal point. The [–] key inverts the sign
(+/ –) of the parameter value.
If you repeatedly press the [INT-G] key when selecting a
program, the bank selection will cycle through all of the
GM(2) banks and drum banks in the order of G, g(1), g(2)–
g(8), g(9), g(d), G ... each time you press the key.
The [INT-F] bank can be selected in Program mode only if
the EXB-MOSS option is installed.
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 and pressing a
numeric key [0]–[9], you can select up to ten page menu
commands in the current page.
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13. SEQUENCER
[PAUSE] key
14. ARPEGGIATOR
These knobs control the performance of the arpeggiator in
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 LED will light. Press
[PAUSE] once again to resume playback; the LED will
turn off.
[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
[<<REW] 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 will rewind the song or cue
list. When you press and hold this key, the LED will light,
and the playback will rewind. (This key will not function
during recording.)
[FF>>] key
In Sequencer mode, this key will fast-forward the song or
cue list. When you press and hold this key, the LED will
light, and the playback will fast-forward. (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.
[LOCATE] key
In Sequencer mode, this key will advance or rewind the
song or cue list playback to a specified point. In Song Play
mode, this key returns the playback location of the SMF to
a specified point.
[ON/ OFF] key
This switches the Arpeggiator function on/ off. When on,
the LED will light.
SEQUENCER [REC/ WRITE] key
In Sequencer mode, pressing this key will make the LED
light, and if you then press the SEQUENCER [START/
15. SAMPLING
In Program, Combination and Global modes, pressing this
key will open a dialog box, and if you then press the OK
SAMPLING [REC] key
In Sampling, Program, Combination, and Sequencer
modes, pressing this key will make the LED light, and
when you continue by pressing the SAMPLING [START/
STOP] key, sampling will either begin or you will enter
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
LED will blink at the current tempo.)
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.
These keys are also used to play an audio CD in the
CDRW-1 option or in a SCSI-connected CD-R/ RW drive.
SEQUENCER [START/STOP] key : Play/Stop
[FF>>] key
: Fast-forward
: Rewind
In the Sampling P1: Sample Edit page, pressing this key
will sound the selected sample.
[<<REW] key
[PAUSE] key
[LOCATE] key
: Pause
This key is also used to play back a WAVE file from the
internal hard disk. This function can be used in the direc-
tory window of various Disk mode pages, in the Disk
mode Make Audio CD page, and in the “Select Directory”
page menu dialog box of the Program, Combination,
Sequencer, and Sampling modes.
: Return to the beginning of
the track
16. EXB-PCM/ sample memory (RAM) slot cover
Open this cover to install EXB-PCM option boards, or to
install SIMMs to increase the sampling memory (RAM).
Up to seven EXB-PCM option boards can be installed, and
up to three SIMM sampling memory (RAM) boards can be
installed. (ꢀPG p.286)
5
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For details on handling floppy disks, refer to “Cautions
Eject button
To remove a floppy disk, make sure that the disk access
indicator is dark, and then press this button. If the disk is
not ejected when you press this button, do not attempt to
forcibly remove the disk, but contact your Korg distribu-
tor.
17 18 19
17. 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.
Eject button
Disk access
indicator
18. Floppy disk drive
3.5 inch 2DD (double-side double-density) or 2HD (dou-
ble-side high-density) floppy disks can be inserted here,
allowing you to save your edited data, or to load factory-
set data, SMF data, or multisample/ sample data, etc...
19. CDRW-1 drive bay
The CDRW-1 (CD-R/ RW drive) option can be installed in
this bay. (ꢀPG p.286)
Rear panel
2
7 8 9 10
12
1
11
5
6
4
3
tor, an insert effect, an individual drum part, or the metro-
nome 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.
1. AC power supply connector
Connect the included power supply cable here.
After connecting the power supply cable to the TRITON
2. [POWER] switch
4. AUDIO INPUT
These two audio inputs are used when recording a mono/
stereo sample from a mic or external audio source
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.
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 STUDIO provides four indi-
vidual audio outputs. The sound from each oscillator,
drum, timbre/ track, or insert effect can be freely routed to
AUDIO INPUT 1/ 2 jacks
These are unbalanced phone jacks.
(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.
[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.
(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, 4, 1/ 2, or 3/ 4, an oscilla-
6
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programs or combinations, or to start/ stop the sequencer
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 or 96 kHz (ꢀPG p.138).
Use an optical cable to connect this to the optical digital
input jack of a DAT or MD, etc.
PEDAL jack
An optional Korg EXP-2 or XVP-10 expression pedal can
Its function can be assigned in Global mode, allowing you
10. [Contrast adjustment] knob
The [VOLUME] slider does not adjust the output level of
this jack.
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.
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 or 96 kHz can be
input here. 96 kHz audio will be converted to 48 kHz.
(ꢀPG p.138)
11. EXB-DI (option)
OUT jack
This is an ADAT optical format digital output connector.
It outputs the six channels of the TRITON STUDIO’s
AUDIO OUTPUT jacks (MAIN) L/ MONO, R, (INDIVID-
UAL) 1, 2, 3, 4 (analog audio outputs) as digital audio
with a sampling rate of 48 kHz. These signals are output
as channels 1 through 6 of the ADAT optical format.
By connecting this to the DIGITAL IN jack of an ADAT
Optical format compatible mixer, amp, or recorder, you
can output the audio signal of the TRITON STUDIO in
digital form. Use an optical cable made by the Alesis Cor-
poration or an optical cable for CD/ DAT (both sold sepa-
The [VOLUME] slider does not adjust the output level of
this connector.
Use an optical cable to connect this jack to the optical digi-
tal output jack of a DAT or other device.
6. SCSI connector
This is a D-sub half-pitch 50 pin SCSI connector.
An external hard disk drive can be connected here and
used to sample or to save/ load data in the same way as
the internal hard disk drive. A CD-R/ RW can also be con-
nected here to create an audio CD or to save/ load data.
7. MIDI
MIDI THRU connector
48 kHz WORD CLOCK IN jack
Musical data and sound settings etc. that are received at
the MIDI IN connector are re-transmitted without change
from the MIDI THRU connector.
You can use this to connect multiple MIDI devices (ꢀPG
p.258).
Connect this to the WORD CLOCK OUT jack of an ADAT
Optical format compatible mixer or remote controller. Use
this when you want the connected device to be the word
clock master and the TRITON STUDIO to be the word
clock slave for synchronization. Use an BNC coax cable
made by the Alesis Corporation or a video BNC cable
(both sold separately) to make this connection.
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 STUDIO (ꢀPG p.258).
12. EXB-mLAN (option)
A special cable is used to connect mLAN-compatible
MIDI IN connector
Musical data and sound settings etc. are received at this
connector.
Use this to play the TRITON STUDIO from another MIDI
device connected to this port (ꢀPG p.258).
mLAN (IEEE 1394) 1, 2, 3 jacks
SERIAL I/ O connector
For details refer to the manual included with the EXB-
mLAN option.
8. DAMPER jack
What is mLAN?
An optional switch-type pedal such as the Korg DS-1H
damper pedal can be connected here.
mLAN is a new standard for musical instruments that uses the
general-purpose IEEE 1394 (“FireWire”) interface (a general-pur-
pose interface with a wide range of uses including current and dig-
ital AV devices) with a special transmission protocol for musical
data. It allows high quality digital audio and MIDI data to be simul-
taneously transmitted and received over a single cable. At a trans-
mission speed of 200 Mbps, approximately 100 channels of audio
data or 256 ports of MIDI data (i.e., 16 channels x 256 connectors)
can be transmitted and received over a single cable.
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
9. ASSIGNABLE
SWITCH jack
An optional on/ off foot switch such as the Korg PS-1 foot
mLAN provides unprecedented flexibility, allowing you to daisy-
chain up to 63 devices, and even to reconfigure the input and out-
put connections between devices without actually disconnecting
the mLAN cable. Even sophisticated setups in the studio or on
stage are made easy by mLAN.
Its function can be assigned in Global mode, allowing you
to use the foot switch as a modulation controller, to select
7
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Names and functions of objects in the LCD
screen
The TRITON STUDIOuses Korg’s TouchView graphical
user interface.
* Popup menu
Pin
By touching on objects displayed in the LCD screen, you
can select pages, set parameter values, rename programs
and combinations, write data, and perform many other
operations.
References in the TRITON STUDIO’s owner’s man-
ual to the “... button” or “... tab” refer to objects dis-
played on the LCD screen. References to the “[...]
key,” “[...] knob,” “[...] dial,” or “[...] slider” refer to
controls on the front or rear panel of the TRITON
STUDIO.
Scroll bar
e: (category) Popup button
i: Page menu button
a: Current page
Pin
This switches the popup menu display between locked
and unlocked.
b: Edit cell
d: Popup button (2)
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.
f: Check box
c: Popup button (1)
Scroll bar
Use this when you wish to see parameter values that
extend beyond what can be displayed in the screen at one
time.
g: Radio buttons
h: Tab
Press here to scroll to left or right.
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.
Press here and slide to left
or right to scroll to the
desired location.
Press here to scroll to
the corresponding
location.
Mode name
Page number
Page name
d: Popup button (2)
When you press this button, a tabbed popup menu will
appear, allowing you to perform the following selections.
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.
•
“Bank/ Program Select,” “Bank/ Combination Select”:
Select programs or combinations by bank
“Multisample Select”: Select a multisample for a
program oscillator by category (ROM multisamples
only)
•
•
“Category/ Effect Select”: Select an insert effect or
master effect by category
To close the tabbed popup menu, press the OK button
or Cancel button.
c: Popup button (1)
e: (Category) popup button
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.
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.
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
ON/ OFF button for Insert Effect and Mas-
ter Effect
Text edit button
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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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.
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.
3. Analog audio input connections
CD player,
analog record player, etc.
AUDIO OUTPUT/
AUX OUT etc.
Effect processor etc.
Mic
8. Installing options
5. Connecting pedals
EXB-mLAN
Option
ASSIGNABLE
SWITCH
PEDAL
Power Switch
DAMPER
AUDIO INPUT 1, 2
MIDI OUT
S/P DIF
OUT(MAIN)
SCSI
AUDIO OUTPUT (INDIVIDUAL)
(MAIN)
L/MONO
AC power supply
IN
4
3
2
1
R
1. Connecting the power cable
EXB-DI
Option
Power cable (Option)
to an AC outlet
Hard disk,
Removable disk,
CD-R/RW etc.
MIDI cable
7. Connections to
MIDI equipment/ computers
6. SCSI device connections
DIGITAL IN
DAT etc.
DIGITAL OUT
4. Digital audio
input/ output connections
2. Analog audio output
connections
Mixer
INPUT
PHONES
MIDI IN
STEREO AUX RETURNS AUX SEND
MIC6
T
APE
T
APE
MAIN OUTS
L
MIC1
MIC2
MIC3
MIC4
MIC5
1
1
2
INPUT
OUTPUT
L
MICRO SERIES 1402-VLZ
14-CHANNEL MIC/LINE MIXER
2
R
R
LEFT(1/MONO)
RIGHT
MONO
ALL BAL/UNBAL
BAL/UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
MONO
L
MONO
L
MONO
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
LO
W
CUT
LO
W
CUT
LO
W
CUT
LO
W
CUT
LO
W
CUT
LO
W
CUT
75Hz
75Hz
75Hz
75Hz
75Hz
75Hz
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
R
R
R
R
Monitor
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
TRIM
TRIM
TRIM
TRIM
TRIM
TRIM
LINE IN 7-8
LINE IN 9-10
LINE IN 11-12
LINE IN 13-14
OUTPUT
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
A
UX
U
U
U
U
A
UX
A
UX
A
UX
A
UX
A
UX
A
UX
A
UX
A
UX
A
UX
1
1
1
1
1
1
1
1
1
1
MON/
EFX
MON/
EFX
MON/
EFX
MON/
EFX
MON/
EFX
MON/
EFX
MON/
EFX
MON/
EFX
MON/
EFX
MON/
EFX
1
LL
+
1
0
0
+
1
5
+
1
5
+
1
5
+
1
5
+
1
5
+
1
5
+
1
5
+
1
5
+
1
5
+15
N
O
R
M
A
E
D
A
U
X 1 MA
S
T
E
R
2
2
2
2
2
2
2
2
PRE
POST
2
2
2
EFX
EFX
EFX
EFX
EFX
EFX
EFX
EFX
EFX
EFX
A
U
X
1
E
F
XT
O
A
U
X
2
0
+
1
5
+
1
5
+
1
5
+
1
5
+
1
5
+
1
5
+
1
5
+
1
5
+
1
5
+15
S
E
L
E
C
T
M
O
N
I
T
O
R
R
E
T
U
R
N
S
Powered monitors,
etc.
U
U
U
U
U
U
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
S
O
U
R
C
E
EQ
HI
EQ
HI
EQ
HI
LEFT
RIGHT
CLIP
INPUT
MAIN
MIX
+28
+10
+7
1
2
k
H
z
1
2
k
H
z
1
2
k
H
z
1
2
k
H
z
1
2
k
H
z
1
2
k
H
z
1
2
k
H
z
1
2
k
H
z
1
2
k
H
z
12kHz
-
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
AL
T
MID
MID
MID
MID
MID
MID
MID
2.5kHz
3-4
+4
+2
MID
MID
MID
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
2
.
5
k
H
z
2
.
5
k
H
z
-1
2
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
LOW
LOW
LOW
LOW
LOW
LOW
LOW
LOW
LOW
LOW
8
0
H
z
8
0
H
z
8
0
H
z
8
0
H
z
8
0
H
z
8
0
H
z
8
0
H
z
8
0
H
z
8
0
H
z
8
0
H
z
-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
+15
-
1
5
+
1
5
-
1
5
+
1
5
-
1
5
+15
ASSIGN
TO MAIN MIX
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
-
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
0dB=0dBu
1
2
3
4
5
6
7–8
MUTE
9–10
MUTE
11–12
MUTE
13–14
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
PHANTOM
CONTROL
POWER
PHONES
R
U
D
ES
O
L
OL
I
G
H
T
A
L
T
3
–
4
A
L
T
3
–
4
A
L
T
3
–
4
A
L
T
3
–
4
A
L
T
3
–
4
A
L
T
3
–
4
A
L
T
3
–
4
A
L
T
3
–
4
A
L
T
3
–
4
A
L
T
3
–
4
R
OOM
/
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
40
20
30
40
20
30
40
20
30
40
20
30
40
20
30
40
20
30
40
20
30
20
30
20
30
40
20
30
40
20
30
40
40
50
60
40
50
60
50
60
50
60
50
60
50
60
50
60
50
60
50
60
50
60
50
60
50
60
10
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1. Connecting the power cable
4. Digital audio input/ output con-
nections
Connect the included power cable to the AC power
supply inlet of the TRITON STUDIO, and then con-
nect the other end of the cable to an AC outlet.
Digital audio output
The same audio signal present at the TRITON STUDIO’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 or 96 kHz.
2. Analog audio output connec-
tions
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 STUDIO.
The [VOLUME] slider does not affect the volume of
this output jack.
If you play back the TRITON STUDIO through your
stereo audio system, be aware that high volumes may
damage your speakers. Be careful not to raise the vol-
ume excessively.
Digital audio input
TRITON STUDIO 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 or 96 kHz. This signal
can be input to the L and R channels, then sampled or pro-
cessed by the internal effects and output from the OUT-
PUT 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.
If the EXB-mLAN option is installed, digital audio
can be input/ output via the mLAN connector. If the
EXB-DI option is installed, digital audio can be out-
put via the DIGITAL OUT jack. (ꢀPG p.286)
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 STUDIO’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.
Headphones
If you are using headphones, connect them to the
headphone jack of the TRITON STUDIO.
The TRITON STUDIO’s headphone jack will output
the same signal as (MAIN) L/ MONO and R.
The function controlled by the foot pedal is specified in
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.
Foot switch connections
A foot switch controls sostenuto, soft pedal on/ off, arpeg-
giator on/ off, to select programs or combinations, and to
start/ stop the sequencer 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
251)
3. Analog audio input connec-
tions
You can input external analog audio sources, and sample
them or process them with the internal effects and output
them from the OUTPUT jacks.
Damper pedal connections
Connect mics or the OUTPUT jacks of your external
audio equipment to the AUDIO INPUT 1 and 2 jacks.
This pedal applies a piano style damper effect as you play.
Connect an optional footswitch to the DAMPER jack of
the TRITON STUDIO. 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.137, 146)
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6. SCSI device connections
7. Connections to MIDI equip-
ment/ computers
By connecting an external SCSI device such as a hard disk
drive or CD-R/ RW drive to the SCSI connector, you can
manage large amounts of data on devices other than the
internal hard drive. If a hard disk drive is connected, it
can also be specified as the destination when sampling.
Connections to MIDI equipment
The keyboard, controllers, and sequencer etc. of TRITON
STUDIO can be used to control an external MIDI tone
generator. Conversely, another MIDI keyboard or
sequencer can control the tone generator of TRITON STU-
DIO to produce sound.
ꢀ For details on connecting SCSI devices, refer to PG
p.298.
Use MIDI cables to connect the MIDI connectors of
TRITON STUDIO with the MIDI connectors of your
external device.
About SCSI devices that can be used with the TRI-
TON STUDIO
ꢀ PG p.258 “MIDI applications – Connecting MIDI
•
To store data, the TRITON STUDIO can use either
DOS-formatted SCSI disks or UDF-formatted CD-R/
RW discs.
deveices/ computers”
•
In some cases it will not be possible to use a DOS-
format or UDF-format disk that was formatted on a
personal computer. As far as possible, please use the
TRITON STUDIO to format the disc.
The TRITON STUDIO can use MO disks of 128
Mbytes, 230 Mbytes, 540 Mbytes, 640 Mbytes, and 1.3
Gbyte capacities.
Connections to a computer
Your performance on the TRITON STUDIO, as well as
controller and sequencer data, can be sent to a computer
(connected via MIDI interface), and the tone generator of
TRITON STUDIO can be played from the computer.
•
Use a MIDI interface to connect the MIDI connectors
of TRITON STUDIO to the MIDI connectors of your
computer.
ꢀ PG p.258 “MIDI applications – Connecting MIDI
deveices/ computers”
Some USB-MIDI interfaces may not be able to trans-
mit or receive the TRITON STUDIO’s MIDI exclusive
messages.
If the EXB-mLAN option is installed, MIDI messages
can be exchanged via the mLAN connector between
the TRITON STUDIO and an external mLAN-com-
patible MIDI device or a FireWire-capable Macintosh
computer. For details on connections, refer to the
“EXB-mLAN owner ’s manual” included with the
EXB-mLAN option.
At present, a TRITON STUDIO MIDI data dump sent
via the EXB-mLAN option to a computer cannot be
recorded or played back by an OMS-compatible
application. (The same applies to the TRITON-Rack.)
8. Installing options
The functionality of the TRITON STUDIO can be
extended by installing option boards and/ or sample
memory. The following six types of options can be
installed. For details on installation, refer to PG p.286.
•
•
•
•
•
•
EXB-MOSS (DSP synthesizer board)
EXB-DI (Digital interface board)
EXB-mLAN (mLAN interface board)
CDRW-1 (CD-R/RW drive)
EXB-PCM series (PCM expansion boards)
DRAM SIMM (Memory boards for sample data)
12
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Basic concepts
The following multisamples are available for the oscil-
lator.
Overview of the modes
•
•
429 internal multisamples (ROM, Piano)
Expanded multisamples (when one or more EXB-
PCM series board are installed)
The TRITON STUDIO 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 disk. The largest unit used to
organize these functions is called a mode.
•
•
Multisamples (RAM) that you sampled on the
TRITON STUDIO or loaded in from media
Create drum programs using a drum kit (created in
Global mode)
The TRITON STUDIO has seven modes.
Program mode
Combination mode
•
Select and play programs
•
Select and play combinations
You can choose programs from rewritable banks INT-
A–INT-F and EXB-A–EXB-G which contain a total of
1,664 programs, and non-rewritable bank INT-G (256
programs compatible with the GM2 standard, and nine
drum programs).
A combination is a set of two or more programs (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
INT-A–INT-E and EXB-A–EXB-G which contain a total
of 1,536 combinations.
(The 128 programs of bank INT-F can be selected only
if the EXB-MOSS option has been installed.)
•
•
Sample or resample.
•
•
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.
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.
Edit a program
Make settings for the oscillator, filter, amp, EG, LFO,
effects, and arpeggiator.
Edit a combination
Make settings for volume, pan, layer/ split etc. for each
timbre (program), and make settings for effects and the
two arpeggiators.
SAMPLING MODE
AUDIO INPUT AUDIO INPUT
1
2
S/P DIF IN
L
S/P DIF IN
R
mLAN IN
1
mLAN IN
2
PROGRAM
OSC 1
Multisample
Insert / Master Effect
Multisample - H
Drum Kit
Sample
IFX 1
IFX 2
IFX 3
IFX 4
IFX 5
MFX 1
MFX 2
Insert Effect
IFX 1
Resampling
Multisample - L
Sample
Sample
IFX 4
IFX 5
IFX 2
PITCH1 FILTER1 AMP1
MEQ
IFX 3
OSC 2
Multisample - H
Multisample - L
Arpeggiator
Sample
PITCH2 FILTER2 AMP2
COMBINATION
GLOBAL MODE
DRUM KIT
Insert /Master Effect
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
IFX 1
IFX 2
IFX 3
IFX 4
IFX 5
MFX 1
MFX 2
Drumsample / Sample - H
Drumsample / Sample - L
Analog Audio
MEQ
ARPEGGIATOR PATTERN
CDRW-1
Ripping
Arpeggiator - A
Preset Arpeggio
Pattern: P0 - 4
User Arpeggio
Pattern: U00 - 231
Arpeggiator - B
CD-ROM
Write Audio CD
SEQUENCER / SONG PLAY
DISK MODE
Insert /Master Effect
TRACK 9
TRACK 10
TRACK 11
TRACK 12
TRACK 13
TRACK 14
TRACK 15
TRACK 16
PROGRAM
PROGRAM
TRACK 1
TRACK 2
TRACK 3
TRACK 4
TRACK 5
TRACK 6
TRACK 7
TRACK 8
PROGRAM
PROGRAM
IFX 1
IFX 2
IFX 3
IFX 4
IFX 5
MFX 1
MFX 2
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
MEQ
Only SEQ
Hard Disk
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
Arpeggiator - A
Arpeggiator - B
Resampling
13
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•
Create drum kits using the 417 internal drumsamples
(ROM). You can also use drumsamples from an
optional EXB-PCM series board (if installed), or
samples (RAM) that you created in Sampling mode.
Sequencer mode
•
Use the 16-track sequencer to record and playback
songs.
•
Sample or resample.
•
•
Rename program and combination categories.
You can sample an external input source while listen-
ing to the song play back. You can also cause a corre-
sponding note event to automatically be created at this
time, allowing you to sample an external source just as
if you were recording an audio track. (The In-Track
Sampling function.)
The playback of a song can also be resampled. After
resampling one or more songs to the hard disk, you can
use Disk mode to create an audio CD from those songs.
Set the function of the assignable pedals and
assignable switches.
•
Transmit data dumps of MIDI exclusive data.
Disk mode
•
Data of each mode can be saved and loaded using the
floppy disk drive, the internal hard drive, the CDRW-1
option or an external SCSI device.
•
•
Make effect settings for the song.
•
•
Format the above types of media. You can also
manage data by copying it, etc.
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 STUDIO can be used as a 16-track
multitimbral tone generator.
WAVE files can be edited (arranged in the desired
song order) to create an audio CD. Audio CDs can also
be played.
Record patterns and assign them to individual keys,
using the RPPR (Realtime Pattern Play/ Recording)
function.
•
Perform using the RPPR (Realtime Pattern Play/
Recording) function, and adjust the various settings.
Song Play mode
•
SMF (Standard MIDI File) data can be played back
from a floppy disk, the internal hard drive, or an
external SCSI device, and you can perform along with
the playback.
•
•
Make effect settings for use in Song Play mode.
The arpeggiator can be used while you play along
with the SMF playback.
•
SMF songs can be played back in succession.
You can use the jukebox function to playback songs in
any specified order.
Sampling mode
•
Sample external audio sources (i.e., record samples).
Insert effects can be applied to the external input sound
while you sample.
•
Edit the waveform data you sampled or waveform
data that you loaded in 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.
•
Sample digital data (“rip”) directly from an audio CD.
You can also play back audio CDs.
Global mode
•
Make settings that affect the entire TRITON STUDIO,
such as master tune and global MIDI channel.
•
Create user drum kits (144 kits), user arpeggio
patterns (507 patterns), and user scales (16 one-octave
scales and 1 all-note scale).
14
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About polyphony
Number of voices in each mode
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
The oscillators of the TRITON STUDIO are sounded by
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/ Drum-mode
Normally, 60 voices can be used.
Tone Generator 1
However a maximum of 120 voices will be available if, for
example, ROM or RAM is used for the High MS, and
Piano or EXB-PCM 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 mode
Normally, 30 voices can be used.
•
•
Piano: Internal Piano PCM ROM (16 Mbytes)
EXB-PCM: Expansion PCM ROM (16 Mbytes each;
maximum of 7 boards totaling 112 Mbytes)
However if OSC1 is sounded by one tone generator and
OSC2 is sounded by the other tone generator (e.g.,
OSC1=ROM, OSC2=Piano), a maximum of 60 voices can
be used. If OSC1 and OSC2 use one tone generator (e.g.,
OSC1=ROM, OSC2=ROM), then a maximum of 30 voices
can be used.
PCM memory
PCM memory
Piano (Internal Piano PCM ROM) 16 Mbytes
ROM (Internal PCM ROM)
32 Mbytes
EXB-PCM (Expansion PCM ROM Slot1)16 Mbytes
EXB-PCM (Expansion PCM ROM Slot2)16 Mbytes
EXB-PCM (Expansion PCM ROM Slot3)16 Mbytes
EXB-PCM (Expansion PCM ROM Slot4)16 Mbytes
EXB-PCM (Expansion PCM ROM Slot5)16 Mbytes
EXB-PCM (Expansion PCM ROM Slot6)16 Mbytes
EXB-PCM (Expansion PCM ROM Slot7)16 Mbytes
This can also be increased by velocity switch and velocity
zone settings.
RAM
96 Mbytes*
(User sample memory)
Combination, Sequencer, and Song Play modes
Depending on the oscillator mode of the programs you
are using, the maximum number will vary between 60
voices and 120 voices.
* = Expandable to a maximum.
Factory settings is 16 Mbytes
(Example)
For single-mode programs that use ROM or RAM, a total
maximum of 60 voices
For single-mode programs that use Piano or EXB-PCM, a
total maximum of 60 voices
Tone Generator 1
Tone Generator 2
Total 120 voices
For double-mode programs that use ROM or RAM, a total
maximum of 30 voices
For double-mode programs that use Piano or EXB-PCM, a
total maximum of 30 voices
Total 60 voices
Maximum 60 oscillators
Maximum 60 oscillators
Sampling mode
Total maximum 120 oscillators
Tone generator 1 is always used in Sampling mode.
Mono samples/ multisamples
60 voices.
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.
Stereo samples/ multisamples
30 voices.
However, it is not possible, for example, to simulta-
neously play 61 or more oscillators from only the internal
PCM ROM.
15
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Basic operation
1. Selecting modes
In order to use a particular function on the TRITON
STUDIO, you must first select the appropriate mode.
Press one of the front panel mode keys ([COMBI] key
– [DISK] key) to enter the corresponding mode.
3In the LCD screen, press the desired page.
[COMBI] key:
[PROG] key:
[SEQ] key:
[SAMPLING] key:
[S.PLAY] key:
[GLOBAL] key:
[DISK] key:
Combination mode
Program mode
Sequencer mode
Sampling mode
Song Play mode
Global mode
You will jump to the selected page, and it will appear
in the display. As an example here, press P1: Edit-Basic.
•
•
•
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.
Disk mode
2. Selecting pages
Each mode has a large number of parameters, which are
grouped into pages.
These are further subdivided by tabs into up to eight tab
pages.
1Make sure that the desired mode is selected.
When you press the [EXIT] key, you will return to P0
from any page.
To select a mode, press the appropriate mode key
([COMBI] key – [DISK] key).
Here we will use Program mode as an example for our
explanation. Press the [PROG] key.
4Press one of the tabs located at the bottom of the
page.
As an example here, press the OSC Basic tab which is
the second from the left.
2Press the [MENU] key.
The page jump menu will
appear.
•
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.
In Disk mode there is only one page, so the page
jump menu will not appear.
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BANK [INT-A]–[INT-G], [EXB-A]–[EXB-G] keys
3. Setting a parameter
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 select-
ing a parameter value, or by holding down the [ENTER]
key and playing a note on the keyboard to input a note
number or velocity value.
The BANK [INT-A]–[INT-G], [EXB-A]–[EXB-G] 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.
VALUE controllers
[COMPARE] key
[VALUE] slider
Use this when you wish to make major changes in the
value.
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).
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).
When editing a program or combination, press this key.
The LED will light, and the last-written settings for that
program number or combination number will be recalled.
When you press the [COMPARE] key once again, the LED
will go dark and you will return to the settings that you
were editing.
If you edit the settings that are recalled by pressing the
[COMPARE] key (i.e., the settings that are written into
memory), the LED will go dark, and it will not be possible
to return to the previous edits by pressing the [COM-
PARE] key again.
[
][
] keys
Use these when you wish to make small changes in the
value.
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 track. (Take 1)
[VALUE] dial
2Once again, realtime-record on the same track. (Take 2)
Use this when you wish to make large changes in a value.
3Press the [COMPARE] key. The LED will light, and
take 1 will be recalled.
Numeric keys [0]–[9], [ENTER] key, [–] key,
[./ 10’s HOLD] key
Use these when you know the parameter value that you
wish to input.
After using the numeric keys [0]–[9] to input a number,
press the [ENTER] key to finalize the parameter value.
Use the [–] key to enter negative numbers.
Use the [./ 10’s HOLD] key to enter a decimal point.
In Program and Combination mode P0: Play page other
than the Sampling page, the [./ 10’s HOLD] key performs
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.
The Compare function is not available Sampling,
Song Play, Global, or Disk modes.
17
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Popup buttons and popup menus
You can press a popup button to access a popup menu,
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.
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Quick Start
Turning the power on/ off
Before you turn on the power, make sure that the
desired connections have been made as described in
•
•
•
Writing (updating) a Program, Combination, Global
Setting, Drum Kits, or Arpeggio Patterns
Loading Program, Combination, Global Setting, Drum
Kit, or Arpeggio Patterns data in Disk mode
Receiving a MIDI data dump for Program,
Combination, Global Setting, Drum Kit, or Arpeggio
Patterns
When using Sampling mode page menu commands
(“Move Sample,” “Move MS,” “Convert To Program,”
“Time Slice,” etc.) to simultaneously modify programs
or drum kits.
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.
When sampling to RAM in Program, Combination, or
Sequencer mode, if you simultaneously convert the
sample to a program.
(The following graphic shows the factory-set LCD
screen. The version number is subject to change with-
out notice.)
Never turn off the power while the hard disk or other
media is being accessed. If you turn off the power
while media is being accessed, the media may
become unusable.
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
)
Information displayed in the LCD screen when var-
ious options or SIMM modules are installed
2Turn on your powered monitors or stereo amp.
The TRITON STUDIO allows you to install separately
sold options or sample memory (RAM) boards.
3Raise the TRITON STUDIO’s [VOLUME] slider to an
appropriate level, and adjust the volume of your
powered monitors or stereo amp.
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.286)
If an external SCSI device is connected, turn on the
power of the external SCSI device and then wait ten
seconds or longer before you turn on the power of the
TRITON STUDIO.
OPTIONS
CDRW-1: The CDRW-1
option is installed.
EXB-MOSS: The EXB-MOSS
option is installed.
EXB-DI: The EXB-DI option is
installed.
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
EXB-mLAN: The EXB-mLAN option is installed.
amp.
3Press the TRITON STUDIO’s [POWER] switch to
SIMM
turn off the power.
Slot 1...3 (** MB): Sample memory (RAM)’s are installed
in SIMM slots 1–3. The capacity of each SIMM is shown in
parentheses. When shipped from the factory, a 16 MB
SIMM is installed in SIMM slot 1.
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 STUDIO
will automatically initialize its internal memory so
that it will operate correctly. This is not a malfunction.
EXB-PCM
Slot 1...7 (****): PCM expansion boards are installed in
EXB-PCM series slots 1–7. The model number of each
board is shown in parentheses.
While data is being written, the LCD screen will indi-
cate “Now writing into internal memory.” Data is writ-
ten into internal memory by the following operations.
19
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Listening to a demo song
Here’s how to listen to demo songs on the TRITON STU-
8Check the data that you want to load along with the
DIO.
song.
This section explains how the demo song data can be
loaded from the internal hard drive using the Disk mode,
and played back in Sequencer mode.
In this case, make the settings shown below.
We will explain how to play back songs individually, or
consecutively using the Cue List function.
1. Loading the demo song data in
Disk mode
•
•
Check “Load PRELOAD.PCG too”
If this is checked, the .PCG file will be loaded along
with the .SNG file when you execute the Load opera-
tion.
Check “Load PRELOAD.KSC too”
If this is checked, the .KSC file will be loaded along
with the .SNG file when you execute the Load opera-
tion.
1Press the [DISK] key (the LED will light).
You will enter Disk mode.
2Press the Load tab.
The Disk, Load page will appear.
3Press the drive select popup button, and select HDD:
(internal hard drive) which is the second from the
bottom in the popup menu.
The “Select .SNG Allocation” radio buttons specify
how the song data will be loaded into internal memory.
For this example, select Clear.
File information for the internal hard disk will be dis-
played.
4Press the FACTORY directory, and then press the
The “Select .KSC Allocation” radio buttons specify
how the sample data will be loaded into sample mem-
ory (RAM). For this example, select Clear.
Open button.
You will move to the next lower directory.
5Press “PRELOAD.SNG.”
If you load with “Select .KSC Allocation” set to Clear,
the sample data will be loaded from the beginning of
the sample memory (RAM) area.
The display will be highlighted. This is the demo song
data.
If you load with “Select .KSC Allocation” set to
Append, the sample data will be loaded into the
unused portion of the sample memory (RAM).
6
5
If sample memory (RAM) already contains sample
data that you do not wish to lose, either select
Append, or save the sample data to a internal hard
3
Drive
Select
9Press the OK button.
The data will be loaded in the order of PRE-
LOAD.PCG, PRELOAD.SNG, and PRELOAD.KSC.
2
6Press the page menu button.
The page menu commands will be displayed.
7Press “Load selected.”
A dialog box will appear.
20
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If the last step is End, playback will stop automatically
when it reaches that point. If the last step is Continue
to Step01, playback will return to the first step and
continue.
2. Selecting and playing a dem-
onstration song in Sequencer
mode
1Press the [SEQ] key (the LED will light).
You will enter Sequencer mode.
Song
Select
Popup
button
Contents of the disk
The internal hard drive contains the following data.
The included TNSFD-00P floppy disk contains the same
data as the PRELOAD.PCG file in the internal hard drive.
2Access the P0: Play/REC, Program T01–08 page.
If this is not already displayed, press the [EXIT] key
and then press the Prog. 1–8 tab.
PRELOAD.PCG
•
Preloaded data (programs, combinations, drum kits,
arpeggio patterns, global settings)
3Select the demonstration song that you want to play
back.
•
Program data (programs using the sampling function)
used by the demonstration songs
Press the “Song Select” area to highlight the song
name.
Use the numeric keys to input a song number, and
press the [ENTER] key.
For example to select the second song, press numeric
key [1] and then press the [ENTER] key. (Song “S001”
will be selected.)
When you load PRELOAD.PCG, it will be written
into internal memory. This data is preserved even if
the power is turned off.
When you load PRELOAD.PCG, the data existing in
the TRITON STUDIO before loading this data will be
replaced. If you wish to keep this data, you must first
Alternatively, you can select a song from the popup
menu.
Press the “Song Select” popup button to access the
popup menu. In the popup menu, press the song that
you want to play back. The popup menu will close,
and the selected song will be displayed.
PRELOAD.SNG
•
Demonstration song and demonstration cue list data
When you load PRELOAD.SNG, it will be written
into internal sequencer memory. This memory is vol-
atile, and the data will be lost when the power is
turned off.
4Press the SEQUENCER [START/STOP] key.
The LED will blink and the selected song will play.
5If you wish to stop playback, press the SEQUENCER
Whether or not previously-written data will be
erased when you load PRELOAD.SNG is determined
by the “Select .SNG Allocation” setting. Refer to step
[START/STOP] key once again.
Playing a cue list
PRELOAD.KSC
•
Sample program data used by the demonstration
songs
Here’s how to playback the demonstration cue list. A cue
list allows you to playback multiple songs in succession,
and specify the number of times that each song will be
repeated.
When you load PRELOAD.KSC, its multisample/
sample data will be written into the TRITON STU-
DIO’s sample memory (RAM). This data will be lost
when the power is turned off.
1Press the [MENU] key.
The LCD screen will show a list of the pages in
Sequencer mode.
Whether or not previously-written data will be
erased when you load PRELOAD.KSC is determined
by the “Select .KSC Allocation” setting. Refer to step
2Press either “P1: Cue List” or numeric key [1].
The P1: Cue List page will appear.
3Press the SEQUENCER [START/STOP] key.
4To stop playback, press the SEQUENCER [START/
STOP] key once again.
21
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Selecting and playing a program
In Program mode you can select and play a program from
banks INT-A–EXB-G. Here we will show how to select
In Program mode, you can switch banks to select pro-
preset programs.
Selecting the program bank
grams from another bank.
With the factory settings, banks INT-A–INT-D contain
Try selecting various programs and hear how they sound.
preloaded programs, and banks G, g(1)–G(9), and g(d)
contain preset programs. (ꢀtable below)
5Press a PROG BANK [INT-A]–[EXB-G] key to select a
Selecting a program
bank.
The LED will light, and the selected bank will be dis-
1Press the [PROG] key (the LED will light).
played in the left of the LCD screen. For example to
You will enter Program mode. Make sure that the
select bank INT-B, press the BANK [INT-B] key. (The
upper line of the LCD screen indicates “PROGRAM P0:
Play.”
If this is not selected, press the [EXIT] key.
[INT-B] key’s LED will light, and the upper left of the
LCD screen will indicate Bank INT-B.)
Bank
INT-A...INT-D (I-A...I-D)
INT-E (I-E)
Prog. No.
Explanation
Category
popup button
000...127 Preloaded programs (ꢀVNL)
000...127 User programs (e.g., pro-
grams that use samples you
created)
Program
Select
INT-F (I-F)
G
000...127 EXB-MOSS programs
001...128 GM2 basic programs
Popup button
(ꢀVNL)
g(1)...(9)
g(d)
(ꢀVNL)
GM2 variation programs
GM2 drum programs
(ꢀVNL)
EXB-A...EXB-H (E-A...E-H) 000...127 User programs, EXB-PCM
series programs
INT-A...INT-D
Selecting a program number
With the factory settings, these banks contain a wide
variety of preloaded programs that use the internal
PCM ROM multisamples, effects, and arpeggio pat-
terns.
2Make sure that “Program Select” is selected.
If this is not selected, press “Program Select” to high-
light it.
INT-E
3Use the VALUE controllers to select the program that
This bank is used to store programs that you created,
for example from samples that you created.
you wish to play.
You can use the following methods to select a program.
INT-F
•
•
•
Turn the [VALUE] dial.
Press the [ ] or [ ] key.
Use numeric keys [0]–[9] to specify the number,
and press the [ENTER] key.
This can be selected only if the EXB-MOSS option is
installed. If the option is not installed, INT-F cannot be
selected.
G, g(1)...g(9), g(d)
4Audition the sound.
These banks contain 128 capital programs, 128 varia-
tion programs, and 9 drum programs, all compatible
with the GM sound map. The programs of these banks
are all read-only. These programs are preset programs.
Each time you press the [G] key, the bank will change
in the following order.
Play a note on the keyboard to hear the sound you
selected.
Try operating various controllers to hear how the
G→g(1)→g(2)→g(3)→g(4)→g(5)→g(6)→g(7)→g(8)→
g(9)→g(d)→G...
(The LED will light, and the corresponding bank G,
g(1)–g(9), g(d) will be displayed in the upper left of the
LCD screen.)
EXB-A...EXB-G
With the factory settings, these banks do not contain
programs. These banks are used to load programs for
the EXB-PCM series options, or they can be used to
hold programs that you create.
128 programs can be written or rewritten to each bank
INT-A–INT-E, EXB-A–EXB-G (for a total of 1,536).
ꢀ For details of the program names etc., refer to “VNL”
(Voice Name List).
22
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In the graphic, bank G is selected. The center area
shows the programs contained in that bank.
Selecting programs by category
You can select programs by category such as keyboard,
organ, bass, and drums.
With the factory settings, the preloaded programs and
preseted program are organized into sixteen categories.
You can choose a category, and then select from the pro-
grams in that category.
The Variation button will be displayed only when
bank G is selected. Each time you press this button,
the bank will change in the order of
G→g(1)→g(2)...g(8)→g(9)→G...
2Press the tabs located at the left and right to select
banks.
1Press the Category popup button.
3Press program names in the center area to select pro-
A tabbed “Category/ Program Select” popup menu
will appear.
grams.
The selected program will be highlighted.
4When you are satisfied with the selected program,
press the OK button to close the popup menu.
If you press the Cancel button, the selection you made
here will be discarded, and you will return to the pro-
gram that had been selected before you opened the
popup menu.
Using 10’s HOLD to select programs
If you press the [./ 10’s HOLD] key to turn on the 10’s
Hold function (the LCD screen will indicate
In the above graphic, category 15: Drums is selected.
The center area shows the programs contained in that
category.
), 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.
2Press the tabs located at the left and right to select a
different category.
The name of the selected category will be displayed in
full in the upper right.
1Press the [./10’s HOLD] key to make the display indi-
3Press a program name in the center area to select a
cate
.
program.
The ten’s place of the program number will be held
(fixed).
The selected program will be highlighted.
If you wish to change a program to be in a different
category, you can choose the new category in the dia-
names can be changed in “Category Name” (Global
P4).
4When you are satisfied with the selected program,
press the OK button to close the popup menu.
If you press the Cancel button, the selection you made
here will be discarded, and you will return to the pro-
gram that had been selected before you opened the
popup menu.
2By pressing a numeric key [0]–[9], you can input the
one’s place in a single action.
3You can use the [ ][ ] keys to change the value of
ten’s place.
Selecting programs from the “Program Select”
4To cancel the 10’s HOLD function, press [./10’s
popup menu
You can select programs from a list organized by program
bank.
HOLD] to erase the
display.
1Press the “Program Select” popup button.
Using a connected switch to select programs
A tabbed “Bank/ Program Select” popup menu will
appear.
An optional on/ off-type switch (such as the Korg PS-1)
can be connected to the rear panel ASSIGNABLE
SWITCH jack, and assigned a program select function.
Selecting programs from a MIDI device
MIDI program change messages can be transmitted from
an external MIDI device, and received by TRITON STU-
DIO to select programs.(ꢀPG p.260)
23
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Selecting and playing a combination
In Combination mode you can select and play a combina-
tion from banks INT-A–EXB-G.
Try selecting various combinations and hear how they
sound.
INT-A...INT-D
With the factory settings, these banks contain a wide
variety of preloaded combinations that use multiple
programs, effects, and arpeggio patterns.
INT-E
With the factory settings, this bank does not contain
combinations. This bank can be used to load combina-
tions that use programs of the EXB-MOSS option, or to
store combinations that you created.
Selecting a combination
1Press the [COMBI] key (the LED will light).
EXB-A...EXB-G
You will enter Combination mode. Make sure that the
upper line of the LCD screen indicates “COMBINA-
TION P0: Play.”
With the factory settings, these banks do not contain
combinations. These banks can be used to load combi-
nations that use programs of the EXB-PCM option
boards, or to store combinations that you have created.
If this is not selected, press the [EXIT] key.
Category
popup button
128 programs can be written or rewritten to each bank
INT-A–INT-E, EXB-A–EXB-G (for a total of 1,536).
Combination
Select
ꢀ For details of the combination names etc., refer to
“VNL” (Voice Name List).
Popup button
Bank/Program
(Program Select)
Selecting combinations by category
You can select combinations from any of the sixteen cate-
gories in the same way as for programs.
With the factory settings, all the preloaded combinations
are organized into sixteen categories. You can choose a
category, and then select from the combinations in that
category.
Selecting a combination number
2Make sure that “Combination Select” is selected.
If this is not selected, press “Combination Select” to
highlight it.
Using 10’s HOLD to select combinations
3Use the VALUE controllers to select the combination
You can fix the ten’s place of the combination number, so
that a combination can be selected simply by pressing a
numeric key once to change the one’s place.
that you wish to play.
4Audition the sound.
Play a note on the keyboard to hear the sound you
selected.
Try operating the various controllers and listen to how
Using a connected switch to select combinations
An optional on/ off type foot switch such as the Korg PS-1
can be connected to the rear panel ASSIGNABLE
Selecting the combination bank
In Combination mode, you can switch banks to select
combinations from another bank.
With the factory settings, banks INT-A–INT-D contain
combinations. (ꢀtable below)
Selecting combinations from a MIDI device
MIDI program change messages can be transmitted from
an external MIDI device, and received by TRITON STU-
DIO to select combinations. (ꢀPG p.260)
5Press a COMBI BANK [INT-A]–[EXB-G] key to select
a bank.
The LED will light, and the selected bank will be dis-
played in the left of the LCD screen. For example to
select bank INT-C, press the BANK [INT-C] key. (The
[INT-C] key will light, and the upper left of the LCD
screen will indicate Bank INT-C.)
Bank
INT-A...INT-D (I-A...I-D)
INT-E (I-E)
Prog. No.
Explanation
000...127 Preloaded combinations
000...127 User combinations, EXB-
MOSS combinations
EXB-A...EXB-G
000...127 User combinations, EXB-
PCM series combinations
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Using controllers to modify the sound
The TRITON STUDIO provides various controllers – a
joystick, the ribbon controller, the SW1 and SW2 switches,
Ribbon controller
and the REALTIME CONTROL [1], [2], [3], [4] knobs –
that let you modify the tone, pitch, volume, or effects in
realtime while you play.
－X
0
＋X
Each time you select a program or combination, try out
these controllers to hear how they affect the sound.
Tonal changes etc. produced by these controllers can
be recorded on the internal sequencer or on an exter-
nal MIDI sequencer.
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.
Joystick
You can use the ribbon controller as a source for alter-
nate modulation or effect dynamic modulation, to
control program parameters or effect parameters.
＋Y
－X
＋X
－Y
SW1, SW2
JS(+X): Move the joystick toward the right to apply an
effect. Normally this is used to control the pitch
(bend up).
JS(–X): Move the joystick toward the left to apply an
effect. Normally this is used to control the pitch
(bend down).
JS(+Y): Move the joystick away from yourself to apply
an effect. Normally this is used to control the
oscillator LFO (vibrato).
JS(–Y): Move the joystick toward yourself to apply an
effect. Normally this is used to control filter
LFO (wah).
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-
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.
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.
In Program mode, the function of the [SW1] and
[SW2] keys can be checked in the P0: Play, Perfor-
You can use the joystick as a source for alternate mod-
ulation or effect dynamic modulation, to control pro-
gram parameters or effect parameters.
When you write a program or combination, the on/
off status of the [SW1] and [SW2] keys is saved.
For details on making these settings, refer to “Setting
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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. For details on the [SW1] and [SW2]
switch functions, refer to PG p.249.
The Lock function
Joystick
1Select program bank INT-A001: Acoustic Piano, and
play the keyboard.
To select a program, make sure that you are in Program
mode, and press the BANK [INT-A] key, numeric key
[1], and then the [ENTER] key.
2Move the joystick toward yourself (the –Y direction).
REALTIME CONTROLS [1], [2], [3], [4]
The modulation will deepen, and at the same time, res-
onance will be applied to give a unique character to the
sound.
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.
3While holding the joystick toward yourself, press the
[SW2] switch (The [SW2] key LED will light).
1Press the [REALTIME CONTROLS] key to
switch the function of the realtime controllers to A-
mode or B-mode.
The modulation effect at this point will be maintained.
(Lock function)
Each time you press the key, A-mode or B-mode will be
alternately selected, and the corresponding LED will
light.
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.
A-mode controls
In A-mode, knobs [1]–[4] will control/ edit the following
functions.
5Press the [SW2] key once again to release the Lock
function.
Ribbon controller
Make sure that the INT-A001: Acoustic Piano program is
selected.
Placing the knobs in the center (12 o’clock) position
will produce the values specified by the program
parameters.
1Press the [SW2] key. (The [SW2] key LED will light.)
Knob [1]: LPF CUTOFF
2Touch the ribbon controller, and move your finger to
Adjusts the cutoff frequency of the low pass filter.
When you adjust the cutoff frequency of the filter, the
brightness of the sound will change. The effect will
depend on the settings of the program parameters, but
normally, rotating the knob toward the left will darken the
sound, and rotating it toward the right will brighten it.
left and right.
Movement in the +X direction will brighten the tone,
and movement in the –X direction will darken the tone.
3Take your finger away from the ribbon controller.
The sound will remain as it was before you removed
your finger. (Lock function)
Level
4Press the [SW2] key once again to release the Lock
function.
LPF
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.249). The key will
operate in Toggle mode.
Frequency
Low
High
Cutoff
frequency
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.
Knob [2]: RESONANCE/ HPF
Adjust the resonance level of a low pass filter or the cutoff
frequency of a high pass filter.
The content that is controlled will depend on the filter
type specified by the program.
By adjusting the filter resonance level, you can increase or
decrease the resonance level to add a unique character to
the sound.
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.
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Viewing the parameters that are assigned to
[SW1], [SW2] keys, and the REALTIME CONTROLS
B-mode
In Program mode, the B-mode functions of the REAL-
TIME CONTROLS knobs [1], [2], [3], and [4] and [SW1]/
[SW2] keys can be verified in the P0: Play, Performance
Edit page.
Adjusting the cutoff frequency of the high-pass filter will
modify the fullness of the sound from which the low fre-
quency range has been filtered out.
Level
Functions assigned to
the B-mode knobs [1]–[4]
LPF
HPF
Functions assigned to the
[SW1] and [SW2] keys
Cutoff
frequency
Knob [3]: EG-INTENSITY
Adjust the filter EG intensity (the depth at which the filter
EG is applied).
Rotating the knob will affect the depth of the filter EG.
Normally, rotating the knob toward the left will make the
filter EG apply less deeply, and rotating it toward the right
will make the filter EG apply more deeply. Since the filter
EG will operate based on the cutoff frequency of the filter,
knobs [1] and [3] will work together to control the tonal
changes produced by the filter.
[VALUE] slider
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.
Level
Time
Keyboard
Knob [4]: EG-RELEASE
Adjusts the release times of the filter EG and the amp EG.
This will determine the amount of time from note-off until
the sound disappears.
When you adjust the knob, the release times of the filter
EG and the amp EG will change. Normally, rotating the
knob toward the left will shorten the release time, and
rotating it toward the right will lengthen the release time.
Velocity
The force with which you initially strike a note can apply
an effect.
Normally this is used to control volume, or the speed or
sensitivity of the EG.
After Touch
This effect can be applied by varing the pressure on a key
that is already being held down.
note-on
Attack Level
note-off
Break Level
Level
Normally this is used to control volume, tone (cutoff fre-
quency), or LFO sensitivity etc.
Release Level
Time
Sustain Level
Note Number
Release Time
Slope Time
Decay Time
Attack Time
Varing amounts of an effect will be applied depending on
the position of the key on the keyboard.
Start Level
Normally this is used to control volume, tone (cutoff fre-
quency), LFO sensitivity, and EG sensitivity etc.
B-mode controls
Using these knobs, you can control parameters such as
volume, portamento time, pan or filter and amp EG, pitch
LFO, and master effect send levels etc.
This can be used as a source for alternate modulation
or effect dynamic modulation, to control program
parameters or effect parameters.
The B-mode function settings are made for each individ-
ual program, combination, or song.
In Sampling mode and Song Play mode, the B-mode func-
27
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Foot pedals/ Switch
Damper Pedal
An optional switch-type damper pedal such as the Korg
DS-1H can be connected to TRITON STUDIO. 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
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
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.
The function of the foot pedal is assigned in Global P2:
ARPEGGIATOR [TEMPO] knob,
[GATE] knob, [VELOCITY] knob
These knobs control the arpeggiator in realtime. For
details on operation, refer to the following page.
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Using the arpeggiator while you play
The arpeggiator is a function that automatically generates
arpeggios (broken chords). Most arpeggiators produce an
arpeggio when you play a chord on the keyboard.
Using the arpeggiator in Program
mode
1Press the [PROG] key to enter Program mode, and
As you select various programs, you will notice that
the ARPEGGIATOR [ON/ OFF] key LED will light for
some programs. (“Linking the arpeggiator to program,
the arpeggiator will start.
The chord you played on
the keyboard is sounded as
an arpeggio (broken chord)
For other programs, you can press the ARPEGGIATOR
[ON/ OFF] key (the LED will light) to turn on the
arpeggiator. Arpeggios will begin sounding when you
play the keyboard.
In addition to this, the TRITON STUDIO’s arpeggiator is a
polyphonic arpeggiator that is able to produce a variety of
chordal transformations or phrases based on the pitch or
timing of the notes you play on the keyboard. These func-
tions let you use the arpeggiator to play a wide range of
patterns including drum or bass phrases, and guitar or
keyboard backing riffs. It is also effective to use the arpeg-
giator as part of the sound-creating process when creating
subtly-moving pads, synth-sounds, or sound effects.
2As described in the following sections “Settings
using controllers” and “Settings in the LCD screen,”
move the controllers or modify the parameters to
change the way in which the arpeggios are played.
The TRITON STUDIO features a Dual Arpeggiator that
lets you simultaneously use two arpeggio patterns in
Combination mode, Sequencer mode, and Song Play
mode. You can take advantage of this in many ways, such
as applying separate arpeggio patterns to a drums pro-
gram and a bass program, or using a keyboard split or
velocity to switch between two arpeggio patterns.
Settings using controllers
Arpeggiator on/ off
Each time you press the ARPEGGIATOR [ON/OFF]
key, the arpeggiator will be switched on/off.
When the arpeggiator is turned on (the LED will light)
and the selected arpeggio pattern will begin sounding
when you play the keyboard.
The TRITON STUDIO provides five preset arpeggio pat-
terns (the standard UP, DOWN, ALT1, ALT2, and RAN-
DOM), and lets you program and store 507 user arpeggio
patterns. With the factory settings, these contain a wide
variety of preloaded user arpeggio patterns (ꢀVNL). An
arpeggio pattern that you create can also be stored as a
The on/ off status is saved when you write each pro-
gram.
In Combination, Song, and Song Play mode, depend-
ing on the arpeggiator A, B settings, the arpeggio may
not start when you press the ARPEGGIATOR [ON/
Adjusting the arpeggiator tempo
Rotate the ARPEGGIATOR [TEMPO] knob to adjust
the tempo.
The “ꢀ =” display in the upper right of the LCD will
change. The tempo can be adjusted over a range of 40–
240. You can also set the tempo by selecting “ꢀ =,” using
numeric keys [0]–[9] to enter a tempo, and pressing the
[ENTER] key. The tempo can also be set by the
[VALUE] slider, [VALUE] dial, or [ ][ ] keys. The
LED will blink in time with the specified tempo.
The knob setting is saved when you write each pro-
gram.
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The arpeggio playback speed is affected by the
“Reso” setting (Program P0: Play, Arpeggio page), or
“Resolution” (P7: Edit-Arpeggiator, Arpeg. Setup
page).
Selecting an arpeggio pattern
An arpeggio pattern can be selected from preset arpeggio
patterns P000–P004 and user arpeggio patterns U000(I-A/
B)–U506(User). With the factory settings, U000(I-A/ B)–
U199(I-A/ B), U312(User)–U506(User) contain a wide vari-
ety of preloaded user arpeggio patterns. For the arpeggio
pattern names (ꢀVNL).
If “MIDI Clock” (Global P1: MIDI) is set to External
MIDI or External mLAN, the display will indicate
“ꢀ =” EXT. The tempo will be synchronized to an
external MIDI device, and it will not be possible to
adjust the tempo on the TRITON STUDIO.
Choose “Pat (Pattern Select),” and use the [VALUE]
slider, [VALUE] dial, [ ][ ] keys, and popup menu
to select an arpeggio pattern.
Adjusting the length of the arpeggiated
notes
User arpeggio patterns can also be selected by using
the numeric keys [0]–[9] to input the pattern number
Rotate the ARPEGGIATOR [GATE] knob to adjust
the length of the arpeggiated notes.
Changing the note value of the arpeggiated
notes
Rotating the knob toward the left will shorten the
duration of the notes, and rotating it toward the right
will lengthen the duration of the notes. At the center
position (12 o’clock), the note length will be as speci-
fied by the program parameter “Gate” (Program P7:
Edit-Arpeggiator, Arpeg. Setup page).
The “Reso (Resolution)” parameter in the LCD screen lets
you set the note value of the arpeggiated notes, over a
range from ꢁ 3 – ꢀ .
Press “Reso,” and use the [VALUE] slider, [VALUE]
dial, [ ][ ] keys, or popup menu to select the
desired arpeggio note interval.
The knob setting is saved when you write each pro-
gram.
It is effective to control this function in conjunction
with the REALTIME CONTROLS A-mode knob [4]
(EG RELEASE).
Selecting the octave range in which the
arpeggio is sounded
Use the “Octave” radio buttons in the LCD screen to spec-
ify the range of octaves in which the arpeggio will be
Adjusting the strength of the arpeggio notes
Rotate the ARPEGGIATOR [VELOCITY] knob to
adjust the strength of the arpeggio notes.
Press an “Octave” radio button to make your selec-
tion.
Rotating the knob toward the left will make the notes
softer, and rotating the knob toward the right will
make the notes stronger. At the center position (12
o’clock), the velocity will be as specified by the pro-
gram parameter “Velocity” (Program P7: Edit-Arpeg-
giator, Arpeg. Setup page).
Sounding an arpeggio in the order of the
pitches in the chord you played
You can select whether the notes of the arpeggio will be
sounded in the order of the pitches in the chord you
played (regardless of the order in which you actually
played the notes), or in the order in which you played the
notes.
The knob setting is saved when you write each pro-
gram.
It is effective to control this function in conjunction
with the REALTIME CONTROLS A-mode knobs [1]
(LPF CUTOFF), [2] (RESONANCE/HPF), and [3]
(EG- INTENSITY).
Press the “Sort” check box in the LCD screen to make
this setting.
Checked: the arpeggio will sound each note in the
order of its pitch, regardless of the order in which you
actually played the notes.
Unchecked: the arpeggio will sound each note in the
order in which you actually played the notes.
Settings in the LCD screen
In Program P0: Play, press the Arpeggio tab.
Setting the arpeggio to continue playing
even after you have taken your hand off the
keyboard
You can select whether the arpeggio will continue playing
when you take your hand off the keyboard, or whether
the arpeggio will stop.
Press the “Latch” check box in the LCD screen to
make this setting.
Checked: The arpeggio will continue playing even
after you remove your hand from the keyboard.
Unchecked: The arpeggio will stop playing when you
remove your hand from the keyboard.
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Synchronizing the arpeggiator to your key-
board timing
You can specify whether the arpeggio will begin at the
moment you play the keyboard, or whether it will always
play in synchronization to the MIDI clock tempo.
Using the arpeggiator in Combi-
nation mode
In Combination mode the TRITON STUDIO provides
dual arpeggiators, allowing you to run two arpeggio pat-
terns simultaneously.
Press the “Key Sync.” check box in the LCD screen to
make this setting.
1Press the [COMBI] key to enter Combination mode,
and select a combination. (“Selecting and playing a
Checked: When you take your hand completely off of
the keyboard and then play the first note-on, the arpeg-
gio pattern will start from the beginning. This setting is
suitable when you want the arpeggio to start from the
beginning of the measure as you are playing in real-
time.
As you select various combinations, you will notice
that the ARPEGGIATOR [ON/ OFF] key LED will light
for some combinations. (“Linking the arpeggiator to
keyboard, the arpeggiator will start.
Unchecked: The arpeggio will always be synchronized
to the MIDI clock tempo.
For other combinations, you can press the ARPEGGIA-
TOR [ON/ OFF] key (the LED will light) to turn on the
arpeggiator.
Sounding both the arpeggio notes and the
notes you play
2As described in the preceding section “Settings using
controllers” and the following section “Settings in
the LCD screen,” move the controllers or modify the
parameters to change the way in which the arpeggios
are played.
Press the “Keyboard” check box to make this setting.
Checked: The notes you play on the keyboard and the
notes played by the arpeggiator will both sound.
Unchecked: Only the arpeggiated notes will sound.
The ARPEGGIATOR [ON/ OFF] key, ARPEGGIATOR
[TEMPO] knob, ARPEGGIATOR [GATE] knob, and
ARPEGGIATOR [VELOCITY] knob will apply to
both arpeggiators A and B. Their state is saved when
the combination is written.
Settings in the LCD screen
In Combination P0: Play, press the Arpegg. A tab.
Timbre Assign
Select the arpeggiator(s) that will run
Use the “Arpeggiator Run” check boxes to specify the
arpeggiator(s) that you want to have running. The arpeg-
giator(s) that are checked here will operate when the
ARPEGGIATOR [ON/ OFF] key is on. However, the
arpeggiator will play a timbre only if the table displayed
next to the check boxes assigns arpeggiator A or B to a T
(timbre) 1–8. These settings are made in Combination P7:
Arpeggiator-A, Arpeggiator-B
For each arpeggiator A and B, you can make settings for
“Pat (Pattern Select),” “Reso (Resolution),” “Octave,”
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Checking the structure of a user arpeggio
pattern
Let’s see how combination INT-B097: Try Some Tekno is
constructed.
Other settings for the arpeggiator
You can also set “Gate,” “Velocity,” “Swing,” and “Scan
Zone.” These parameters are set in Program P7: Edit-
Arpeggiator, Arpeg. Setup Page, Combination P7: Edit-
Select combination INT-B097: Try Some Tekno, and
look at the Arpeggio Play A page and Arpeggio Play
B page.
Linking the arpeggiator to program, combinations
You can specify whether the arpeggiator settings written
in a program or combination will also be selected when
you switch programs or combinations, or whether the
arpeggiator status will not change when you switch pro-
grams or combinations.
With the factory settings, the former is selected. Use the
latter when you want to keep the same arpeggio pattern
running, and change only the program sound.
This setting is made in “Auto Arpeggiator” (Global P0:
Basic Setup, Basic page).
Creating a user arpeggio pattern
Arpeggio patterns that you create can be written to U000
(I-A/ B)–U506 (User).
These can be created in Global P6: User Arpeggio
•
As you can see from the “Timbre Assign” table,
arpeggiator A is assigned to timbre 7 and 8, and
arpeggiator B is assigned to timbre 6.
When you play the keyboard the U453 (User): Dr-
Techno arpeggio pattern will play the program INT-
C004: Trance/ GrageKit of timbre 7 (Timbre 8 is a
The P000: UP arpeggio pattern will play the pro-
gram INT-C122: Synchro Science of timbre 6.
If you uncheck “Arpeggiator Run A” or “Arpeggiator
Run B,” the unchecked arpeggiator will stop.
If you check it once again and play the keyboard, the
arpeggiator will begin running.
•
•
Look at the Combination P7: Edit-Arp., Scan Zone A/
B page, and you will see that the A keys “Top Key”
and “Bottom Key” are set so that arpeggiator A will
operate only for keys B3 and lower, and that the B
“Top Key” and “Bottom Key” are set so that
arpeggiator B will operate only for keys C4 and
higher.
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Playing with the RPPR (Realtime Pattern
Play/ Recording) function
TRITON STUDIO’s Sequencer mode provides an RPPR
(Realtime Pattern Play/Recording) function .
Shutdown Keys:
Using the RPPR function, each note of the keyboard can
be assigned to a preset pattern or user pattern and a track
that will play the assigned pattern. You can then playback
the assigned pattern in realtime (and record it, if desired)
simply by playing the corresponding note. (Preset pat-
terns suitable for playing by the drum track are already
provided in the internal memory.)
When you play a key in the range of C–1 – C2, the cur-
rently-playing pattern will stop.
Pattern Assignable:
A pattern and track can be assigned to each of the 72 keys
in the range of C#2–C8. If you do not assign a key, it can be
used to play as usual.
Here we will explain how to use the RPPR function to
play a demo song.
As in the example shown in the following diagram, you
can make one key play a drums pattern, another key a
bass phrase, and yet another key play guitar chords, all by
specifying a different pattern and track for each key.
2Press the [SEQ] key (the LED will light) to enter
Sequencer mode, and access the P0: Play/REC, Pro-
gram T01–08 page.
88 Keys
76 Keys
61 Keys
3In “Song Select,” select S005: Midnight Sun.
C-1
G9
Select the song as described in “2. Selecting and play-
Pattern Assignable
C#2 ... C 8
Shutdown Keys
C-1 ... C2
Pattern P000 Track01 (Drums Program)
Pattern U000 Track02 (Bass Program)
Pattern P001 Track01 (Drums Program)
Pattern U001 Track02 (Bass Program)
Pattern U002 Track03 (Guitar Program)
4Make sure that the “RPPR” check box is checked.
Checked: The specified RPPR (set in Sequencer P6: Pat-
tern/ RPPR, RPPR Setup) will function.
Unchecked: RPPR will not function. Operation will be
as in normal Sequencer mode.
5Press a key.
The pattern assigned to that key will playback.
In some cases, the pattern will continue playing after
you release your hand from the keyboard. You can stop
playback either by pressing that key again, or by press-
ing a key in the area of C2 or below.
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Simple program editing
By operating the performance editor and the realtime con-
trollers you can easily and intuitively modify the sound of
a program.
For programs whose “Oscillator Mode” (Program
P1: Edit-Basic, Program Basic page) setting is Single,
oscillator 2 will not sound. Only the level of oscillator
1 will change. For a Drums program, this perfor-
mance editor will have no effect.
Program editing refers to the process of modifying the
parameters that make up a program, in order to modify
the sound or change the controller, effect settings etc.
•
•
Amp Level: Indicates the amp level. This will adjust
the volume of the entire program.
More detailed editing can be performed in Program
P1: Edit-Basic – P9: Edit-Master Effect.
Attack Time: Indicates the attack time of the filter EG
and amp EG. This will adjust the speed of the attack
from note-on.
In order to maximize the effect of the Attack Time
adjustment, the amp EG Start Level, Attack Level,
Start Level Modulation, and Attack Time Modulation
parameters are also adjusted.
Performance Edit
By using the eight sliders of the Performance Editor, you
can make overall adjustments to the sound. When you
edit the setting, multiple program parameters are
adjusted simultaneously.
•
•
•
Decay Time: Indicates the decay time and slope time
of the filter EG and amp EG.
IFX Balance: This simultaneously adjusts the “Wet/
Dry” balance of all insert effect.
1Press the [PROG] key (the LED will light) to enter
Program mode.
MFX Balance: This simultaneously adjusts the Return
1 and 2 parameters of the master effects.
2Press the Perf. Edit tab.
The Performance Edit page will appear.
Depending on the settings of the program parame-
ters, the result may not be noticeable.
Functions assigned to [SW1] and [SW2] keys
Type of Insert effect
Realtime controls
Type of
Master effect
The REALTIME CONTROLS [1]–[4] knobs can be used to
edit parameters such as the filter cutoff frequency, reso-
nance, the amp and filter EG, release, volume, portamento
time, pan, pitch LFO, and master effect send level etc.
Performance
editor
If CC#70–79 are assigned to REALTIME CONTROLS
A-mode or B-mode, the sound edited by knobs [1]–[4]
can be saved by the Program Write operation.
Parameters assigned to B-mode
of the realtime editor
3Select the Program.
4Select the Performance Editor, and use the VALUE
controllers to edit the settings.
Writing a program
If you want to reset the value to the value saved with
the selected program, press numeric key [0] and then
press the [ENTER] key to restore the previous setting.
The edited content will be lost if you select another
program or turn off the power before saving.
If you want to save the modified sound, select the
page menu command “Write Program,” and write the
•
•
Octave: Indicates the octave setting.
Pitch Stretch: Simultaneously adjusts the transpose
and tune settings of the oscillator. This allows you to
produce a variety of tonal changes without losing the
character of the original sound.
It is best to write your own edited programs into an ini-
tial (initialized) program of bank INT-E or EXB-A–
EXB-G. You should also give a new name to the pro-
gram you are writing.
This is particularly effective for acoustic-type pro-
grams such as guitar, bass, or piano. Select various
programs and try this out.
If you want to overwrite the program using the same
program number, press the SEQUENCER [REC/
WRITE] key and then press the OK button.
“Pitch Stretch” cannot be used with bank INT-F.
•
OSC Balance: Adjusts the level balance between
oscillators 1 and 2.
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Simple combination editing
A combination is a set of multiple (up to eight) programs,
and allows you to create complex sounds that could not
be produced by a single program.
Selecting the program for a timbre
3Press the Prog. Select tab.
When a timbre’s “Status” is turned Off, the program
assigned to that timbre will not sound. If the “Status” is
set to INT, the program will sound. Try setting timbres
1 and 2 alternately to INT and Off, and listen to the
result.
Combination editing refers to the process of modifying
the sound of a combination by changing the program
selected for each timbre or by adjusting each timbre’s key-
board range and velocity range, or by modifying the con-
troller, and effect settings.
Only timbre 1 will sound
You can edit a combination in Combination P1: Edit-Pro-
gram/ Mixer–P9: Edit-Master FX, but can also make set-
tings for “Program Select, “Pan,” and “Volume” in
Combination P0: Play as well.
An example of editing
Only timbre 2 will sound
As an example, here’s how to do some simple editing on
combination Bank INT-C086: Shiny DigiPiano.
1Press the [COMBI] key (the LED will light) to enter
Combination mode.
2Select INT-C086: Shiny DigiPiano.
After you have listened to the sound, set the “Status”
for timbres 1 and 2 to INT.
As an alternative to changing the “Status” setting,
you can select the page menu command “Solo
Selected Timbre” to hear the sound of an individual
timbre.
Timbre 2
Timbre 1
4Now let’s change the program of timbre 2 to a differ-
ent program.
Press the timbre 2 “Bank/Program (Program Select)”
switch (it will be highlighted).
This combination layers (simultaneously sounds) the
programs of timbre 1 and timbre 2. A typical electric
piano INT-D017: Pro-Stage EP is assigned to Timbre 1,
and a digital-type electric piano INT-D049: Classic
Tines is assigned to Timbre 2. These two programs are
layered to create a frequently-heard type of electric
piano sound.
Use the BANK [INT-A]–[EXB-G] keys, and VALUE
controllers to select a program.
A timbre consists a of program together with multi-
ple parameters that control that program. A combina-
tion can use up to eight of these timbres.
Alternatively, you can select a program from a popup
menu. Press the popup button, and select the desired
program from the popup menu that appears.
5You can also select programs by category. Press Cate-
gory popup button for timbre 2.
The “Category/ Timbre2 Program” select menu will
appear. In this combination, a program from the “Key-
board” category is selected for both timbres 1 and 2.
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If you wish to select a different program from the
same category, press the desired program. That pro-
gram will be highlighted. Press the scroll bar to see
other programs in the same category.
Adjusting the stereo position
7Press the Mixer tab.
8Press “Pan” for timbre 2 (it will be highlighted), and
use the VALUE controllers to edit the setting.
If you wish to select a program from a different cate-
gory, press one of the tabs located to the left and right
to select the desired category. The full name of the
selected category will appear in the upper right.
With a setting of C064 the sound will be located in the
center. A setting of L001 places the sound at the far left,
and R127 at the far right. With a setting of RND, the
sound will move randomly between left and right each
time a note is played.
Let’s select the 04: Vocal/ Airy category.
Press the 04 Vocal/Airy electric tab, and then press the
desired program to select it. The program you pressed
will be highlighted. Press the scroll bar to see other
programs in the same category.
Adjusting the volume
9Press “Volume” for timbre 2 (it will be highlighted),
For this example, select INT-C027: Dream Voices. This
will produce a layered combination consisting of a
piano and voice.
and use the VALUE controllers to edit the setting.
If you check “Hold Balance” and adjust the “Vol-
ume” value, the volume balance between the timbres
at the time that “Hold Balance” was checked will be
maintained while the volume of all timbres is
adjusted.
Writing a Combination
The edited content will be lost if you select another
Combination or turn off the power before saving.
If you want to save the modified sound, select the
page menu command “Write Combination,” and
6If you are satisfied with the selected program, press
the OK button to close the popup menu.
It is best to write your own edited Combinations into
an initial (initialized) combination of bank INT-E or
EXB-A–EXB-G. You should also give a new name to the
combination you are writing.
If you press the Cancel button, your selection will be
discarded, and you will return to the program that had
been selected before the popup menu was opened. For
this example, press the OK button.
If you want to overwrite the combination using the
same combination number, press the SEQUENCER
[REC/WRITE] key and then press the OK button.
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Sampling (recording a sample)
The TRITON STUDIO can record 48 kHz stereo 16-bit
3Press the Input Setup tab to select the P0: Recording,
samples. Sampling can be performed in Sampling, Pro-
gram, Combination, and Sequencer modes. (Open Sam-
pling System)
Input/Setup page.
The various functions of each mode can be used while
sampling.
Here are some examples.
•
Sample a vocal from a mic, and play it back using
“one-shot” playback.
•
Apply insert effects to the audio input, and sample the
result.
•
•
•
•
•
Name multisamples or samples.
Save the data you sampled.
Convert a multisample into a program.
Sample and loop-playback a drum phrase, etc.
In Program mode, resample a phrase played by the
arpeggiator.
In Program mode, listen to drum phrases played by
the arpeggiator while you sample the external input
from a guitar.
4Set “Input” to Analog.
5In the Input1 area, set “BUS” to L/R, specifying the
bus to which the AUDIO INPUT 1 jack will be input.
Make sure that the Input1 level (“Level”) is 127, and
the “Pan” is L000.
•
Be aware that when “BUS” is changed from Off to L/
R or IFX1–5, the volume level to the AUDIO OUT L/
MONO and R jacks or to the headphones may rise
abruptly.
The example procedures described here begin from
the initial settings of the TRITON STUDIO immedi-
ately after power-on.
2. Set the recording level
(Recording Level [dB])
For other procedures and more detailed explanations,
1Speak into the mic at the volume that you will use for
recording.
If the display indicates “ADC OVERLOAD !!” (AD
converter input overload), turn the rear panel [LEVEL]
knob toward MIN to adjust the level appropriately.
Sampling a vocal from a mic, and
playing it as a “one-shot” sample
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.
1. Connect a mic and make input settings
(Input)
1Connect a mic to the AUDIO INPUT 1 jack located on
2Press the SAMPLING [REC] key.
the rear panel.
Speak into the mic at the volume that you will use for
recording.
Set the AUDIO INPUT [MIC/LINE] switch to the MIC
position, and set the [LEVEL] knob to the center.
Mic
2Press the [SAMPLING] key to enter Sampling mode.
The level meter will show the input volume.
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 setting down
to an appropriate level.
3When you have finished making adjustments, press
the SAMPLING [REC] key again.
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3. Specify the recording method (Recording
Setup)
5. Create a multisample and indexes
1In the upper left of the P0: Recording, Recording
page, make sure that 000 is selected for “MS” (multi-
sample).
1Set “Source BUS” to L/R.
Now you can sample the sound of the L/ R channels,
which is output from the headphones and from
AUDIO OUTPUT (MAIN) L/ MONO and R.
When you want to create a new multisample, press
the “MS (Multisample Select)” popup button, press a
Multisample No. (or use the numeric keys to input a
number) for which there is no name in the list, and
2Set “Trigger” to Threshold, and set “Level” to –30.
With this setting, recording will begin automatically
when the audio input reaches –30 dB or higher in
record-ready mode.
2Set “OrigKey (Original Key)” and “TopKey” to C2.
3Set “Pre Trigger” to 005 ms.
When you play the key designated by “OrigKey,” the
sample will sound at the same pitch at which it was
sampled.
With this setting, sample recording will begin 5 ms ear-
lier than (i.e., immediately before) sampling is actually
triggered, so that the very beginning of the sound is
not lost.
You can make this setting easily by holding down the
[ENTER] key and pressing the C2 key. If you want to
use the numeric keys to input this setting, press [3],
[6], and [ENTER].
In Sampling mode, the “Trigger” parameter which
specifies how recording will begin can be set to vari-
ous settings other than the Threshold setting used
above. You can choose Sampling START SW so that
recording will begin when you press the SAMPLING
[START] key, or Note On so that recording will begin
3Press the Preference tab to access the P0: Recording,
Preference page.
4. Settings for the sample that will be
recorded (REC Sample Setup)
1Press the Recording tab to access the P0: Recording,
Recording page.
4Set “Zone Range” to 1 Key.
When you create a new index, the width of the zone
will be set to one key.
5Press the “Auto Loop On” check box to uncheck it.
Looping will automatically be turned off for the sam-
ple that is recorded.
2Set “Save to” to RAM.
The sample you record will be written into sample
memory (RAM). (ꢀFor details on the DISK setting,
3Set “Sampling Mode” to L-Mono.
With this setting, the internal L channel will be sam-
pled in mono.
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6. Record a sample
1Press the Recording tab to access the P0: Recording,
Applying an insert effect to the
audio input and sampling the
result
Recording page.
2Press the SAMPLING [REC] key.
Press the SAMPLING [START/STOP] key to enter
record-ready mode.
1In step 5of the preceding section “1. Connect a mic
and make input settings,” set the Input1 “Pan” to
C064, and “BUS” to IFX1.
Speak the word that you want to sample. (Example:
“It’s”)
Recording will start when the input exceeds the
“Level” –30dB level.
When you finish speaking, press the SAMPLING
[START/STOP] key to stop sampling.
A sample has now been created. The sample you
recorded is automatically assigned to “Sample (Sam-
ple Select).”
2Press the [MENU] key to access the Jump page, and
press P8: Insert Effect.
The P8: Insert Effect page will appear.
Press the Insert FX tab to access the Insert FX page.
3Select “IFX1,” use the numeric keys to enter [5], [2],
and press the [ENTER] key to confirm 052: Reverb
Hall.
Press the “OrigKey” note (C2 in this case), and you will
hear the sound that was sampled.
Press “IFX1 On/Off” to turn it ON.
3Press the Create button to create a new index.
4Press the SAMPLING [REC] key.
Press the SAMPLING [START/STOP] key.
Speak the word that you want to sample. (Example:
“So”)
When you finish speaking, press the SAMPLING
[START/STOP] key to stop sampling.
5Repeat steps 3and 4to record additional samples.
(Example: “Easy,” “To,” “Sample,” “With” “TRITON
STUDIO”)
4Speak into the mic, and verify that reverb is applied
6Play consecutive notes on the keyboard.
to the sound.
Play a chromatic scale upward, starting at the C2 key.
The samples you recorded will be played one after
another.
You can adjust the effect settings in the IFX1 page (IFX1
tab).
5After pressing the [EXIT] key, press the Recording
(In this example, playing notes C2 through F#2 in
sequence will produce “It’s So Easy To Sample With
TRITON STUDIO”)
tab to access the P0: Recording, Recording page.
6Set “Sample Mode” to Stereo.
Now the sound of the internal LR channels can be sam-
pled in stereo.
7Press the Create button to create a new index.
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8Press the SAMPLING [REC] key.
Press the Clear button.
Press the SAMPLING [START/STOP] key, and speak
Press the Shift button to switch to uppercase letters,
the word(s) that you want to sample.
and press S, M, P, L, –, and D in that order.
Speak the word that you want to sample. (Example:
“It’s”)
Press the Shift button once again to switch to lower-
case letters, and press e, m, and o in that order.
Recording will start when the input exceeds the
“Level” –30dB level.
Press the OK button to close the text dialog box.
If you do not need to make any corrections, press the
OK button to execute “Rename Multisample” and
complete the procedure.
Press the SAMPLING [START/STOP] key to stop.
9Play the keyboard.
When you play the “OrigKey” note, you will hear the
sound that was sampled.
A stereo multisample will have a -L and -R displayed
at the end of the name, meaning that you will be able
to input 14 characters. (The -L and -R are fixed.) You
can input 16 characters for a mono multisample. This
also applies to samples.
Assigning a name to the sample
or multisample
Naming a sample
1Press the Recording tab to access the P0: Recording,
Recording page.
The TRITON STUDIO allows you to create up to 4,000
samples and 1,000 multisamples (limited by the amount
of memory). It is a good idea to assign names so that you
can distinguish individual samples and multisamples.
2Select “Index,” and use the [ ][ ] keys to select
the sample to which you want to assign a name.
For this example, select “Index” 001.
Naming a multisample
1Press the Recording tab to access the P0: Recording,
Recording page.
2In “MS,” select the multisample that you want to
name.
3Press the page menu button to access the page menu,
and press “Rename MS.”
It is also possible to select a sample in “Sample (Sam-
ple Select),” but since the sample assigned to each
index can change, you should use “Index” to select a
sample.
3Press the page menu button to access the page menu,
and press “Rename Sample.”
A dialog box will appear.
When the dialog box appears, press the text edit but-
ton to access the text dialog box, and assign the desired
sample name. (Example: “Its”)
Refer to step 3of “Naming a multisample.”
4Select “Index,” select the next sample that you want
to name, and use the page menu command “Rename
Sample” to assign a name to that sample.
Press the text dialog button to display the text dialog
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Saving sample data
Converting a multisample into a
program
Here’s how to save a sample or multisample that you cre-
ated.
A multisample you create can be converted into a pro-
gram. If a sample or multisample is converted into a pro-
gram, it can be played in Program mode or used in
Combination mode and Sequencer mode.
All samples and multisamples in the TRITON STU-
DIO will be lost when the power is turned off.
Sample data can be saved on a floppy disk, the internal
hard drive, the CDRW-1 option, or external SCSI storage
media (hard disk, MO, Zip, Jaz, ORB, CD-R/ RW, etc.).
1Press the [SAMPLING] key to enter Sampling mode.
2Create a multisample.
1Insert the media and/or make the appropriate set-
tings for the connected external SCSI device so that it
is ready to save data.
3Press the [EXIT] key to select the P0: Recording page.
2Press the [DISK] key to select Disk mode.
4Press the page menu button to access the page menu,
3Press the Save tab.
and press “Convert MS To Program.”
The following dialog box will appear.
Drive select
5In the To “Program:” field, select the program into
which the data will be converted.
4If you want to save to a different device, use the drive
select setting to select the device on which you want
to save the data.
We recommend that you select one of the initialized
programs in bank I–E.
5Press the page menu button to access the page menu,
When you execute the Convert operation, the pro-
gram in the conversion destination location will be
overwritten and replaced by the converted program.
and press “Save Sampling Data.”
6Set the “Use Destination Program Parameters” set-
ting.
For this example, leave this unchecked. If you execute
the conversion with this unchecked, the program will
be created using the sound that you heard in Sam-
pling mode.
If you want to use the program parameters of a pre-
loaded program (INT-A000–INT-D127), copy that
program to bank INT-E before you perform this oper-
ation. Use the To “Program:” field to select that pro-
gram, and check “Use Destination Program
Parameters” before you perform the conversion.
However if you want to convert a stereo multisam-
ple with “Use Destination Program Parameters”
checked, you must change the “Oscillator Mode”
(ꢀPG p.7) to Double for the conversion destination
program (To “Program”) before executing the conver-
sion.
6When the dialog box appears, press the text edit but-
ton to access the text dialog box, assign a filename of
SMPL_DM1, and press the OK button.
7Make sure that the All radio button is selected, and
press the OK button to save the data.
7As necessary, press the text edit button to access the
text dialog box and assign a program name.
8Press the OK button. A dialog box will ask you for
conformation. Press the OK button once again, and
the conversion will begin.
When saving is completed, a file with an extension of
.KSC together with the .KMP and .KSF files (in folders)
will be saved. For details on each file, refer to PG p.162
“About Korg format PCM data files.”
9Listen to the converted program.
Switch to Program mode, select the program (INT-E100
in the above example), and play the keyboard to hear
the sound.
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The converted program settings will automatically be
stored in the internal memory, but the sample data you
created will be lost when the power is turned off. In
order to reproduce the sound of the program after the
power is turned on again, you must first load the previ-
ously-saved sample data back into the TRITON STU-
DIO, using the Disk mode. When loading, it is best to
set “.KSC Allocation” to Clear.
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 CDRW-1 option or from a SCSI-
When saving, it is a good idea to execute “Save All”
(ꢀPG p.166) to save the samples and multisamples
along with the converted program, and then load all of
this data together. (ꢀPG p.157, 162)
This explanation assumes that you are starting from
the default state immediately after power-on.
1. Connect your external audio device and
adjust the input settings (Input)
1Connect the AUDIO INPUT 1, 2 jacks on the rear
panel to the LINE OUT L and R jacks of your CD
player.
Set the AUDIO INPUT [MIC/LINE] switch to the
LINE position, and set the [LEVEL] knob near the
center.
CD player
R
AUX OUT
L
If the CDRW-1 option is installed, the analog audio
will be internally connected to the AUDIO INPUT 1
and 2 jacks.
You can also “rip” digital audio data via the CDRW-1
2Press the [SAMPLING] key to enter Sampling mode.
3Press the Input Setup tab to select the P0: Recording,
Input/Setup page.
4Set the various parameters so that the signal from the
AUDIO INPUT jacks will be input to the TRITON
STUDIO.
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Set the following parameters as shown.
Input 1: “Level” 127, “Pan” L000, “BUS” L/R
Input 2: “Level” 127, “Pan” R127, “BUS” L/R
4. Settings for the sample that will be
recorded (REC Sample Setup)
1Press the Recording to access the P0: Recording,
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.
Recording page.
2. Set the recording level
(Recording Level [dB])
1Play 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.
2Set “Save to” to RAM.
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).
The recorded sample will be written into sample mem-
ory (RAM). (ꢀFor details on the DISK setting, refer to
3Set “Sample Mode” to Stereo.
2Press the SAMPLING [REC] key.
With this setting, the sound of the internal LR channels
can be sampled in stereo.
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.
5. Record the sample
1Press the SAMPLING [REC] key to enter record-
ready mode.
2At the moment that you wish to start sampling, press
3When you have finished making adjustments, once
again press the SAMPLING [REC] key. Also stop the
playback of your audio source.
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.
3. Specify the recording method (Recording)
1Set “Source BUS” to L/R.
3At the moment that you wish to stop sampling, press
the SAMPLING [START/STOP] key.
This setting lets you sample the sound of the L/ R chan-
nels; i.e., the sound that is output from the headphones
and the AUDIO OUTPUT (MAIN) L/ MONO and R
jacks.
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.
4Listen to the sampled sound, and assign a name to
the sample.
You can play the “OrigKey” note to hear the sound that
was sampled.
After you have verified the sound, assign a name to the
acters can be input as the name of a stereo sample (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.
2Set “Trigger” to Sampling START SW.
With this setting, you can press the SAMPLING [REC]
key to enter record-ready mode, and then press the
SAMPLING [START/ STOP] key to start recording.
6. Make loop settings
Next we will delete unwanted portions from the sample,
and adjust the settings so that the sample will be looped
smoothly.
By default when the power is turned on, sampled
sounds will be looped automatically. (P0: Recording,
Preference page “Auto Loop On” On)
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1Press the [MENU] key to access the page menu, and
Select the page menu command “Grid” to access the
dialog box.
press P2: Loop Edit.
The P2: Loop Edit page will appear.
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.
2Notice 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.
3Use “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)
Set “End.”
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.
When looping is off: S → E
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.
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
4Use “Truncate” to delete the unwanted data that is
Maximum
horizontal zoom-out
outside of the start (or loop start) and end addresses.
Zoom-out vertically
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.
for a cautionary note regarding the “Save to No.” and
“Overwrite” check boxes.
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.”
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3. Specify the recording method
(Sampling Setup)
Resampling an arpeggiated
phrase in Program mode
1In the P0: Play, Sampling page, make the following
settings for Sampling Setup.
You can play a program or combination, using the arpeg-
giator if desired, and resample your performance as audio
data (sound).
“Source BUS”: L/R
This lets you sample the sound of the L/ R channel; i.e.,
the sound that is output from the headphones and the
AUDIO OUTPUT (MAIN) L/ MONO and R jacks.
As an example, this section explains how to sample an
arpeggiated phrase in Program mode. Sampling can be
performed in the same way in Combination or Sequencer
modes as well.
“Trigger”: Note On
With this setting, sampling will begin the instant you
play the keyboard.
The procedure here assumes that the TRITON STU-
DIO is in the default state immediately after turning
on the power.
“Save to”: RAM
The sample will be written into sample memory
(RAM).
“Mode”: Stereo
The sound will be sampled in stereo.
1. Select the program that you want to res-
ample
If desired, you can set “Sample Time” a bit longer
than necessary, and then after sampling, use editing
commands in Sampling mode (such as TRUNCATE)
to delete any unwanted portion at the beginning or
end of the sample.
1Press the [PROG] key to enter Program mode, and
select program INT-A028: Rezbo.
If the tempo “ꢀ” is 120 and the time signature is 4/ 4, it
will take two seconds to play one measure. If you
want to sample one measure, a sampling time of 00
min 02.000 sec will be the exact length.
4. Make settings for the sample that will be
recorded
1Select the page menu command “Select Bank & Smpl
No.” to access the dialog box.
2Turn the arpeggiator on (ARPEGGIATOR [ON/OFF]
key LED is lit), and play the keyboard to verify that a
phrase is produced.
Make sure that the arpeggio tempo “ꢀ” is set to 120.
2. Adjust the recording level
(Recording Level [dB])
1Press the Sampling tab to access the P0: Play, Sam-
pling page.
2Press the SAMPLING [REC] key.
2Set “Bank,” “Sample No.(L),” and “(R)” to specify the
sample memory (RAM) and sample number into
which the sample will be written.
The level meter will indicate the volume of the phrase
to be sampled.
If the above “Mode” is Stereo, specify (L) and (R).
3In the Convert to area, specify the number of the pro-
gram (into which the sample will be converted), the
multisample name, and the key assignment.
Check the check box and select one of the bank INT-E
initialized programs as the conversion-destination pro-
gram number.
4Press the OK button to finalize the settings.
5. Record the sample
1Press the ARPEGGIATOR [ON/OFF] key to turn it
Adjust the recording level as necessary, using the
“Recording Level” slider located at the right of the dis-
play.
on.
Press the SAMPLING [REC] key.
Press the SAMPLING [START/STOP] key to enter
record-ready mode.
The power-on default setting is –12 dB. With a setting
of –12 dB, CLIP will not be displayed even if the pro-
gram is played at the maximum level.
2Play the keyboard. Recording will begin at the
instant you play a note.
3When you have finished adjusting the level, press the
SAMPLING [REC] key.
All of the sounds you play from the keyboard and con-
trollers will be recorded in the sample.
Press the ARPEGGIATOR [ON/ OFF] key to turn off
the arpeggiator.
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3Press the SAMPLING [START/STOP] key to stop
recording.
Sample an arpeggiated drum
phrase together with an exter-
nally-input guitar
Sampling will end automatically when the specified
“Sample Time” is reached.
6. Listen to the sample and edit it
1Press the Perf. Edit tab to select the P0: Play, Perfor-
mance Edit page, and select the program into which
the newly-recorded sample was converted.
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 STUDIO, and how both
can be sampled together.
INT-E: 101 was selected in the example shown here, so
press the [INT-E] key, then numeric keys [1], [0], and
the [1] key.
Sampling can be performed in a similar way in Com-
bination and Sequencer modes as well as in Program
mode.
2Play the C3 note on the keyboard to hear the sound
that was resampled.
REALTIME CONTROLS knobs 1–4, the Performance
Editor, and the various parameters in P1: Edit-Basic–
P9: Edit-Master Effect can be used to edit the program
for the sound you resampled, for example by adjust-
The procedure given here assumes that you are start-
ing from the default state immediately after power-
on.
1. Select the program that you want to sam-
ple
If you want to adjust the loop point or other settings
of the sample, edit these parameters in Sampling
1Press the [PROG] key to enter Program mode, and
select the INT-B020: Processed Kit program.
2Turn on the arpeggiator (ARPEGGIATOR [ON/OFF]
key LED is lit), and play the keyboard to make sure
that a drum phrase is sounded.
Press the Arpeggio tab, and make sure that “Latch” is
checked.
Also adjust the arpeggiator tempo “ꢀ” as desired.
3Press the ARPEGGIATOR [ON/OFF] key to turn off
the arpeggiator.
2. Connect your guitar and make input set-
tings
1Connect your guitar to the rear panel AUDIO INPUT
1 jack.
Set the AUDIO INPUT [MIC/LINE] switch to the LINE
position, and set the [LEVEL] knob to approximately
the center position.
Guitar
If you are using a guitar with passive pickups (i.e.,
without an internal pre-amp), the mismatch of
impedance levels will make it difficult to sample at an
appropriate level. You should route the signal from
the guitar through a pre-amp or effect unit.
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2Press the Sampling tab to access the Sampling page.
4. Specify the recording method
(Sampling Setup)
1In the Sampling page, set the following Sampling
Setup parameters.
“Source BUS”: L/R
“Trigger”: Sampling START SW
“Metronome Precount”: 4
“Save to”: RAM
“Mode”: Stereo
“Sample Time”: as desired
3Set the parameters so that the signal from the AUDIO
INPUT 1 jack will be sent to the L channel.
Make the following settings.
“Input”: Analog
Input 1 “Level”: 127, “Pan”: as desired, “BUS Select”:
L/R
3. Set the recording level
(Recording Level [dB])
With these settings, if you press the SAMPLING [REC]
key to enter recording-standby mode and then press
the SAMPLING [START/ STOP] key, recording will
begin after a four-beat count.
1Play 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.
5. Specify the sample that will be recorded
Make settings as described in “4. Make settings for the
If you omit making settings at this point and simply con-
to the next higher key of the same program number.
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.
2Press the SAMPLING [REC] key.
Play your guitar, and the level meter will indicate the
volume at which the guitar will be sampled.
6. Record the sample
1Press the ARPEGGIATOR [ON/OFF] key to turn it
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.
on.
2Press the SAMPLING [REC] key to enter record-
ready mode.
Adjust the recording level as necessary, using the
“Recording Level” slider located at the right of the dis-
play.
When you press the SAMPLING [START/STOP] key, a
count-down will begin. Play the keyboard during the
count-down.
The power-on default is –12 dB. With a setting of –12
dB, CLIP will not be displayed even if the program
drum pattern and the guitar are played at the maxi-
mum level.
After a four-beat count-down, recording will start.
Play your guitar. The arpeggiator will also start after
the count-down.
3Press the SAMPLING [START/STOP] key to stop
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.
recording.
Sampling will also end automatically when the speci-
fied “Sample Time” is reached.
3When you have finished making adjustments, press
the SAMPLING [REC] key.
4Press the ARPEGGIATOR [ON/OFF] key to turn it
off.
Press the ARPEGGIATOR [ON/ OFF] key to turn off
the arpeggiator.
7. Listen to the sample
Now you can listen to the sample that was recorded. (“6.
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Examples of sampling settings
Resampling only the sound of the TRITON STUDIO
(e.g., arpeggiator and/or keyboard performance)
“Input”: Analog
Input1 “BUS Select”: Off
Input2 “BUS Select”: Off
“Source BUS”: L/ R
“Recording Level”: –12.0
“Auto +12dB On”: On (chacked) ꢀPG p.5, 57
Resampling the sound of the TRITON STUDIO
(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 (chacked) ꢀPG p.5, 57
Sampling only the stereo input sound from the
AUDIO INPUT 1 and 2 jacks while you listen to the
sound of the TRITON STUDIO (arpeggiator etc.)
“Input”: Analog
Input1 “BUS Select”: 1/ 2, “Pan”: L000
Input2 “BUS Select”: 1/ 2, “Pan”: R127
“Source BUS”: Indiv.1/ 2
“Recording Level”: 0.0
“Auto +12dB On”: Off (unchacked) ꢀPG p.5, 57
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.
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.
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Producing a song
This section explains how to use the TRITON STUDIO’s
Check the “Copy Pattern to Track too?” check box.
If this is checked, a drum pattern will be copied to the
song after the template song is loaded.
internal sequencer. The example procedures described
here will cover realtime recording and step recording, as
well as various convenient functions provided by the
internal sequencer, such as template songs, preset pat-
terns, and the arpeggiator.
Press the OK button to load the template song.
A dialog box will appear.
There are many other recording methods and functions
basic understanding of the song production process.
This explanation assumes that you are starting from
the default state immediately after power-on.
Make sure that Preset, P109: AcidJazz 1/Std2 is
selected at the right of “Pattern.” If not, use the
VALUE controller to select it.
Creating the basic song
You can press the SEQUENCER [START/ STOP] key to
hear the selected pattern. To stop, press the [START/
STOP] key once again.
1. Loading a template song, and copying
preset patterns (drum phrases)
1Press the [SEQ] key to enter Sequencer mode.
Press the OK button to copy the pattern.
The “Measure” value will change from 001 to 009. This
indicates that the pattern has been copied from mea-
sure 1 to measure 8, and that the next time you press
the OK button, the pattern will be copied from measure
9.
2Load a template song.
Press the page menu button to access the page menu,
and press “Load Template Song.”
Press the Exit button.
A dialog box will appear.
In the Sequencer P0: Play/ REC, Program T01–08 page,
the “Song Select” field will indicate S000: Acid Jazz.
Track Select
Press the popup button located at the right of “From,”
and select P13: Acid Jazz from the menu.
There are 16 template songs, each containing pro-
gram, pan, volume, and effect settings suitable for
various styles of music. By loading a template into a
song, you can begin recording immediately without
having to make the same frequently-used settings
each time.
If you want to specify the program and volume set-
tings yourself from scratch, refer to “Preparations for
Preset patterns can be used in a song at any time. This
can be done by using the page menu commands “Put
To Track” or “Copy To Track” (Sequencer P6: Pat-
tern/ RPPR, Pattern Edit page) (ꢀPG p.77).
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3When you play the keyboard, you will hear the drum
Track Play Loop will continue repeating for the num-
ber of measures specified by “Length.” If you want to
limit the number of repetitions or place other perfor-
mance data (e.g., a drum fill-in) in that track, you will
need to expand the pattern into actual performance
data. Use the page menu command “Repeat Mea-
sure” P5: Edit, Track Edit page to specify the number
of playback repetitions and expand the pattern as
playback data. In the sample illustration below, per-
formance data will be created to play measures 1–8 of
track 1 for four times (i.e., 32 measures).
program for track 1 of the template song.
4Press the popup button located at the left of “Track
Select,” and select Track 02: Bass. When you play the
keyboard, you will hear a bass sound.
“Track Select” is the track that will be used to record/
play song data. Normally, the track selected here can
be played from the keyboard, and during recording,
your performance will be recorded on this track (in
cases other than Multi REC or Master Track).
Next select T03–T08 in order, and play them from the
keyboard. (The TRITON STUDIO has sixteen sequence
tracks, but this template song specifies only tracks 1–8.)
Select Track03: Elec. Piano.
3. Recording the bass track
1If playback is occurring, press the SEQUENCER
[START/STOP] key to stop playback.
Press the [LOCATE] key to return to the beginning of
the song.
The location will indicate 001:01.000.
2Press the [EXIT] key, and then press the Prog. 1–8 tab
5Press the SEQUENCER [START/STOP] key to play
back the preset pattern that you copied. Play the key-
board while you listen to the drum pattern.
to access the P0: Play/REC, Program T01–08 page.
3Use “Track Select” to select the track that you want to
record.
6Press the SEQUENCER [START/STOP] key to stop.
In this example, select Track02: Bass.
2. Repeatedly playing specific measures of
a track (Track Play Loop)
Here’s how to use Track Play Loop to repeatedly play
back a drum phrase.
Press the SEQUENCER [START/ STOP] key to start
playback, and practice playing the phrase that you
want to record.
1Press the PlyLoop tab to access the P0: Play/REC,
PlayLoop T01–08 page.
When you are finished rehearsing, press the
SEQUENCER [START/ STOP] key to stop playback.
Press the [LOCATE] key.
When the power is turned on, the Recording Setup of
the TRITON STUDIO will be set to Over Write
recording, in which newly recorded data will be
overwritten. For details on other recording modes,
When recording rapid or difficult phrases, you can
slow down the tempo and record at a more comfort-
able tempo. Simply adjust the “ꢀ (Tempo).” After
recording, restore the original tempo.
2Check track 1 “Track Play Loop,” leave “Loop Start
Measure” as it is, and set “Loop End Measure” to 008.
3When you press the SEQUENCER [START/STOP]
key, the drum phrase will be played back repeatedly.
When the playback has repeated for the number of
measures in the song as specified by “Length” (the
power-on default is 64 measures), it will stop automati-
cally.
By using “Play Intro” you can begin the loop after
adding an introduction (ꢀPG p.55).
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You can use the Quantize and Resolution functions
to correct the timing of your performance as it is
recorded.
For example during realtime recording, suppose that
you input eighth notes at slightly inaccurate timing,
as shown in line 1 of the diagram below. If you set
“Reso” (Resolution) to ꢂ and performed realtime
recording, the timing would automatically be cor-
rected as shown in line 2. With a setting of Hi, the
performance will be recorded with the exact timing at
which it was played.
When you press the SEQUENCER [START/STOP]
key, repeated playback will begin.
ꢂ
ꢂ
ꢂ
ꢂ
ꢂ ꢂ
ꢂ
ꢂ
ꢂ
ꢂ
ꢂ
ꢂ
ꢂ
ꢂ
After you press the SEQUENCER [START/ STOP]
key to stop playback, we recommend that you press
the [LOCATE] key to return to the beginning of the
song. After recording, you will automatically return
to the measure at which recording began.
ꢂ
ꢂ
4. Recording arpeggio patterns
The performance of an arpeggio pattern can be recorded
into a song. With the settings of this template song, the
arpeggiator will function on track 4.
Independent of this function, there is also a page menu
command “Quantize” (P5: Track Edit, Track Edit page)
that can be used to correct the timing of performance
data that has already been recorded. If data (recorded
without using Realtime Quantize) falls at the timings
shown in the above figure 1, then when played back, it
will be corrected to the timings shown in figure 2 if you
set “Quantize” to a “Resolution” of ꢂ and press the
OK button.
1In “Track Select,” choose Track04: Guitar.
2Press the ARPEGGIATOR [ON/OFF] key.
3Press the SEQUENCER [START/STOP] key and play
4Press the SEQUENCER [REC/WRITE] key.
single notes or chords.
You will hear the metronome. The TRITON STUDIO
will be in record-ready mode. (ꢀRefer to PG p.58 for
details on metronome settings.)
Verify that arpeggios are sounded in synchronization
with the tempo of the drum and bass performance, and
rehearse your performance.
5Press the SEQUENCER [START/STOP] key.
4Press the SEQUENCER [START/STOP] key to stop
playback.
After a two-measure count, recording will begin.
Then press the [LOCATE] key to move the location to
the beginning of the song.
Play the keyboard for about 16 measures, and record
your performance.
5Start recording.
If you make a mistake or decide to re-record, press the
[START/ STOP] key to stop recording, and press the
[COMPARE] key.
Press the SEQUENCER [REC/WRITE] key, and then
press the SEQUENCER [START/STOP] key.
When you press the [COMPARE] key to execute the
Compare function, you will return to the state prior to
compared in Sequencer mode.)
If you play notes on the keyboard during the count-in,
the arpeggio will begin at the same time that recording
begins, and then that pattern will be recorded.
Play the keyboard for about 16 measures and record
your performance.
6When you are satisfied with your performance, press
the SEQUENCER [START/STOP] key to stop record-
ing.
Press the SEQUENCER [START/STOP] key to stop
recording.
For example if your performance in measures 5–8
was the best take, you can use the Track Play Loop
function to repeatedly play back just this portion.
In the P0: Play/ REC, PlayLoop T01–08 page, check
“Track Play Loop” for track 2, set “Loop Start Mea-
sure” to 005, and set “Loop End Measure” to 008.
If you made a mistake or would like to re-record, you
can use the Compare function (press the [COMPARE]
key) to re-record as many times as you wish.
The note data that was generated by the arpeggio
pattern will be recorded. If you change the ARPEG-
GIATOR [GATE] or ARPEGGIATOR [VELOCITY]
knob settings while recording an arpeggio pattern,
this data will also be recorded, but it will not be possi-
ble to add changes by overdubbing [GATE] or
[VELOCITY] data afterward for those notes.
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5Set “Step Time” to specify the basic timing value at
5. Recording other tracks
1As described in “Recording the bass track,” use
“Track Select” to select Track03: Elec. Piano, and
record about 16 measures.
which you will input notes and rests.
In the popup menu at left, you can specify a value in
the range of ꢃ (whole note)–ꢄ (32nd note). For this
example, select ꢁ (16th note).
If you want to input triplets or dotted notes, use the
popup menu at the right to select “3” for triplets, or “.”
for dotted notes. Select “–” if you want to use the
unmodified length of the note that is selected at the
left.
6. Step recording
The TRITON STUDIO provides two main methods of
recording a song. The first is realtime recording, in which
your performance on the keyboard and operation of the
joystick and other controllers are recorded in realtime.
This is how we recorded the bass and electric piano tracks
in the preceding sections.
“Note Duration” indicates the length that the note
itself will sound. Smaller values will produce a staccato
note, and larger values will produce a legato note. For
this example, leave this setting unchanged.
The second method is step recording, in which you can
specify the timing, note length, and velocity of each note.
in the LCD screen, and use the keyboard to input the pitch
of the note. Only the note-on/ off data is recorded. Step
recording is suitable when you want to create a distinctive
mechanical feel, or when you want to record phrases that
would be impossible or too rapid to play “live.”
“Note Velocity” is the velocity (playing strength), and
larger values will produce a louder volume. Set this to
about 090.
If you select Key for this parameter, the velocity with
which you actually play the keyboard will be input.
6On the keyboard, press and then release the first note
Rapid phrases can also be recorded in realtime by
temporarily slowing down the sequencer tempo.
that you want to input.
The data you input will appear in the LCD screen as
numerical values. In the upper right, M001 01.000 will
change to M001 01.048. The next note you input will be
placed at this location.
Here’s the procedure for step recording.
1Press the [MENU] key to access the Jump menu, and
press P5: Track Edit.
Continue pressing notes to input a melody.
The P5: Track Edit, Track Edit page will appear.
You can also delete notes or rests, or input rests or ties.
•
To delete a note or rest that you input, press the Step
Back button. The previously-input note will be
deleted.
•
•
To input a rest, press the Rest button. This will input a
rest of the “Step Time” value.
To modify the length of a note, you can modify the
“Step time” value before you input the note. However
if you want to extend the length (tie) of the note,
press the Tie button. At this time, the previously-input
note will be extended by the length of “Step time.”
2Set “Track Select” to Track 08: Lead Synth.
For this example we will input a lead performance
using an analog synthesizer sound.
If you want to check the note that you will input
next, press the [PAUSE] key. In this state, playing a
key will produce sound, but will not input a note.
Press the [PAUSE] key once again to cancel the
record-pause state, and resume input.
3Set “From Measure” to 001.
With this setting, step recording will begin from mea-
sure 1.
4Press the page menu button to access the page menu,
and press “Step Recording.”
To input a chord, simultaneously press the notes of
the desired chord. Even if you do not press them
simultaneously, notes that were pressed before you
took your hand off of all keys will be input at the
same location.
A dialog box will appear.
However in the above example, the program of track
8 will not sound chords. This is because the program
is set to mono mode, and the song follows the setting
of the program.
7When you are finished inputting, press the Done but-
ton.
8Press the SEQUENCER [START/STOP] key to play
back.
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When you begin step recording, all data that follows
the measure where you began recording will be
erased from that track.
You need to be aware of this if you begin step record-
ing from a measure mid-way through the song.
If you want to re-input data into a measure that
already contains data, perform step recording in
another un-recorded track, and execute “Move Mea-
sure” or “Copy Measure” (ꢀPG p.72).
Recording the drum part
In this explanation, we used the TRITON STUDIO’s built-
in patterns to create the drum part, but if you want to
input the drum part yourself, it will be convenient to set
order of bass drum, snare, and hi-hat.
If you want to edit or add to the recorded data, you
can use the “Event Edit” function (ꢀPG p.69).
7. Using controllers to record tonal changes
Let’s try using the realtime controllers and the joystick to
add effects to the performance that we just step-recorded
on track 8.
Naming the song and tracks
It’s a good idea to assign a name to each song and track so
that they can be easily identified.
1Press the [EXIT] key, and then press the Preference
button to move to the P0: Play/REC, Preference page.
2Set the “Recording Mode” to Over Dub.
Naming a song
1Press the [EXIT] key to access P0: Play/REC.
Over Dub allows you to add to a previously-recorded
track.
The “Rename Song” page menu command can also be
selected from P2, P3, P4, or P7, as well as from P0.
2Press the page menu button to access the page menu,
and press “Rename Song.”
3A dialog box will appear. Press the text edit button
and input the desired song name.
4When you are finished inputting the name, press the
Naming a track
1Press the [MENU] key to select P5: Track Edit, and
3For “Track Select,” make sure that Track08: Lead
Synth is selected.
press the Track Name tab.
Press the SEQUENCER [START/ STOP] key to start
playback, and operate the realtime controllers and joy-
stick to rehearse. When you are finished rehearsing,
press the SEQUENCER [START/ STOP] key to stop.
Press the [LOCATE] key.
The P5: Track Edit, Track Name page will appear.
2Press the text edit button for the track whose name
you want to edit, and input the desired name for that
track.
4Start recording.
3When you are finished inputting the name(s), press
Press the SEQUENCER [REC/WRITE] key, and then
press the SEQUENCER [START/STOP] key.
the OK button.
After a two-measure count-in, recording will begin.
You can also assign a name to each cue list and user
pattern.
Operate the LFO CUTOFF or RESONANCE/ HPF real-
time controllers or the joystick (±Y axis) to record their
movements.
When you are finished performing, press the
SEQUENCER [START/STOP] key.
If you make a mistake or want to re-record, press the
[COMPARE] key to execute the Compare function,
and then re-record.
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Saving the song
Remember to save the song you created.
Begining on page 88 is a description of how you can
perform further editing on the song you created here
in “Quick Start” and how you can assign it to a cue
list, so we recommend that you save the song you cre-
ated here for further use.
On the TRITON STUDIO, this data will be lost when
the power is turned off.
2Press the page menu button to access the page menu,
and press “Save SEQ.”
The Save Songs and Cue Lists Data dialog box will
appear.
3When the dialog box appears, press the text edit but-
ton to access the text dialog box, input a name for
your song.
Assign a filename of SEQ_DM1 to the song you created
in this “Quick Start” section, and press the OK button.
4Press the OK button to save the data.
If you have assigned the name described above, a file
named SEQ_DM1.SNG will be created.
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Basic functions
Saving data
Saving to various types of media
The following data can be saved to various types of
media.
Types of data that can be saved
On the TRITON STUDIO, there are three ways to save
data: writing to internal memory, saving on media
(floppy disk, internal hard drive, CD-R/RW, hard disk
and other removable media etc.), and MIDI data dump.
•
.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.)
Writing to internal memory
The following types of edited can be written into the inter-
nal memory.
•
•
.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).
•
Program
Programs 0–127 in banks INT-A–INT-F, EXB-A–EXB-G
(However, bank INT-F is available only if the EXB-
MOSS option is installed.)
Combination
Combinations 0–127 in banks INT-A–INT-E, EXB-A–
EXB-G
•
•
.MID file:
Saves a Sequencer mode song in Standard MIDI File
(SMF) format.
•
•
.EXL file:
System exclusive data from an external device that was
saved on the TRITON STUDIO (This allows the TRI-
TON STUDIO to be used as a data filer.)
Global settings
(Global P0: Basic Setup–P4: Category Name)
User drum kits 00 (I-A/ B)–143 (User)
User arpeggio patterns U000 (I-A/ B)–U506 (User)
User template songs U00–U15
•
•
•
•
•
•
.JKB file:
All other types of file are saved in Disk mode.
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 set-
tings will not be saved either. Use the Sequencer mode
page menu command “Save Template Song” to write
this data (ꢀPG p.54).
.WAV and .AIF files:
A sample you recorded can be exported (written) as a
WAVE file or AIFF file.
.KCD file:
Audio track list
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.
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 (such as
floppy disk, hard disk, CD-R/ RW and removable
disk etc.), and then reloaded.
•
Programs, combinations, global settings, user drum
kits, and user arpeggio patterns
Songs, cue lists
•
Data that you edit in Sequencer, Song Play, or Sam-
pling cannot be saved in internal memory by the
Write operation.
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About preloaded data and preset data
Writing to internal memory
“Preloaded data” refers to the data that is loaded in the
TRITON STUDIO 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.” This data is also stored
in the internal hard disk and on the included floppy disk
(except for the demo songs).
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 STUDIO. This action is referred to as “writ-
ing 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.
•
•
•
Program banks INT-A–INT-D: 000–127
Combination banks INT-A–INT-D: 000–127
User drum kits 000 (I-A/ B)–015 (I-A/ B), 128 (User)–
131 (User)
•
•
User arpeggio patterns U000 (I-A/ B)–199 (I-A/ B),
U312 (User)–U478 (User)
Demo songs S000–S006
There are two ways to write a program or combination.
Before you write data into memory, you must turn off
the memory protect setting in Global mode.
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
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.
Preset patterns P000–P149
Using a page menu command to write
1Select the page menu command “Write Program” or
“Write Combination.”
The Write Program/ Write Combination dialog box will
appear.
You can also access the same dialog box by holding
down the [ENTER] key and pressing the [0] key.
The screen shown is for Program mode
2Check the program/combination name displayed in
the upper line (the writing source).
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.
4In “Category,” specify the category of the program/
combination.
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).
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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).
File
Disk Save: Save All...Save Audio CD Track List,
Utility page menu command: Rename
mLAN Nick
Name
Global P0: Nick Name (if the EXB-mLAN is
installed)
5Use “To” to specify the bank and number of the writ-
Press the text edit button to access the text edit dialog
box.
ing destination program/combination.
Use the VALUE controllers or the BANK keys to make
your selection.
6To execute the Write operation, press the OK button.
Text
Cursor
Character Set
Selects the type of
character.
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.
Character buttons
Shift button
Switches
between
uppercase and
lowercase
Using the (SEQUENCER) [REC/ WRITE] key to
write
This method can only be used to re-write (update) the
selected program/ combination number.
Delete button
Deletes the character
to the left of the
cursor.
1Press the SEQUENCER [REC/WRITE] key.
Cursor buttons
Move the cursor
to left or right.
Clear button
Delete all characters
of the text.
The following Update Program/ Update Combination
dialog box will appear.
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.
The screen shown is for Program mode
Memory protect
To prevent programs, combinations, songs, user drum
kits, and user arpeggio patterns from being overwritten
accidentally, the TRITON STUDIO provides a Memory
Protect setting that prohibits writing to memory.
2To write the data, press the OK button. To cancel
without writing, press the Cancel button.
Before you save edited data or load data from floppy disk,
hard disk or other external media, use the following pro-
cedure to turn the memory protect off (uncheck the appro-
priate check box).
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.
Assigning a name (Rename)
You can modify the name of an edited program, combina-
tion, song, drum kit, user arpeggio pattern, multisample
or sample etc..
You can also modify the category names for programs and
combinations.
1Press the [GLOBAL] key to enter Global mode.
These renaming operations can be performed in the fol-
lowing pages.
2After pressing the [MENU] key, press either P0: Basic
Setup or the [0] key.
Progaram
Combination
Song
Program P0...9 page menu command: Write
Progaram
3Press the System Pref. tab.
The System Preference page will appear.
Combination P0...9 page menu command:
Write Combination
Sequencer P0, 2...4, 7 page menu command:
Rename Song
Cue List
Sequencer P1 page menu command: Rename
Cue List
Track
Sequencer P5: Track Name
Sequencer P6: Pattern Name
Pattern
Multisample
Sampling P0...4 page menu command:
Rename MS
Sample
Sampling P0...4 page menu command:
Rename Sample
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.
Drum Kit
Global P5 page menu command: Rename
Drum Kit
User arpeggio Global P6 page menu command: Rename
pattern Arpeggio Pattern
Program cate- Global P4: Program Cat.
gory
Combination
category
Global P4: Combination Cat.
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About the Edit Buffer
Writing global settings, user drum kits,
and user arpeggio patterns
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.”
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 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.
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.
There are two ways to write global settings, user drum
kits, and user arpeggio patterns.
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.
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.
If you have edited these parameters in Program or
Combination mode you must return to that mode to
write them.
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.
Editing applies to the data in the edit
buffer. Programs or combinations will
play according to the data in the edit
buffer.
Edit
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.
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.
Write
Select
Internal Memory
The Write Global Setting dialog box will appear.
Program
Program
Bank EXB-A 0...127
Combination
Bank INT-A 0...127
Combination
Bank INT-A 0...127
Bank EXB-A 0...127
To write user drum kits, press the page menu com-
mand “Write Drum Kits” in Global P5.
The Write Drum Kits dialog box will appear.
To write user arpeggio patterns, press the page menu
command “Write Arpeggio Patterns” in Global P6.
The Write Arpeggio Patterns dialog box will appear.
The same dialog box will also appear if, in each of the
above pages, you hold down the [ENTER] key and
press the [0] key.
2To execute the Write operation, press the OK button.
To cancel, press the Cancel button.
When you press the OK button, the display will ask
“Are you sure?” Press the OK button once again to
write the data.
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Using the (SEQUENCER) [REC/ WRITE] key to
write
Saving on media
1In the following pages, press the SEQUENCER [REC/
For details on the data that can be saved on storage media.
WRITE] key.
A dialog box will appear.
Song data and cue lists in the TRITON STUDIO’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, you must save it on a
floppy disk, the internal hard drive, the CDRW-1
option, or an externally-connected SCSI CD-R/ RW or
other storage device (hard disk, removable disk etc.).
Other types of data can also be saved on storage
media. Even if you later modify this data, you will
always be able to reload the original settings. It is a
good idea to save your settings whenever you have
created something that you like.
Global settings:
User drum kits:
User arpeggio patterns:
Global P0–P4
Global P5
Global P6
The example shown is for Update Arpeggio Patterns
2To execute the Write operation, press the OK button.
To cancel, press the Cancel button.
Types of media that can be used
Memory in Global mode
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.
Floppy disks
You can use MS-DOS format 3.5 inch 2HD and 2DD
floppy disks. The formatted capacity of a floppy disk is
1.44 MB for a 2HD disk (18 sectors/ track), and 720 KB for
a 2DD disk (9 sectors/ track).
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.
Internal hard drive
This supports MS-DOS format FAT16 and FAT32.
If you turn off the power without writing, the modified
data in the memory area will be lost.
CDRW-1 option (CD-R/ RW)
This supports UDF format. UDF format CD-R/ RW discs
can be written or read. (Packet writing is supported ꢀPG
p.299).
You can also record/ play CD-DA (audio CD), and load
ISO 9660 (level 1) format data.
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.
Write
Power On
External SCSI storage media
Internal Memory
Drum Kit
Arpeggio
Pattern
Data can be stored on external SCSI storage media such as
a hard disk, MO, Zip, JAZ, or ORB disk.
For details on CD-R/ RW, refer to the above “CDRW-1
option (CD-R/ RW).”
Global Setting
When you insert media for the first time after turning
on the power, or when you exchange disks, touch the
LCD screen. so that the TRITON STUDIO will detect
the media. When the media has been detected, the
LCD screen will display information for that media.
If two or more media are detected, use “Drive select”
to switch between media.
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2Press the [DISK] key to enter Disk mode.
Formatting media
You can format a floppy disk, the internal hard drive,
external SCSI media, or CD-R/ RW media.
Newly purchased media or media that has been used by
another device cannot be immediately used by the TRI-
TON STUDIO. In order to use such media on the TRITON
STUDIO, you must first format it.
For the formatting procedure, refer to “Format” (ꢀPG
p.170).
Drive select
The internal hard drive has already been formatted
when it is shipped from the factory.
3Press the Save tab to access the Save page.
It is not necessary to format a CD-R/ RW disc that
you will use to create an audio CD.
4Press Drive Select to select the save-destination
drive.
Media must be formatted by the TRITON STUDIO. It
may not be possible to recognize media that was for-
matted on a device other than the TRITON STUDIO.
5If the media contains directories, select the directory
in which you want to save the data.
To move to a lower level, press the Open button. To
move to a higher level, press the Up button.
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.”
How to save data
As an example, we will explain how to save the following
data.
•
Internal memory programs, combinations, global
settings, user drum kits, user arpeggio patterns
Songs, cue lists
Multisamples and samples created in Sampling mode
etc.
•
•
6Press the page menu button to access the page menu,
and press “Save All.”
If you are saving this data on floppy disk, more than
one disk may be necessary.
1Prepare the media on which you want to save the
data.
If you want to save data on a floppy disk, insert the
floppy disk into the floppy disk drive of the TRITON
STUDIO.
For details on handling floppy disks, please be sure to
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. For details refer to PG
p.166.
If you want to use the CDRW-1 option to save data on
a CD-R/RW disc, insert a CD-R/RW disc into the
drive.
For details on handling CD-R/ RW discs, please be sure
to read “Cautions when handling CD-R/ RW discs.” If
you will be using the disc to save data, it must be for-
matted. (ꢀPG p.170, 295)
If you want to save data on external media such as a
SCSI-connected hard disk, make sure that the exter-
nal SCSI drive is connected. (ꢀPG p.298)
Format the media if necessary. (ꢀPG p.170)
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.
In order to accurately reproduce the data you created,
we recommend that you check all of the boxes.
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9Press the OK button to execute the Save operation.
The various types of data are saved as the following
files.
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.
.PCG file
Programs, combinations, user drum kits, user arpeggio
patterns, and global settings that were saved in inter-
nal memory
If the data does not fit on one volume of media
(floppy disk)
The “No space available on medium” dialog box will
appear. (ꢀPG p.166)
.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
You can divide the file and save the data on multiple
volumes of media. If you do not want to divide the
data, press the Cancel button, and re-save the data on
media that has more free area or on a different drive.
Other ways to save
In addition to “Save All,” the page menu commands
include a “Save PCG” command which saves program,
combination, drum kit, user arpeggio pattern, and global
setting data, a “Save SEQ” command which saves only
the sequencer song and cue list data, and a “Save Sam-
pling Data” command which saves only the multisamples
and samples (ꢀPG p.167). Select the page menu com-
mand that is appropriate for the data you want to save to
external media.
1) Make sure that you have a sufficient number of
floppy disks, and press the OK button. Saving will
begin.
2) When the disk is full, the following dialog box will
appear.
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.
3) Insert the next floppy disk into the TRITON STU-
DIO’s floppy disk drive.
4) Press a function key etc. to make the TRITON STU-
DIO detect the next floppy disk.
5) Press the Select button. Saving will begin.
6) If the “No Space available on medium” dialog box
appears again, repeat steps 1)–5).
If your programs or drum kits use multisamples and
samples that were created in on TRITON STUDIO,
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.
If you decide to cancel the Save operation, press the
Cancel button.
The dialog box of step 2) will appear. Press the Can-
cel button again.
The display will ask “Are you sure?” Press the OK
button. This will cancel the Save operation.
7) When saving is complete, you will return to the
Save page.
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.
If a file with the same name already exists on the
floppy disk, you will be asked whether you want to
overwrite. If you wish to overwrite, press the OK but-
ton. 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.
The LCD screen will show the files that were saved.
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Removing a floppy disk
To remove a floppy disk, first make sure that the disk
access indicator is dark. Then press the eject button and
remove the disk.
If the disk does not come out when you press this button,
do not attempt to remove the disk by force. Please contact
your dealer.
Cautions when handling floppy disks
When handling floppy disks, please observe the following
points. Data loss may occur if a floppy disk is handled
improperly.
Floppy disk type and format
The TRITON STUDIO can use 2HD or 2DD 3.5 inch
floppy disks.
Eject button
Floppy disk handling
Disk access
indicator
•
•
•
•
Do not open the shutter of a floppy disk or touch the
magnetic surface inside the disk. If the magnetic disk
becomes soiled or scratched, it will no longer be
possible to read the data.
Never transport the TRITON STUDIO with a floppy
disk in the disk drive. Vibration may cause the disk
drive heads to scratch the floppy disk, making it
unusable.
Do not allow a floppy disk to be placed near a device
that emits a magnetic field, such as a television,
computer, computer display, speaker, or power
supply transformer. This can erase data on the disk.
Do not use or store floppy disks in locations of
excessive temperature or humidity, in direct sunlight,
or in dusty or dirty locations.
Head cleaning
If the heads of the disk drive are soiled, errors may occur
during saving or loading. It is important to clean the
heads regularly using a commercially available wet-type
3.5 inch double-sided head cleaning disk. For the cleaning
procedure, refer to the owner’s manual for your cleaning
disk.
•
•
Do not place objects on top of a floppy disk.
While the disk drive is operating, do not attempt to
remove the floppy disk, and do not subject the
TRITON STUDIO to physical shock.
MIDI data dump
The programs (INT-A–INT-E, EXB-A–EXB-G), combina-
tions (INT-A–INT-E, EXB-A–EXB-G), user drum kits, user
areggio patterns and global settings of internal memory,
and sequencer songs, cue lists, can be transmitted as MIDI
exclusive data and saved on a connected MIDI data filer,
computer, or another TRITON STUDIO. (ꢀPG p.145)
Floppy disk write protect
Floppy disks have a small write protect hole that can be
used to prevent data from being erased or rewritten acci-
dentally.
After saving data to disk, move the write protect tab so
that the hole is uncovered. This will prohibit writing to the
disk, and will prevent the data from being destroyed acci-
dentally.
Write prohibit: Move the tab
so that the write protect hole
is open.
Write permit: Move the tab
so that the write protect hole
is covered.
Inserting a floppy disk
With the label of the floppy disk facing upward, insert it
into the disk drive. Press the disk inward until it clicks
into place.
Malfunctions will occur if you use excessive force to insert
the disk. Disks must be inserted gently, and straight in.
Disk access
indicator
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Loading data and
restoring the factory settings
When loading programs, combinations, songs, user
drum kits, or user arpeggio patterns, you must make
sure that the Global mode memory protect setting is
Loading data
The procedure for restoring the factory settings is
described below. Here we will explain how to load the
PRELOAD.PCG file from the included floppy disk.
Types of data that can be loaded
The types of data that can be loaded from media (floppy
disk, etc.) are shown in the diagram below. (ꢀFor details
on each type of data, refer to PG p.155)
A .PCG file contains programs, combinations, drum kits,
user arpeggio patterns, and global settings.
When you load a .PCG file, the data in the TRITON
STUDIO’s internal memory will be overwritten by
the data from the .PCG file (programs, combinations,
drum kits, user arpeggio patterns, and global set-
tings). If you want to keep the data that is currently in
internal memory, you must first use “Save All” or
“Save PCG” to save the current data.
Loading data/ Restoring the factory
settings
When you want to use programs, combinations, samples,
or songs that you saved, you will have to load them from
media. You will also load data when you want to restore
all programs, combinations, and other settings to the fac-
tory-set condition. In this case, you will load the PRE-
LOAD.PCG file (contained in the included floppy disk
and on the internal hard drive).
1Insert the “TNSFD-00P” floppy disk into the TRI-
TON STUDIO’s floppy disk drive.
For details on floppy disk handling, please be sure to
Files that can be loaded
DOS file
DOS files
DOS directory
All programs
All combinations
All drum kits
.PCG file
1 program
bank I-A...I-F, E-A...E-G
AKAI format
program file
1 program
1 combination
1 drum kit
.JKB file
.MID file
.EXL file
Undefined DOS file
1 combination
bank I-A...I-E, E-A...E-G
AKAI format
sample file
1 drum kit group
I-A/B, E-A...E-G, User
All user arpeggio
patterns
1 user arpeggio
pattern
1 user arpeggio
pattern group
I-A/B, E-A...E-G, 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]
Up
Open
.KCD file
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2Enter Disk mode, and touch the LCD screen to make
8Press the OK button to load the data.
the TRITON STUDIO detect the disk.
Never remove the media while data is being loaded.
Loading individual banks from a .PCG file
In the dialog box for step 6of “Loading data/ Restoring
the factory settings,” it is also possible to set “.PCG Con-
tents” to specify an individual bank to load, and set the
“To” field to select the bank into which that data will be
loaded.
When you execute loading, only the programs, combina-
tions, drum kits, and user arpeggio pattern data of the
selected bank will be loaded into the load-destination
bank you specify. Global setting data will not be loaded.
3Press the Load tab to access the Load page.
The LCD screen will display file information.
4Use “Drive select” to select the FDD.
5Select the PRELOAD.PCG file.
If you set “.PCG Contents” to Bank I-A, and “To” to Bank
I-A, data will be loaded as follows.
The selected file will be highlighted.
6Select the page menu command “Load Selected.”
A dialog box will appear.
Programs
•
Bank I-A file: loaded into bank INT-A
Combinations
Bank I-A file: loaded into bank INT-A
Drum Kits
•
•
00–15 (I-A/ B) file: loaded into bank I-A/ B
Arpeggio Patterns
•
000–199 (I-A/ B) file: loaded into bank I-A/ B
The contents and settings of the dialog box will differ
depending on the type of file that you are loading.
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 corre-
spond correctly in each mode.
7In “.PCG Contents,” specify the data that you want to
load.
If you want to load all data from the .PCG file, select
All.
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), in order to
ensure that the song data plays back correctly.
Since in this example we want to restore all settings to
the factory-set condition, we will select All. If you load
PRELOAD.PCG from the included floppy disk with
All selected, all data of the .PCG file will be loaded as
follows.
•
•
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
If the song contains track/ pattern events, the
program banks within these events
Programs
•
•
•
•
•
•
•
•
Bank I-A file: loaded into bank INT-A
Bank I-B file: loaded into bank INT-B
Bank I-C file: loaded into bank INT-C
Bank I-D file: loaded into bank INT-D
Bank I-E file: loaded into bank INT-E
Combinations
•
•
•
•
Bank I-A file: loaded into bank INT-A
Bank I-B file: loaded into bank INT-B
Bank I-C file: loaded into bank INT-C
Bank I-D file: loaded into bank INT-D
Drum Kits
•
•
000–015 (I-A/ B) file: loaded into bank I-A/ B
128–143 (User) file: loaded into bank User
Arpeggio Patterns
•
•
000–199 (I-A/ B) file: loaded into bank I-A/ B
312–506 (User) file: loaded into bank User
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Loading data by individual item or bank
Contents of the included floppy disk
The TRITON STUDIO 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 allows you to restore just an individual item to its
factory setting, or to rearrange combinations (for exam-
ple) in the order in which they will be played during a
concert.
The TRITON STUDIO comes with one floppy disk
(TNSFD-00P).
The disk contains the following data.
TNSFD-00P
PRELOAD.PCG (already loaded when the TRITON STU-
DIO is shipped)
•
•
•
•
Programs (bank I-A, I-B, I-C, I-D, I-E)
Combinations (bank I-A, I-B, I-C, I-D)
Drum Kits (000–015 (I-A/ B), 128–143 (User))
Arpeggio Patterns (000–199 (I-A/ B), 312–506 (User))
This is the preloaded data (programs, combinations,
drum kits, arpeggio patterns, global settings).
Be aware that if you change the order of programs,
the sounds played by combinations may also be
As an example, here’s how to load the combination INT-
D024: Rock Organ into INT-A000.
1From the “Bank I-A” directory, and select “Rock
Organ.” (PRELOAD.PCG/Combinations/Bank I-D/)
The procedure is as follows.
Loading .PCG files and .SNG files from
the floppy disks included with the EXB-
PCM series and EXB-MOSS options
1) Perform steps 1–4of the preceding procedure,
press “PRELOAD.PCG’ to highlight it, and press
the Open button.
2) Press “Combinations” to highlight it, and press the
Open button.
3) Press “Bank I-D” to highlight it, and press the Open
button.
4) Press the scroll bar to find “Rock Organ,” and press
“Rock Organ” to highlight it.
The floppy disk included with each EXB-PCM series
option and the EXB-MOSS option contains .PCG files and
.SNG files that match the bank structure of the TRITON/
TRITONpro/ TRITONproX. (As of March 2002)
EXB-PCM series
Alternatively, you could select any file, since the
desired file can be selected later from the dialog box.
EXB-PCM01–05
In each disk, C_BANK.PCG (.SNG) and D_BANK.PCG
(.SNG) contain the same data, but use different banks.
EXB-PCM08
The data contained on the EXB-PCM08 is already
included in the TRITON STUDIO’s Piano PCM ROM.
EXB-PCM06/ 07
C_BANK.PCG and D_BANK.PCG contain different pro-
grams, combinations, drum kits, and arpeggio patterns.
When loading these TRITON/ TRITONpro/ TRITONproX
format files from the EXB-PCM series disks into the TRI-
TON STUDIO, you should load bank I-C of
C_BANK.PCG or bank I-D of D_BANK.PCG, and not load
banks I-A and I-B. We also recommend that you select
EXB-A–EXB-G as the bank into which this data will be
loaded.
When you press the keyboard of the TRITON STU-
DIO, the selected combination will sound. However,
the internal programs will be used as the program of
each timbre.
Here is an example of how various files from the floppy
disks included with the EXB-PCM01–07 can be loaded
into banks EXB-A–EXB-G of the TRITON STUDIO.
2Press the page menu button and select the “Load
Selected” page menu command.
The dialog box will appear.
•
•
•
•
•
•
•
EXB-PCM01: file for bank C → load to bank EXB-A
EXB-PCM02: file for bank C → load to bank EXB-B
EXB-PCM03: file for bank C → load to bank EXB-C
EXB-PCM04: file for bank C → load to bank EXB-D
EXB-PCM05: file for bank C → load to bank EXB-E
EXB-PCM06/ 07: file for bank C → load to bank EXB-F
EXB-PCM06/ 07: file for bank D → load to bank EXB-G
The loading destination banks need not be in the
above order. Load the data into any bank (EXB-A–
EXB-G) that will make it easy for you to keep your
data organized.
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 A000: Combi I-A000.
EXB-PCM boards can be installed in any slot 1–7.
4Press the OK button to load the data. A000 will now
(ꢀPG p.286)
be Rock Organ.
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1If you have modified the program settings or the
order of the programs in banks INT-A or INT-B, load
banks I-A and I-B from the internal hard disk or the
included floppy disk.
EXB-MOSS
If you want to load the floppy disk included with the
EXB-MOSS into the TRITON STUDIO, load program bank
I-F and combination bank I-B (000...063) from the
MOSS.PCG file, and load the MOSS.SNG file. As
described for the EXB-PCM series, you will not normally
load bank I-A and I-B.
Program bank I-F should be loaded into bank INT-F,
which is the program bank for the MOSS tone generator.
We recommend that you select INT-E as the loading desti-
nation for combination bank I-B.
Combinations (except for those of the EXB-PCM03) are
created using the EXB-PCM programs and the bank
INT-A and INT-B preloaded programs. This means
that when loading data (other than EXB-PCM03 data),
you must load banks I-A and I-B of the preloaded pro-
2Insert the included floppy disk, and select the .PCG
The optional EXB-MOSS board must be installed.
(ꢀPG p.286)
file.
For the EXB-PCM01–05:
As described in steps 1–5of “Loading data/ Restor-
ing the factory settings,” select C_BANK.PCG.
1If you have modified the program settings or the
order of the programs in banks INT-A or INT-B, load
banks I-A and I-B from the internal hard disk or the
included floppy disk.
For the EXB-PCM06/ 07:
As described in steps 1–5of “Loading data/ Restor-
ing the factory settings,” select C_BANK.PCG.
After loading C_BANK.PCG, use the same procedure
to select D_BANK.PCG. Load both files.
The EXB-MOSS combinations are created using the
EXB-MOSS programs and the bank INT-A and INT-B
preloaded programs. This means that you must load
banks I-A and I-B of the preloaded programs. (“Load-
3Select the page menu command “Load Selected.”
A dialog box will appear.
2Insert the included floppy disk, and select the pro-
gram bank I-F and combination bank I-B file.
4As described in “Loading individual banks of data
from a .PCG file,” set “.PCG Contents” and “To.”
Make the settings shown below.
Selecting program bank I-F:
Select MOSS.PCG as described in steps 1–5of
“Loading data/ Restoring the factory settings.” Press
the Open button to select the Programs folder, and
press the Open button once again to select the bank I-F
folder.
EXB-PCM01:
“.PCG Contents”: bank I-C, “To”: bank E-A
EXB-PCM02:
“.PCG Contents”: bank I-C, “To”: bank E-B
EXB-PCM03:
“.PCG Contents”: bank I-C, “To”: bank E-C
“Load C_BANK.SNG too”: On (checked)
“.SNG Allocation”: Clear
Selecting combination bank I-B:
Select MOSS.PCG as described in steps 1–5of
“Loading data/ Restoring the factory settings.” Press
the Open button to select the Combinations folder, and
press the Open button once again to select the bank I-B
folder.
EXB-PCM04:
“.PCG Contents”: bank I-C, “To”: bank E-D
“Load C_BANK.SNG too”: On (checked)
“.SNG Allocation”: Append
3Select the page menu command “Load Selected” to
load the data.
EXB-PCM05:
If program bank I-F is selected, the Load Program
Bank F dialog box will appear. Press the OK button to
load the data.
If combination bank I-B is selected, the Load Combi-
nation Bank I-B will appear. Set “To” to Bank I-E, and
press the OK button to load the data.
“.PCG Contents”: bank I-C, “To”: bank E-E
EXB-PCM06/ 07, C_BANK.PCG:
“.PCG Contents”: bank I-C, “To”: bank E-F
EXB-PCM06/ 07, D_BANK.PCG:
“.PCG Contents”: bank I-D, “To”: bank E-F
Because you checked “Load C_BANK.SNG too” for
EXB-PCM03 and 04, the RPPR settings and patterns
will be loaded into Sequencer mode. Because you set
“.SNG Allocation” to Append for EXB-PCM04, the C-
BANK.SNG (song data) that you had loaded for EXB-
PCM03 will be preserved (i.e., not overwritten).
If you want to keep the data that is currently in the
internal memory area, use “Save All” or “Save PCG”
to save the current data before you perform the pro-
cedure described here.
To load the demo song data for the MOSS tone generator,
select MOSS.SNG, and use “Load Selected” to load it. For
details on “Select SNG Allocation,” refer to the note at the
end of step 4of the preceding section.
5Press the OK button to load the data.
If you execute with “.PCG Contents” set to All, the
bank INT-A, INT-B, and INT-C (or INT-D) programs
and combinations, all drum kits, all user arpeggio
patterns, and global settings will be overwritten.
If you want to keep the data that is currently in the
internal memory, you must execute “Save All” or
“Save PCG” to save the current data before you per-
form the procedure described here.
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Program settings
Program editing is performed in Program mode, just as
programs can be selected and played in Program mode.
Basic program editing
Program mode consists of the P0: Play–P9: Edit-Master
Effect pages.
You can edit the preloaded programs (banks INT-A–INT-
D) that the TRITON STUDIO is shipped with, or you can
start with an initialized program (banks INT-E, EXB-A–
EXB-G) to create an original program.
In P0: Play, you can select and play programs. You can
also perform simple editing of the program, make arpeg-
giator settings, and make settings for audio input and
In P1: Edit-Basic–P9: Edit-Master Effect, you can edit the
parameters of the program you selected in P0: Play.
When shipped, the TRITON STUDIO contains numerous
preloaded programs. You can edit the settings of these
preloaded programs to create your own original pro-
grams. You can also create original programs that use
sampled waveforms and multisamples that you sampled
on the TRITON STUDIO or loaded into the internal sam-
ple memory (RAM) in Disk mode.
The P1: Edit-Basic–P5: Edit-Common LFO parame-
ters, which are set independently for oscillators 1 and
2, can be copied using the page menu command
“Copy Oscillator.” This is useful when you want to
make the same settings for both oscillators, or when
you want to copy settings from another program.
If you wish to save an edited program into internal
In this section we will give examples of how to modify
representative parameters in each page.
You can perform sampling/ resampling in Program
DIO’s effects to an external audio input, for a wide
For details on all parameters, refer to in the PG p.1–.
Programs you edit or create can be written into the 1,536
program memory areas of banks INT-A–INT-E, EXB-A–
EXB-G.
You can also save and manage programs on various types
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.”
If the EXB-MOSS option is installed, you will be able
to use the special bank INT-F. The parameter struc-
ture of bank INT-F programs is different than that of
the other banks. Refer to the EXB-MOSS owner ’s
manual.
How a program is organized
A program consists of the many parameters of P1: Edit-
Basic–P9: Edit-Master Effect. The diagram below shows
the structure of a program.
Program Basic : P1 - 1
Controller Setup:
P1 - 4
Arpeggiator : P7
OSC1 LFO1 : P5 - 1
OSC1 LFO2 : P5 - 2
Master Effect 1, 2 :
P9
Routing : P8-1
OSC Basic : P1 - 2,3
Filter1(A/B) : P3 - 1
Amp1 Level/Pan : P4 - 1
AUDIO OUTPUT
L/MONO, R
Insert Effect 1 ... 5 :
P8
MasterEQ : P9
OSC1,2
OSC1 Pitch Mod. : P2 - 1
Filter1 Mod. : P3 - 2
Amp1 Mod. : P4 - 2
Insert Effect
Master Effect
Individual Output
AUDIO OUTPUT
INDIVIDUAL 1,2,3,4
Filter1 LFO Mod. : P3 - 3
Filter1 EG : P3 - 4
Amp1 EG : P4 - 3
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 STUDIO.
Oscillator / Pitch
Amplifier
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The three elements of sound
Sound can be broken down into three elements: pitch,
Oscillator settings
P1: Edit-Basic
Basic settings for the oscillator are made in the P1: Edit-
Basic page. The TRITON STUDIO 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 STUDIO
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...
tone, and volume.
On TRITON STUDIO, 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.
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.
Program Basic page
This basic sound can then be modified further by using
the insert effects (P8: Edit-Insert Effect settings), master
effects, and master EQ (P9: Edit-Master Effect settings) to
apply finishing touches.
When arpeggiator settings (P7: Edit-Arppeggiator.) and
controller settings (P1: Edit: Basic) are added to this, the
final result is called a “program.”
A program that is usen in the Combination,
Sequencer or Song Play modes will have insert effect,
master effect, master EQ, arpeggiator, and controller
settings that are separate from those it has in the Pro-
gram mode.
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.
The Compare function
When P1–P9 are selected, pressing the [COMPARE] key
(the LED will light) will recall the sound that was written
before you edited it.
Pressing [COMPARE] again (the light goes dark) returns
you to the version you are editing.
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
If you edit while the [COMPARE] key LED is lit, the
key will go dark. That previous sound will now
become be the sound that is recalled when the [COM-
PARE] key LED is dark.
Voice Assign Mode
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.
OSC Basic page
In this page you can select the multisample for each oscil-
lator. The TRITON STUDIO provides 429 multisamples in
its internal ROM memory (ꢀVNL).
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Additional multisamples can be added by installing EXB-
PCM series options. Data sampled on the TRITON STU-
DIO can also be used as a multisample.
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.
Selecting a multisample
The multisample will determine the basic character of the
program.
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.
Use “High MS Bank” to select the multisample bank,
and use “High Multisample” to select the multisam-
ple.
If the “High MS Bank” is ROM, you can select preset
multisamples. “High Multisample” can be selected
from a range of 000–424. (ꢀVNL)
It will be convenient to use the page menu command
“Copy Oscillator” to make the oscillator settings
match each other.
If “High MS Bank” is RAM, you can select multisam-
ples that were sampled on the TRITON STUDIO or
loaded in from media. Select from 000–999 for “High
multisample.”
When “Oscillator Mode” = Drums
If “High MS Bank” is Piano, you can select one of the
large preset piano multisamples. Select from 000–003
for “High Multisample.”
If “High MS Bank” is set to ROM, pressing the
“High Multisample” popup button will display all
internal ROM multisamples, organized into 15 cate-
gories. Use the tabs located at the left and right to
select the desired category, and select a multisample
from within that category.
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.
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.
This will select a drum kit instead of a multisample. TRI-
TON STUDIO provides twenty 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
1Specify different multisamples for “High Multisam-
ple” and “Low Multisample.”
2Specify a velocity value for “Velocity M.Sample SW
Lo→Hi.”
The following multisamples or drum kits can be used for
the oscillator.
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.”
•
•
425 internal multisamples (ROM)
Multisamples that you sampled (RAM)
(Programs can be created from multisamples/ samples
that you sampled in Sampling mode etc. or loaded
from media in Disk mode.)
•
•
Four internal piano multisamples (Piano)
Expansion multisamples (if a EXB-PCM option is
installed)
3Adjust the “Lvl” (Level) for High and Low multisam-
ples to set their volume balance.
•
•
Nine internal drum kits (ROM)
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.
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.)
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.
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Velocity Zone page
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.
OSC1 Pitch Mod. page
Here you can specify the range of velocities for each oscil-
lator. In the example shown above, the velocity ranges are
as follows.
•
•
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 32 and “OSC2” to
096. The settings are shown as vertical lines in the
velocity zone display.
Pitch
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.
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.
“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 STUDIO 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.
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
multisample.
Controller Setup page
Pitch EG
For each program, this tab lets you make settings for the
[SW1] and [SW2] key, and for the B-mode of REALTIME
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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“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.
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.
Pitch EG 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.12).
TRITON STUDIO 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
Level
Level
This area of
overtones will
be diminished
Filte r
Overtones included
Overtones after
passing through
the filter
in the original multisample
Frequency (pitch)
Frequency (pitch)
EG and LFO
Filter1 page
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.
EG (Envelope Generator)
TRITON STUDIO 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
Filter Type, Filter A, Filter B
Selects the type of filter, and specify the “Frequency” (cut-
off frequency) and “Resonance” (resonance level).
Release Time
Decay Time
Attack Time
Slope Time
•
Low Pass Resonance (24 dB/ oct low pass filter with
resonance): Make settings for filter A.
Start Level
•
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.
LFO (Low Frequency Oscillator)
For each oscillator, TRITON STUDIO 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).
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.
Low Pass
Level
12dB/oct
24dB/oct
Frequency
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High pass filter
Filter EG
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.
Adjusts the effect produced by the filter EG, whose set-
tings are made in the EG page.
•
•
•
Use the “Velocity to A” and “Velocity to B” settings to
specify the effect of velocity on the filter EG.
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 A)”
adjust the effect that AMS will have on the filter EG
depth.
High Pass
Level
12dB/oct
These three settings will determine the depth of the
tonal change produced by the filter EG.
Frequency
Filter A/ B Modulation
Resonance
Set this when you wish to produce tonal change by using
controllers etc. to vary the cutoff frequency.
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.
Filter1 LFO Mod. page
Indicates settings that allow the LFO to produce cyclic
changes in tone (a “wah” effect).
When resonance is applied
Low Pass
Level
“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 STUDIO is moved
toward yourself, or when CC#2 is received.
Low resonance value
High resonance value
“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 STUDIO, will produce a wah effect.
Filter1 Mod. page
Filter1 EG page
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.19).
Filter EG and Amplifier EG
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.
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)
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.
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.
•
“Intensity to A” and “Intensity to B” adjust the effect
that keyboard tracking will have on filters A and B
(ꢀPG p.17).
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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).
Amp Mod. page
Piano
Organ
Volume remains constant
until note is released
Volume
Volume
Volume decays gradually
Time
Time
Keyboard Track
Amp1 Level/ Pan page
This lets you vary the volume relative to the position of
the key you are playing on the keyboard.
•
When “Ramp Low” has a positive (+) value, the
volume will increase as you play lower on the
keyboard. With a negative (–) value, the volume will
decrease as you play lower on the keyboard.
When “Ramp High” has a positive (+) value, the
volume will increase as you play higher on the
keyboard. With a negative (–) value, the volume will
decrease as you play higher on the keyboard.
•
Amp Modulation
“Velocity Intensity” is used by most programs to decrease
the volume of softly played notes and increase the volume
of strongly played notes, and the Amp Modulation parame-
ter adjusts the depth of this control. Normally you will set
Amp Modulation to positive (+) values. As this setting is
increased, there will be greater volume difference between
softly played and strongly played notes.
Amp Level
Adjusts the volume of the sound that has passed through
the oscillator, filter, and amp.
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 STUDIO, produc-
ing an interesting effect.
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 STU-
DIO toward yourself, or when CC#02 is received.
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 STUDIO. 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.
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.
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.
Piano
Organ
Strings
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LFO settings
P5: Edit-Common LFO
Master Effect settings
P9: Edit-Master Effect
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.
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 STUDIO allows you to apply modulation
to a modulator, this type of control is referred to as “alter-
nate modulation.”
OSC1 LFO1, OSC1 LFO2, OSC2 LFO1, OSC2 LFO2
Intensity is a parameter that sets the degree (speed or
depth) to which AMS will control alternate modulation.
“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.25).
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.
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 STUDIO 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.241.
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 are
synchronized to the playback speed of the sequencer or
arpeggiator.
Suggestions on using alternate modulation
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.
Arpeggiator settings
P7: Edit-Arpeggiator
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-
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Combination settings
Combination editing is performed in Combination mode,
If you wish to save an edited combination in internal
just as combinations can be selected and played in Combi-
nation mode.
If a program being edited in Program mode is used in
a combination, it will sound according to the settings
being edited.
Combination mode consists of the P0: Play–P9: Edit-Mas-
ter FX pages.
In P0: Play, you can select and play combinations. You can
also perform simple editing, make arpeggiator settings,
In P1: Edit-Program/ Mixer–P9: Edit-Master FX, you can
edit the parameters of the combination you selected in P0:
Play.
In the following pages, we will explain how to edit some
of the major parameters, and explain their functions.
For a more detailed explanation of the parameters, refer to
PG p.33 and following.
Combinations that you edit or create from scratch can be
written into the 1,536 combination memory areas (internal
memory) of banks INT-A–INT-E and EXB-A–EXB-G. They
can also be stored and managed on various types of
You can perform sampling/ resampling in Combina-
TON STUDIO’s effects to an external audio input, for
Suggestions for editing procedure
The parameters of each timbre are set in P1: Edit-Pro-
gram/ Mixer–P9: Edit-Master FX. This is where you create
the basic combination consisting of the programs you
select here.
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.
How a combination is organized
A combination consists of a variety of parameters that can
be accessed in P1: Edit-Program/ Mixer–P9: Edit-Master
FX. The diagram below shows how a combination is
structured.
To add finishing touches to the sound, you can assign
insert effect settings (in P8: Edit-Insert FX) and master
effect and master EQ 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.
Basic combination editing
You can edit the preloaded combinations (banks INT-A–
INT-D) with which the TRITON STUDIO is shipped, or
start with an initialized combination (banks INT-E, EXB-
A–EXB-G) to create your own original combination.
By using the page menu command “Solo Selected
Timbre”, you can listen only to the selected timbre.
This is a convenient way to audition individual
sounds of timbres that are layered. (ꢀPG p.35)
Original programs using sample waveforms/ multi-
samples you sampled on the TRITON STUDIO (or
loaded into memory via Disk mode) can also be used
in a combination.
Controller Setup : P4- 4
Arpeggiator : P7
Timbre1
Program
Parameters
Parameters
Parameters
Parameters
Master Effect 1, 2 : P9
Routing : P8-1
Timbre2
Program
Insert Effect 1 ... 5 : P8
MasterEQ : P9
AUDIO OUTPUT
L/MONO, R
Timbre3
Program
Timbre
Timbre4
Program
AUDIO OUTPUT
INDIVIDUAL 1,2,3,4
Insert Effect
Master Effect
Individual Outputs
Parameters
Timbre8
Program
P1–1 or P2–2 etc. indicate pages or tab screens used on this instrument for editing.
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Layer, split, and velocity switch
The Compare function
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.
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
LED is lit, the LED will go dark, and the current set-
ting will now be the sound that is recalled when the
[COMPARE] key LED is dark.
Layer
Layer refers to settings which cause two or more pro-
grams to sound simultaneously when a note is played.
Program A
Program B
Layer:
Two or more programs sound
simultaneously.
Timbre 1–8 program, pan and volume
P1: Edit-Program/ Mixer
Split
Here you can assign programs to each timbre 1–8, and set
the pan and volume for each one. (These settings can also
be made in the Program Select and Mixer pages of P0:
Play.)
Split refers to settings which cause different programs to
sound on different areas of the keyboard.
Program B
Program A
Split:
Different programs will sound in
different areas of the keyboard.
Edit-Program/ Mixer page
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.
On TRITON STUDIO, 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.
Category, Program Select (Bank/ Program)
Assigns a program to each timbre.
Program A
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 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 [INT-A]–[EXB-G] keys to
select the bank of the program.
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.
If you wish to select programs by receiving MIDI pro-
gram changes, do so in P0: Play.
Keyboard X-Fade (keyboard
crossfade):
Pan
Program B
Program A
As you play from low notes
to high notes, the volume of
A will fade out, and the
volume of B will fade in.
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.
Volume
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.
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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, 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.38).
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 STUDIO, 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
STUDIO will not sound. With settings of EXT or EX2, you
can control an external tone generator connected via
MIDI. (ꢀPG p.38)
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).
MIDI Channel
Portamento
Timbres that you wish to play from TRITON STUDIO’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.
Normally you will set this to PRG.
If you want to overide 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.
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 timbres
that sound only when the arpeggiator is on. This is a
very useful technique for creating combinations that
use the arpeggiator. Refer to “Arpeggiator settings in
p.44), and study the relationship between arpeggiator
assignments, “Status,” and “MIDI Channel.”
Bank Select (when status=EX2)
This setting is valid when “Status” is set to EX2. It speci-
fies the Bank Select message that will be transmitted from
TRITON STUDIO.
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
“Transpose” 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 Disk 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.39)
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.
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.
Delay [ms]
By combining key zones specified for each timbre, you
can create layered or split combinations.
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.
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.
Timbres 2 and 3 create a layer. Timbre 1 and timbres 2/ 3
are split between the B3 and C4 note numbers.
Use Program’s Scale, Scale
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.
Timbre 1
Timbre 2
Timbre 3
Piano
Brass
Strings
MIDI filter settings
P3: Edit-MIDI Filter
C–1
B3 C4
G9
As an example here, we will explain how to create a com-
bination like the one shown above.
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.
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).
3In the Key Zone page of P4: Edit-Zone/Ctrl, set “Top
Key” and “Bottom Key.”
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 STUDIO even if “Portamento SW CC#65”
is unchecked.
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.
You can also enter these values by holding down the
[ENTER] key and playing a note on the keyboard.
Key Zone Slope
Velocity 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.
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 key
zones so that a portion of timbres 1 and 2 overlaps (i.e., is
layered) with timbre 3, and set “Top Slope” and “Bottom
Slope” so that the sound changes gradually, instead of
changing suddenly between B3 and C4.
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 “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
Indicates the insert effects, and allows you to adjust their
settings.
Specifies the routing for each timbre (i.e., how it is sent to
the insert effect, master effects, and individual outputs).
127
Timbre 1
Timbre 2
Brass
64
63
1
Velocity
switch
Strings
As an example, we will explain how to create a combina-
tion like the one shown above.
Master Effect settings
P9: Edit-Master FX
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.
Indicates the naster effects, and allows you to adjust their
settings.
Select a brass program for timbre 1.
Select a strings program for timbre 2.
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.”
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.
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Producing songs
TRITON STUDIO contains a 16-multi track MIDI
•
Various methods of recording are supported,
sequencer. The sequencer acts as a hub, integrating TRI-
TON STUDIO’s numerous functions, allowing it to be
used in a variety of situations including music production
and live performance.
including realtime recording in which your
performance on the keyboard and controllers
(including MIDI control events) is recorded just as you
play, and step recording in which the timing, length,
and velocity of each note can be 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 editing
and many other edit commands).
When the “Status” of a track is set to INT or BTH, an
external sequencer can be used to play TRITON
STUDIO as a multi-timbral tone generator.
When the “Status” of a track is set to BTH, EXT, or
EXT2, the sequencer of TRITON STUDIO can play
external tone generators.
Sampling or resampling can be performed in
TRITON STUDIO’s effects to an external audio input
•
•
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 (Floppy disk, hard drive etc.) before
turning off the power, or perform a MIDI data dump
to save the data on an external data filer etc.
•
•
Playback can be synchronized with an external MIDI
device.
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.”
TRITON STUDIO’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.
Immediately after the power is turned on, TRITON
STUDIO 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.145, 161)
•
•
You can assign names not only to the song, but also to
each pattern and track.
•
•
Combination settings can be copied to a song.
Sequencer data such as a song or cue list that you
create can be saved in TRITON STUDIO’s native
format, or transmitted as a MIDI data dump.
A song you created can be converted into SMF
(Standard MIDI File) data. SMF songs can also be
loaded.
Features of the sequencer
•
•
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.
•
•
•
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 [LOCATE] key lets you move quickly to a desired
location.
•
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.
The arpeggiator function can be used during playback
or recording.
The RPPR (Realtime Pattern Play/Recording)
function can be used during playback or recording.
Sixteen different template songs are built-in, and
contain program and effect settings suitable for
various musical styles. Up to sixteen original
templates that you create can be saved as user
template songs.
Five stereo insert effects, two master effects, and a
stereo master EQ can be used for each song.
Timing resolution is a maximum of ꢀ /192.
Sixteen tracks are provided for musical data, and a
master track contains time signature and tempo data
that controls the playback.
•
•
•
•
Multisamples you create can be played back together
with internal programs in Sequencer mode.
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.
•
•
•
•
•
The TRITON STUDIO provides an In-Track Sampling
function which lets you sample an external audio
source while the song plays back, and will
automatically create note data to trigger that sample at
the appropriate point during the playback of the track.
A song you create can be resampled to the hard disk.
In Disk mode, this data can then be written to an
audio CD by using the CDRW-1 option.
•
•
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.
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The structure of Sequencer mode
Patterns
The following describes the structure of Sequencer mode.
(ꢀdiagram below)
There are two types of patterns: preset patterns and user
patterns.
•
•
Preset patterns: Patterns suitable for drum tracks are
preset in internal memory, and can be selected for any
song.
Songs
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.
A song consists of tracks 1–16, a master track, song
parameters such as the song name, effect, arpeggiator and
RPPR parameters, and 100 user patterns.
A maximum of 200 such songs can be created on TRITON
STUDIO.
Tracks 1–16 and the master track each consist of setup
parameters located at the start location, and musical data
within the track.
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.
Setup parameters
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)*
Master track
Cue List
A cue list allows you to playback multiple songs in suc-
cession. The TRITON STUDIO 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.
Time signature*, Tempo*
Musical data
Tracks 1–16
Note On/ Off, Program Change (including Bank
Select), Pitch Bend, After Touch (Poly After), Control
Change, Pattern No.
*
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.
** 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.260, 263.
Pattern U00 ... U99
RPPR Setup
: P6
Controller Setup : P4- 4
Arpeggiator : P7
Track 1
Track 2
Parameter settings
Parameter settings
Musical data
Musical data
Master Effect 1, 2 : P9
Routing : P8-1
Track 3
Track 4
Track 5
Track 6
Track 7
Track 8
Parameter settings
Parameter settings
Parameter settings
Parameter settings
Parameter settings
Parameter settings
Musical data
Musical data
Musical data
Musical data
Musical data
Musical data
AUDIO OUTPUT
L/MONO, R
Insert Effect 1 ... 5 : P8
MasterEQ : P9
Track
AUDIO OUTPUT
INDIVIDUAL 1,2,3,4
Insert Effect
Master Effect
Individual Outputs
Track 16
Parameter settings
Musical data
Master Track
Tempo, Time signature data
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external tone generator must be set to match the “MIDI
Channel” of TRITON STUDIO tracks that are set to
EXT, EX2 or BTH.)
Preparations for recording
If “Status” is set to BTH, both the external tone genera-
tor and the TRITON STUDIO’s own tone generator
will be sounded and controlled.
If you are using the TRITON STUDIO’s Sequencer
mode as a 16-track multi-timbral tone generator, set
this parameter to INT or BTH. (ꢀ”Status” PG p.62)
On the TRITON STUDIO, “recording” is the process by
which your performance on the keyboard and controllers
is written into the tracks and patterns of a song as data.
This section explains how to make preparations for
recording a song, such as assigning a program to each
track, and setting the volume.
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.
By loading a template song, you can easily make
appropriate settings for various styles of music.
1Assign a program to each track.
In the Sequencer P0: Play/ REC, Program T01–08/ T09–
16 page, use “Program Select” to assign a program to
each track.
At this time you can press the “Category” popup and
select programs by category. (ꢀPG p.51)
You can also use the Utility menu command “Copy
From Combi” to copy settings from a combination
When assigning a program, you can use “Track
Select” to select the track for which you are making
assignments, and try playing the sound.
4Adjust the effect settings.
Make settings for each effect in Sequencer P8: Insert
5Set the tempo and time signature.
Make these settings in Sequecner P0: Play/ REC.
“ꢀ (Tempo)” sets the tempo, and “Meter” sets the time
signature. (ꢀPG p.49)
6As necessary, set “Reso” to specify the quantization
7Make other settings as necessary.
As necessary, make arpeggiator settings (Sequencer P7:
Arpggiator) and MIDI filter settings (Sequencer P3:
MIDI Filter). (ꢀPG p.49–86)
2Set the pan and volume of each 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.
When you are finished making these settings, the basic
setup is complete. Record as described in “Recording
Monitoring just a specific track/ Muting just a spe-
cific track (Solo/ Mute functions)
The TRITON STUDIO provides a Solo function that lets
you play only a specific track 1–16, and a Mute function
that silences only 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.
3Specify the tone generator and MIDI channel that
will be played by each track.
Let’s try out the Mute and Solo functions.
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.
1Load a song.
any song.
2Access the Sequencer P0: Play/REC, Program T01–08/
If the track “Status” is set to INT, playing the track data
or operating the TRITON STUDIO’s keyboard or con-
trollers will cause the TRITON STUDIO’s internal tone
generator to be played.
T09–16 page.
Press the SEQUENCER [START/STOP] key.
3Press track 1 “PLAY/MUTE/REC.”
If “Status” is set to EXT, EX2, or BTH, playing the track
data or operating the TRITON STUDIO’s keyboard or
controllers will cause an external tone generator to be
sounded and controlled. (The MIDI channel of the
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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.
Recording methods
This section describes the ways in which you can record
on the TRITON STUDIO.
Recording a track
Press track 2 “PLAY/MUTE/REC.”
There are two ways to record to a track: realtime record-
ing and step recording. You can choose from six types of
realtime recording.
The display will change, and the playback of track 2
will also be muted.
In addition, you can use event editing to modify data that
has been recorded or to insert data, and use track editing
operations such as Create Control Data to insert data
such as bend, after touch, and control changes.
To cancel muting, press “PLAY/REC/MUTE” once
again.
Recording a pattern
4Press track 1 “SOLO ON/OFF.”
There are two ways to record a pattern: realtime record-
ing and step recording. For realtime recording, only one
recording type (loop) is available.
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).
In addition, you can use event edit operations to modify
data that has been recorded or to insert data.
The page menu command “Get From Track” can be used
to take musical data from a desired area of a track, and use
it as the musical data for a pattern. 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.
If both Mute and Solo are used, the Solo function will
be given priority.
5Press track 2 “SOLO ON/OFF.”
The display will change, and only the playback of
tracks 1 and 2 will be heard.
Realtime recording on a 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.
To switch Solo off, press “SOLO ON/OFF” once
This method of recording is normally used one track at a
time, and is called single track recording.
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.
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 STUDIO’s
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.52)
These settings are made in Sequencer P0: Play/REC,
Preference page “Recording Setup.”
[LOCATE] settings
• Overwrite
By pressing the [LOCATE] key you can move to a speci-
fied location.
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.
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.54).
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 begining of the song.
1Use “Track Select” to select the track that you want to
record.
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2Set the “Recording Mode” to Over Write.
2Set the “Recording Mode” to Manual Punch In.
3In “Location,” specify a location several measures
earlier than the point at which you wish to begin
recording.
4Press the SEQUENCER [START/STOP] key.
Playback will begin.
5At the point at which you wish to begin recording,
press the SEQUENCER [REC/WRITE] key.
3In “Location,” specify the location at which you wish
Recording will begin. Play the keyboard and operate
controllers such as the joystick to record your perfor-
mance.
to begin recording.
4Press the SEQUENCER [REC/WRITE] key, and then
press the SEQUENCER [START/STOP] key.
6When you finish recording, press the SEQUENCER
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.
[REC/WRITE] key.
Recording will end (playback will continue).
Play the keyboard and move controllers such as the
joystick to record your performance.
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 SW Assign”
5When you finish playing, press the SEQUENCER
[START/STOP] key.
Recording will end, and the location will return to the
point at which you begin recording.
7Press the SEQUENCER [START/STOP] key.
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.
Playback will stop, and you will return to the location
that you specified in step 3.
• Auto punch-in
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.
• 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.
1Use “Track Select” to select the track that you want to
record.
2Set the “Recording Mode” to Auto Punch In.
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.
3In “M (Auto Punch In Start Measure), “M (Auto
Punch In End Measure)” specify the area that you
wish to record.
1Use “Track Select” to select the track that you want to
record.
2Set the “Recording Mode” to Over Dub.
For example if you specify M005–M008, recording will
occur only from measure 5 to measure 8.
4In “Location,” specify a location several measures
earlier than the point at which you wish to begin
recording.
3For the rest of the procedure, refer to steps 3–5of
5Press the SEQUENCER [REC/WRITE] key, and then
“Overwrite.”
press the SEQUENCER [START/STOP] key.
Playback will begin.
• Manual punch-in
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.)
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
6Press the SEQUENCER [START/STOP] key.
record.
Playback will stop, and you will return to the location
you specified in step 4.
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Using the arpeggiator to record multiple tracks
simultaneously
A multi-track performance using the arpeggiator func-
tion can be recorded using multi 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.
When simultaneously recording multiple tracks
using the RPPR function
1Use “Track Select” to select the track that you want to
You can use multitrack recording to simultaneously
record the playback of multiple tracks that are being
triggered by the RPPR function. For the procedure,
record.
2Set the “Recording Mode” to Loop All Tracks.
If “Multi REC” is checked, it will not be possible to
select Loop All Tracks.
When simultaneously recording multiple tracks of
MIDI data from an external sequencer.
1Make sure that the TRITON STUDIO’s MIDI IN and
the external sequencer’s MIDI OUT are connected by
a MIDI cable.
3In “M (Loop Start Measure), “M (Loop End Mea-
sure)” specify the area that you wish to record.
If they are not connected, turn off the power, make the
connection, and then turn the power back on again.
(ꢀPG p.258)
For example if you specify M004–M008, recording will
occur repeatedly (as a loop) from measure 4 to measure
8.
If the EXB-mLAN option is installed, MIDI data can
be received from an mLAN device. (ꢀPG p.141)
4In “Location,” specify a location several measures
earlier than the point at which you wish to begin
recording.
2Set the MIDI Clock (Global P1: MIDI page “MIDI
Clock”) to External, so that TRITON STUDIO will
synchronize to the MIDI clock of the external
sequencer.
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.
Make sure that “Receive Ext. Realtime Commands” is
checked.
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.
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.
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.
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.
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.
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.
When you are once again ready to record musical data,
uncheck the “Remove Data” check box.
5In P2: Trk Param, MIDI Ch page “MIDI Channel,”
specify the MIDI channel for each track.
7Press the SEQUENCER [START/STOP] key.
Set the MIDI channel of each external sequencer track
to match the MIDI channel of each TRITON STUDIO
track. Data of the corresponding channel will be
recorded on each TRITON STUDIO track.
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.
Make sure that “Status” is set either to INT or BTH.
6Press the [LOCATE] key to set the location to
• Multi (multitrack recording)
001:01.000.
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.
7Press the SEQUENCER [REC/WRITE] key to enter
recording-standby mode.
8Start the external sequencer.
The TRITON STUDIO’sequencer will receive the MIDI
Start message transmitted by the external sequencer,
and will automatically begin recording.
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9When the song ends, stop the external sequencer.
TRITON STUDIO’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 STUDIO itself to stop recording.
Realtime-recording to a pattern
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.
0Playback.
In the Global P1: MIDI page, set “MIDI Clock” to
Internal.
Before you begin recording a pattern, turn off the
Set “Tempo Mode” to Auto.
When you press the SEQUENCER [START/STOP]
key, playback will begin.
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.
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.
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.
Step recording
This is a method of recording where you specify the note
timing, note length, and velocity etc. in the LCD screen,
Only note-on/ off data can be recorded with this method.
Event Edit and Create Control Data
3Use “Track Select” to select the track that you will use
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 input bend, after touch, and control change data
etc.
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 sequncer
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.
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.
For details refer to step 6of “Loop All Tracks”
p.81.
0Press the SEQUENCER [START/STOP] key to stop
recording.
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.
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.
Controller
Reset value
00 (zero)
Modulation 1 (CC#01)
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)
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)
Filter EG intensity (CC#79)
SW1 modulation (CC#80)
SW2 modulation (CC#81)
Channel after touch
00 (zero)
00 (zero)
Pitch bender
00 (zero)
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3As described in steps 1and 2, create one more new
song (S002), and copy song S000 to it.
Song editing methods
A variety of editing operations can be performed on a
song. Here we will give some examples of how you can
use various editing operations on the song you created in
list as described in the next section.
2. Naming a song
Here’s how to assign a name to a song you created.
1Choose “Song Select,” to select a song.
For this example, select song 002.
nations that follow, we will assume that the song you
created has been loaded into song S000. After loading
the song, press the [SEQ] key to enter Sequencer
mode.
2In the Sequencer P0: Play/REC, Program T01–08 page,
select the page menu command “Rename Song.”
1. Copying a song
A dialog box will appear. Press the text edit button to
access the text dialog box.
Here’s how to copy a song. This is convenient when you
want to create different variations based on a song.
When you are finished inputting the name, press the
OK button.
Press the OK button once again to execute the Rename
operation.
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.)
3As described in steps 1and 2, assign a name of
INTRO to S000, and VERSE to S001.
A dialog box will appear.
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.
Decide on the number of measures, input the number
in “Set Length,” and press the OK button.
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 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.
This contains various commands for editing tracks and
measures.
Press the “Set Song Length.”
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.
Press the OK button to execute the copy.
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A dialog box will appear.
4. Changing the key (transposing/
modulating)
Here’s how to change the key of a song.
1Select song S002: CHORUS.
Input the number of measures for the song. For this
example, select 008 (8 measures) and press the OK but-
ton.
2Select the Sequencer P5: Track Edit page.
3Use “Track Select” to select T02 as the track whose
pitch will be changed.
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.
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.
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.72)
etc. to move the data into the playback area before
you execute this operation.
4Mute tracks.
Press the [EXIT] key to select P0: Play/ REC, and access
the Program T01–08/ T09–16 page.
Mute all tracks other than tracks 3 and 4. When you
play back, you will hear only the electric piano and
guitar performances.
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.
Turn on the Replace radio button, and set “Shift
Note” to +003. (ꢀPG p.74)
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.
Press the OK button. The pitch of track 2 will be raised
three semitones.
6As described in steps 1–4, set song S002: CHORUS
to 008 (8 measures), making it an eight measure song.
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.
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.
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About editing
Creating and playing a Cue List
Song editing
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.
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.52).
Track editing
Event Editing allows you to edit or insert data in a
recorded track. In addition, commands such as Create
Control Data (which lets you insert pitch bend, aftertouch,
or control change data) and other commands for deleting,
copying, inserting, or moving tracks can be accessed from
the page menu command in the Sequencer P5: Track Edit
(ꢀPG p.68).
You can also use this as a jukebox function that will play-
back completed songs in the order you specify.
Cue List
Step
01
Song
S000: Intro
S001: A
Repeat
02
Intro
Intro
A
A
A
A
B
B
Chorus
02
02
Pattern editing
Chorus
Chorus Chorus
03 S002: B
01
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.77).
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
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.
2Add a song to the Step area.
Select the “Song” for Step 02, and press the Insert but-
ton. A song will be added to step 02. Use the VALUE
controller to select S001: VERSE.
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.
If you press Cut button, the selected step will be
deleted. If you press the Insert button key, 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.
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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.
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.
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.
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.
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.
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.
If this is set to Manu (Manual), playback will use the
tempo specified by “ꢀ =”.
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.
7When you press the SEQUENCER [START/STOP]
key, playback will begin from the step that is speci-
fied as the “Current Step.”
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.
•
“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
signature. 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
specified for the currently playing song will sound.
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.
•
•
What to do when playing back a cue list and the
songs do not transition smoothly
Depending on the effect settings, a certain amount of time
may be required for the effects to be switched. If this
occurs, the playback will not be smoothly connected from
song to song.
To ensure a smooth transition from song to song, check
“FX” for “Step” 01. Do not check “FX” for the remaining
steps. This way, the effect settings will be made before
playback begins, and there will be no time lag when cue
list playback is started or when switching from song to
song. Although it will not be possible to change effect
types within the cue list, you can use dynamic modulation
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Creating and recording RPPR
(Realtime Pattern Play/ Record)
Converting 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 floppy disk etc. as SMF data.
This section explains how to assign a pattern to RPPR,
1Select the page menu command “Convert to Song”.
A dialog box will appear.
Creating RPPR data
2In “To Song,” specify the destination song number
for the converted data.
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.61.)
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-
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.
3Select the Sequencer P6: Pattern/RPPR, RPPR Setup
page.
In this page, the RPPR function is automatically turned
on.
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.
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.
6Set Pattern Bank to the Preset pattern type, and set
“Pattern Select” to pattern P121: HipHop 1/HipHop.
7Set “Track” to Track01: Drums.
The selected pattern will be played according to the
settings (program, etc.) of the track you select here.
8Assign patterns to other keys.
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).
Choose “Pattern Select,” and press the [
select P122: HipHop 2/HipHop.
] key to
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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.
RPPR playback
Let’s use the RPPR you created to perform in the
Sequencer P0: Play/ REC page.
1Select Sequencer P0: Play/REC.
2Check the “RPPR” check box.
The RPPR function will be turned on. Set the on/ off for
each song.
Use the above method to assign several patterns from
the range of P123: HipHop 3/HipHop–P135: HipHop
15/HipHop.
9Press the C#2 key.
The assigned pattern will play.
Take your finger off the C#2 key, and press the D2
key.
3Play the keyboard, and patterns will begin playing
according to the RPPR settings.
The pattern will change, and playback will begin. At
this time, the pattern operation will depend on the
“Sync” and “Mode” setting.
•
•
Pattern playback for a key with a “Sync” setting of
Beat or Measure will sync to the playback of the first
pattern. (ꢀPG p.80 “Sync”)
Set “KEY” to C#2, and set “Sync” to Measure. Make
the same setting for D2.
If you are playing the pattern in synchronization
(when “Sync” is Beat, Measure, or SEQ), the pattern
will start accurately if you play the note slightly earlier
than the timing of the beat or measure. Even if you
play the note slightly later than the beat or measure
(but no later than a 32nd note), it will be considered to
have started at the beat or measure, and the beginning
of the pattern will be compressed so that the
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 immedi-
ately.
remainder 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.”
To stop playback, either press the same key once
again, or press the C2 or lower key.
4To turn off the RPPR function, uncheck the RPPR
For details on “Sync,” “Mode,” and “Shift,” refer to
PG p.80.
check box.
The assigned keys will be shown as a keyboard graphic
in the LCD screen.
Play RPPR while a song plays back
RPPR can be played in synchronization with the playback
of a song.
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.
Pattern playback for a key with a “Sync” setting of SEQ
will synchronize to the playback of the song. (ꢀPG p.80
“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.
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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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 (I-A/B).
If the song is stopped, the pattern will synchronize to
the timing of the arpeggiator function.
Realtime-recording an RPPR
performance
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.
Set “Gate” and “Velocity” to Step.
Do not check “Key Sync.”
Press the ARPEGGIATOR [ON/OFF] key. (The LED
will light.)
3In the Sequencer P0: Play/REC, Preference page,
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.
check the “Multi REC” check box.
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.
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.
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.
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.”
2We will use the arpeggiator to play the bass pattern.
Follow these settings.
Set “Track Select” to Track02: Bass.
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.”)
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.
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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.
Recording the sounds of a combi-
nation
Record the RPPR pattern playback and arpeggio per-
formance.
Here’s how you can copy the sounds of a combination to
multiple tracks, and record your performance.
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.
Make sure that the global MIDI channel (Global P1:
MIDI, “MIDI Channel”) is set to 01.
8When you are finished performing, press the
SEQUENCER [START/STOP] key.
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.
9If you want to record other tracks, un-check the
“Multi REC” or “RPPR” check boxes as necessary.
2Execute the page menu command “Copy From
In step 3, uncheck the “Multi REC” check box to
Combi.”
defeat multi-track recording.
A dialog box will appear.
In step 5, uncheck the “RPPR” check box to turn off
the RPPR function.
Select the combination that you want to copy (i.e., the
copy source).
Press the COMBI BANK [INT-B] key, then press
numeric keys [8], [5], and finally press the [ENTER]
key. I-B085: Steely Keys will be selected.
We will copy the effect settings of the combination as
well, so check the “With Effects” check box.
Since we want to copy the settings of the combination’s
eight timbres to tracks 1–8, select Track 1 to 8.
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.
Depending on the combination settings, it may be
necessary to make additional changes to the track set-
tings.
In order to use the “Auto adjust Arp setting for Multi
REC” function, the combination to be copied must
have been written with the ARPEGGIATOR [ON/
OFF] key turned on.
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.
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In the Sequencer P0: Play/ REC, Preference page, the
“Multi REC” check box will be checked.
If the recorded performance is not reproduced cor-
rectly during playback
If you use the page menu command “Copy From Combi”
to copy the settings of a combination, and then perform
multi-track recording with the arpeggiator turned on,
there may be cases in which the performance during
recording is not reproduced correctly during playback.
Multiple tracks that are set to the same MIDI channel are
combined into a single stream of performance data during
recording. If there is a track with the same MIDI channel
as the track being played by the arpeggiator, the data
played by the arpeggiator will be combined with the per-
formance data that was played manually, and all of this
data will be sounded by each track of the same channel (if
“Status” is INT).
If you are using the arpeggiator, press the ARPEGGIA-
TOR [ON/ OFF] key to turn it off, and then turn it on
again.
3Begin recording.
In such cases, you can solve the problem by changing the
MIDI channel of the track that is played by the arpeggiator,
and then creating a track that will drive the arpeggiator.
Press the [LOCATE] key to set the location to
001:01.000.
If the recorded performance is not reproduced by the
playback, check the following conditions.
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.
These settings can be executed automatically if you
check “Auto adjust Arp setting for Multi REC” in the
page menu command “Copy From Combi.” Nor-
mally, you will check this to execute the settings. In
this case, these adjustments will not be necessary, but
you can verify here that the automatic adjustments
have been made.
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.)
•
Sequencer P7: Arpeggiator, Setup T01–08 page
“Arpeggiator Run” A, B, and “Arpeggiator Assign”
settings
•
Sequencer P2: Trk Param, MIDI Ch T01–08 page
“MIDI Channel” settings
If “Arpeggiator Run” A and B are checked, and the
arpeggiator is assigned to a track, make sure that
“MIDI Channel” is set to other than 01.
Make sure that the global MIDI channel (Global P1:
MIDI, “MIDI Channel”) is set to 01.
Arpeggiator Run
MIDI Channel*1
01 only
Correction
If either “A” or “B”
Correction required
are checked
01 02, 01 03, etc. No correction required
01 only Correction required
If both “A” and “B”
are checked
01 02, 01 03, etc. Correction required for
only one
01 02 03, etc.
No correction required/
Correction required*2
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*1. If the “MIDI Channel” of multiple tracks operated by
the arpeggiator is set only to 01, refer to the lines for
“01 only.” If the “MIDI Channel” settings are 01 and
one other channel, such as 01 and 02, or 01 and 03,
then refer to the lines for “01 02, 01 03 etc.” If the
“MIDI Channel” settings are 01 and multiple other
MIDI channels, such as 01 and 02 and 03, then refer to
the line for “01 02 03, etc.”
*2. Correction is necessary only if the tracks operated by
a single arpeggiator are using only “MIDI Channel”
01. In some cases, correction may also be necessary if
the two arpeggiators use the same MIDI channel.
Caution and other functions in
Sequencer mode
TRITON STUDIO song data and its compati-
bility
The following two types of song data can be loaded from
Media into TRITON STUDIO’s sequencer.
•
Song data saved in TRITON STUDIO’s own format
This data is only for this instrument.
However, it is partially compatible with the TRITON/
TRITONpro/ TRITONproX/ TRITON-Rack (Multi)
(ꢀPG p.279). It cannot be loaded into other instru-
ments.
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.
Depending on the combination settings, it may also
be necessary to change the track settings as well.
In the screens shown above, combination INT-C005: “In
the Pocket” has been copied using “Copy From Combi.”
As described in steps 1and 2of the procedure given
earlier, try actually copying this to see for yourself. For the
Taking this setting as an example, determine whether cor-
rection is necessary, and if necessary, what needs to be cor-
rected.
•
Standard MIDI Files
This format is not able to provide a totally faithful
reproduction of the performance on TRITON STUDIO
in the way that TRITON STUDIO’s own format does
(although there will be no problem for normal play-
back), but does provide compatibility with other SMF-
compatible devices.
“Arpeggiator Run” A and B are checked, and “MIDI
Channel” 01 and 02 are selected. Corrections must be
made. Correction is necessary for one of the arpeggiators.
If you perform multi-track recording with these settings,
the MIDI channels of T01, 02, 03, 04, 05, and 06 are the
same, so the low-register bass (T01 and T02), the high-reg-
ister synth brass/ pad (T03, T04 and T06), and the synth
mallet played by arpeggiator B (T05) will have their per-
formance data combined into one stream, and the perfor-
mance will not be reproduced at playback. (T08 is a
dummy track used to trigger arpeggiator A.)
The Compare function
When you perform realtime recording, step recording, or
track editing, this function allows you to make before-
and-after comparisons.
1So that the synth mallet played by arpeggiator B can
be recorded separately, change the MIDI channel of
T05.
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.
Select the Sequencer P2: Trk Param, MIDI Ch T01–08
page, and change the T05 “MIDI Channel” to 03.
2Add settings for triggering arpeggiator B.
Operations for which Compare is available
Select the Sequencer P2: Trk Param, MIDI Ch T09–10
page, and for track 9 (or any unused track), turn “Sta-
tus” Off, and set the “MIDI Channel” to 01.
(T09 will be a dummy track used to trigger arpeggiator
B.)
•
•
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.
3Select the Sequencer P7: Arpeggiator, Setup T09–16
•
•
Recording to a pattern
page. Set the track 9 Assign to B.
Pattern Edit
This will produce the following settings.
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.
Track
T01 T02 T03 T04 T05 T06 T07 T08 T09
Off Off Off Off Off
INT INT INT INT INT INT INT Off Off
01 01 01 03 01 02 01 01
Assign
Status
B
A
A
B
•
Song Edit
MIDI Ch. 01
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”
This completes the corrections. In the Sequencer P0:
Play/ REC, Preference page, set “Track Select” to any
track whose MIDI channel is 01. Check the “Multi
REC” check box and perform multi-track recording.
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).
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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
About MIDI
Track status “status”
You can make settings for TRITON STUDIO’s sequencer
to specify whether it will sound the internal tone genera-
tor or an external tone generator.
When Track Status “Status” (P2: Trk Param, MIDI Ch
T01–08/ T09–16) is set to INT, operating TRITON STU-
DIO’s keyboard and controllers will sound and control
TRITON STUDIO’s own tone generator.
When “Status” is set to EXT, EX2 or BTH, operating TRI-
TON STUDIO’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 STUDIO’s tone generator will sound and be con-
trolled.
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.62 “Status”)
Synchronizing the sequencer with an external MIDI
device
The record/ playback tempo of TRITON STUDIO’s
sequencer can be synchronized to an external MIDI device
such as a sequencer or rhythm machine (ꢀPG p.266).
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Sampling settings
•
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
48 kHz or 96 kHz sampling rates. Digital audio input
via mLAN (when the EXB-mLAN option is installed)
supports a sampling rate of 48 kHz.
Features of sampling on the
TRITON STUDIO
•
You can perform 48 kHz 16-bit linear mono or stereo
sampling.
•
The TRITON STUDIO is shipped with 16 Mbytes of
sample memory (RAM) and an internal hard drive.
When sampling, data is written into either sample
memory or the internal hard drive.
•
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). In
this case, you can record up to six samples of approxi-
mately 2 minutes 54 seconds each (mono) or approxi-
mately 1 minute 27 seconds each (stereo), for a total 17
minutes 28 seconds of monaural sampling time
(approximately 8 minutes 44 seconds of stereo). Sam-
ples you record into sample memory (RAM) can be
used as tone generator waveforms. However, this data
will be lost when the power of the TRITON STUDIO is
turned off, so you must save any sample data that you
want to keep.
•
•
Audio data can be sampled from an audio CD inserted
in the CDRW-1 option or a SCSI-connected external
CD-R/ RW drive. Sampling in the digital domain from
a CD (“ripping”) can also be performed.
Sampled data can be converted automatically (or
manually, using an easy operation) into a program
and used with the TRITON STUDIO’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 hard disk lets you record up to 80 minutes as a sin-
gle sample file in either mono or stereo (monaural:
approximately 440 Mbytes, stereo: approximately 879
Mbytes). This will create a WAVE file.
If a sample (WAVE file) that was sampled to the hard
disk 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
sample memory has been expanded to 32 Mbytes or
greater) can be loaded into sample memory (RAM).
WAVE files can also be written to the CDRW-1 option
or to a CD-R/ RW connected to the SCSI connector, to
create an audio CD.
A maximum of 1,000 multisamples and 4,000 samples
can be created.
In Disk 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 STUDIO, it will all
be treated as Korg format sample data.)
Sample data created on the TRITON STUDIO can be
exported (output) as an AIFF or WAVE format sample
file.
Sampling in Program, Combination, and
Sequencer modes
•
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
STUDIO’s filters, effects, arpeggiator, and sequencer
etc.
•
External audio sources from the various input jacks
can be sampled. A performance played on the
TRITON STUDIO 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 STUDIO. 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 can be automatically created in a 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.
The song playback in Sequencer mode can be
resampled to the hard disk. Then in Disk mode, you
can edit the order of songs and use the CDRW-1
option to write them as an audio CD.
•
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.)
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.
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•
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 STU-
DIO is organized. (ꢀsee the lower diagram on the follow-
ing page)
•
•
Start, loop start, and end addresses can be specified in
units of a single sample. Loop tune, reverse playback,
and loop lock functions are also supported.
The Use Zero function automatically 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.
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.
•
•
Level
Analog waveform
Time
•
•
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 Disk mode
(ꢀPG p.157 “Translation”).
48kHz
Level
= 48,000 times every second
= 0.0208 mS cycle
16bit
=65,536 levels
of data
Sampled digital
waveform
•
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
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.
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.
•
•
•
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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All of the instrumental sounds in the TRITON STUDIO’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 and Multisamples
Samples
The data that is recorded (sampled) into internal memory
or loaded from a file is referred to as a sample or sample
file. Samples consist of the actual waveform data, and
parameters that specify how the data will be played back,
such as Start, Loop Start, and End Address. 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 STUDIO can hold a maximum of 4,000 sam-
ples in its internal memory.
The TRITON STUDIO can hold a maximum of 1,000 mul-
tisamples in its internal memory.
The TRITON STUDIO 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.92).
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
Index001
Top Key
Index003
Top Key
Index002
Top Key
Index004
Top Key
Multisamples
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:
Sample C
0003:
Sample D
Sample A
Multisample
Sample
Program OSC (Single/Double)
Program OSC (Drums)
Using multisamples
Drum Kit
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-
tive pitch ranges to avoid any unnatural sounds during
playback.
RAM (SIMM memory):
16 MB (expandable to 64 MB)
Insert Effects
Digital/analog
convertor
AUDIO OUTPUT
jack
Analog/digital
convertor
AUDIO INPUT jack
Analog signal
Digital signal
Analog signal
Sample 0000 ... 3999
DAC
ADC
CDRW-1 (Audio CD)
Analog signal
Digital signal
(Ripping)
S/P DIF IN jack
mLAN jack
Floppy disk,
Internal hard disk,
CDRW-1, SCSI media
(Disk mode)
Used by combinations
and songs
Program
Multisample 000 ... 999
RAM (internal memory)
Hard disk
WAVE File
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Input settings
Preparations for sampling
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 Disk
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.
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 floppy disk, internal hard drive or
external SCSI device before turning off the power.
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-
These settings can be made in the following pages.
Mode
Sampling
Combination,
Program,
Sequencer,
Song Play,
Disk
Page
Sampling P0: Recording, Input/Setup
Combination P0: Play, Sampling
Program P0: Play, Sampling
1. Connecting an input device and
Sequencer P0: Play/REC, Sampling
Global P0: Basic Setup, Input/Sampling
Disk, Play Audio CD
making Input settings
Connecting an input device
Sampling can be performed in Sampling, Combina-
tion, Program, and Sequencer modes.
Here’s how to connect an external audio source. On the
TRITON STUDIO you can input audio signals from the
AUDIO INPUT 1 and 2 jacks, the S/ P DIF IN jack, or the
mLAN jack (if the EXB-mLAN option is installed).
2Select the page for making Input settings.
As an example, here’s how to make settings in Sam-
pling mode and in Program mode.
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.
•
Sampling mode
Press the [SAMPLING] key to enter Sampling mode.
Press the Input Setup tab to access the P0: Recording,
Input/Setup page.
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. (ꢀPG p.138)
3Use “Input” to select the input source.
•
Input from the mLAN connector (if the EXB-mLAN
option is installed)
Connect the IEEE 1394 connector (“FireWire” style) of
your mLAN device or computer to the rear panel
mLAN connector.
If you want to sample the input from the AUDIO
INPUT 1 and 2 jacks, set “Input” to Analog.
If you want to sample the input from the S/ P DIF IN
jack, set “Input” to S/P DIF.
If you want to sample the input from the mLAN con-
nector, set “Input” to mLAN (selectable if the EXB-
mLAN option is installed).
ꢀ Refer to the owner ’s manual of the EXB-mLAN option.
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If “Input” is set to S/P DIF or mLAN, an “Obey
Copyright Rules” dialog box will appear. Carefully
the terms, press the OK button to continue with set-
tings. If you do not accept the terms, press the Cancel
button to cancel the setting.
2. Setting the recording level
(Recording Level [dB])
1Produce sound at the volume that you want to record.
If you are inputting from 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).
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).
If you want to sample analog audio from an audio
CD inserted in the CDRW-1 option, set “Input” to
Analog, and adjust the “Level” etc.
2Press the SAMPLING [REC] key.
4For Input1 and Input2, set “BUS (IFX/Indiv.)” to spec-
ify the destination to which the external audio signal
you selected in “Input” will be sent.
Produce sound at the volume that you want to record.
Watch the level meters to check the input volume.
L/R: Send to the L/ R bus.
Use the “Recording Level” slider to adjust the record-
ing level.
IFX1–IFX5: Send to the corresponding insert effect.
1–4, 1/2, 3/4: Send to the INDIVIDUAL 1–4, 1/ 2, or 3/ 4
bus(es).
The output volume will not change at this time, but
your adjustment will affect the data that will be sam-
pled.
Use “Level” to adjust the signal level. Normally you
will set this to 127. Use “Pan” to specify the stereo
position.
If “CLIP!!” is displayed, lower the “Recording Level”
(located at the right of the display) to an appropriate
level.
In the Input section (COMBI, PROG, SEQ, S.PLAY,
DISK) 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.)” is L/
R or Off.
“Send1 (MFX1)” and “Send2 (MFX2)” cannot be set
in Sampling mode.
•
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
set by Input1, and the R channel is set by Input2.
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.
At this time you can also set “Auto +12 dB On”
an appropriate level.
Of the input from the mLAN connector, mLAN1 is set
by Input1, and mLAN2 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.)” L/ R, “Level” 127, “Pan”
When sampling only an external input source:
“Recording Level”: +0.0 (dB)
“Auto +12 dB On”: off (unchecked)
L000
Example:
Send the signal from the AUDIO INPUT 1 and 2 jacks
in stereo to the L/ R bus
Input1 “BUS (IFX/ Indiv.)” L/ R, “Level” 127, “Pan”
When resampling (sampling the playback of a song, or
your keyboard performance using a program, combi-
nation, or sample)
When simultaneously resampling and sampling an
external audio source:
L000
Input2 “BUS (IFX/ Indiv.)” L/ R, “Level” 127, “Pan”
R127
“Recording Level”: –12.0 (dB)
“Auto +12 dB On”: on (checked)
When “BUS (IFX/ Indiv.)” 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 head-
phones may rise excessively.
3When you have finished making adjustments, press
the SAMPLING [REC] key.
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Use the following pages to set them.
3. Specifying the recording method
(Recording Setup/ Sampling Setup)
Mode
Sampling
Page
Sampling P0: Recording, Recording
Combination P0: Play, Sampling
Program P0: Play, Sampling
Combination
Program
1In “Source BUS,” select the source that you want to
sample.
Sequencer
Sequencer P0: Play/REC, Sampling
The sound being sent to the bus you select here will be
sampled.
•
Sampling mode
L/R: The sound being sent to the L/ R bus will be sam-
pled.
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
•
Program mode
2Use “Trigger” to specify how sampling will begin.
The available trigger methods will differ depending on
the mode.
Sampling mode:
Sampling START SW, Note On, Threshold
Program, Combination modes:
Sampling START SW, Note On
Sequencer mode:
1Use “Save to” to specify the location into which the
data will be sampled.
RAM: The sample will be written into sample memory
Sampling START SW, Note On, Threshold, Sequencer
START SW
(RAM).
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.”
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
When you select “Select Bank & Smpl No.,” the fol-
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.
lowing dialog box will appear.
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.
4. Making settings for the sample to
be recorded (REC Sample Setup/
Sampling Setup)
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.
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
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.
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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.
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.
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.
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.
In Program, Combination, and Sequencer modes, you
can set this parameter using the Sampling page menu
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 sample
will play back at the same level at which it was sampled.
DISK: The sample will be written to the internal hard
drive or a SCSI-connected hard disk drive etc.
If you select DISK, you can also select the writing-des-
tination 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).
Drive select
In the drive select field, select the drive. Use the Open
and Up buttons to move between levels of the direc-
tory hierarchy to select the desired directory. Press the
Done button to finalize the settings.
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.
If you sampled to the internal hard disk etc. as a
WAVE file, the “Auto +12 dB On” setting will be
ignored. The playback level of the WAVE file is set by
“WAVE File Play Level” (ꢀPG p.138).
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 have installed additional SIMM
boards to expand the sample memory to 96 Mbytes,
you will be able to sample up to six samples of 2 min-
utes 54 seconds each in mono (or approximately 1
minute 27 seconds in stereo), for a total of 17 minutes
28 seconds (or approximately 8 minutes 44 seconds in
stereo).
If you are sampling to DISK, you can sample a maxi-
mum of 80 minutes in either mono or stereo (mono:
approximately 440 Mbytes, stereo: approximately 879
Mbytes).
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The index that is created when you press the Create
button will be created according to the P0: Recording,
Pregerence page Create Zone Preference settings.
(These settings can also be made in P3: Multisample,
Preference page Create Zone Preference. ꢀPG p.99, 119)
Sampling and editing in Sampling
mode
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.
Here we will explain sampling operations that are specific
to Sampling mode, and how to edit a multisample or sam-
ple.
Creating multisample indexes and
sampling
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.
Here’s how to create indexes for a multisample, and how
to assign a sample to each index.
1Select the P0: Recording, Recording page.
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.
2Select “MS (Multisample Select),” and create a multi-
4Select “Index.”
sample.
“Index” can also be selected by holding down the
[ENTER] key and playing a note on keyboard. For this
example, select 001.
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.
A dialog box will appear.
If you want to record a new sample, you can sample it
now.
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.
3Press the Create button to create an index.
The number and order of the indexes in a multisam-
ple, the range of each index, and the original key
Immediately after the power is turned on, the “Index”
will be indicated as 001/001. This means that there is
only one index.
The range that is 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.
Creating multiple samples
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.
1Press the Create button once to create an index.
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2Record a sample.
Since we will not be sampling from an external input,
set “BUS (IFX/Indiv.) Select” to Off for each Input.
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.
Applying an insert effect to a sample
and resampling it
4In the P8: Insert Effect, Routing page, set “BUS (IFX)
The process of applying an insert effect etc. to a sampled
sound and then sampling it once again is called “resam-
pling.”
Select” to IFX1.
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.
If you want to resample in stereo, set “Sample Mode”
to Stereo.
5In the P8: Insert Effect, Insert FX page, set “IFX1” to
052: Reverb Hall, and turn “IFX On/Off” ON.
2In P2: Loop Edit, check the “+12 dB” setting.
Press the C2 key, and verify that reverb is applied.
6Press the SAMPLING [REC] key, and then the SAM-
PLING [START/STOP] key.
The sample that is assigned to C2 will play back, and
resampling will start.
When the sample finishes playing, resampling will
end.
By making the following settings, you will be able to
resample at the optimal level.
The sample that was created by resampling will auto-
matically be assigned to “Sample Select.”
If “+12 dB” is not checked:
“Recording Level”: +0.0 (dB)
7Press 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.
(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)
If you want to apply an insert effect once again, re-
select IFX1.
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).
3In the P0: Recording, Input/Setup page, set “Resam-
ple” to Auto.
Use “Key” to specify the sample that will be resam-
pled. Set this to C2.
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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 3and 4, 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.
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.
The method described above is used when the cursor
is located at other than “Range Start” or “Range
End.”
Ripping
Digital data from an audio CD inserted in the CDRW-1
option or a SCSI-connected CD-ROM or CD-R/ RW drive
can be sampled in the digital domain. This process is
known as “ripping.”
If the cursor is located at “Range Start” or “Range
End,” that setting will be re-set each time you press
the [ENTER] key.
You can either read the audio CD playback from the
AUDIO INPUT as analog audio, or directly read it as digi-
tal data.
If the cursor is located at “Range Start” or “Range
End,” this region will be played back.
When you finish making settings, press the
SEQUENCER [START/ STOP] key to stop playback of
the audio CD.
In order to perform this operation, you must either
install the CDRW-1 option, or connect an external
CD-ROM or CD-R/ RW drive to the SCSI connector.
For details on installing the CDRW-1, refer to PG
p.286. For details on SCSI connections, refer to PG
p.298. If you are using a SCSI-connected CD-ROM or
CD-R/ RW drive, use audio cables to connect the
audio outputs of the drive to the TRITON STUDIO’s
AUDIO INPUT 1 and 2.
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.
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.
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 CDRW-1 option or a
SCSI-connected CD-ROM or CD-R/RW drive.
8When you have finished setting “Range Start” and
“Range End,” select the page menu command “Desti-
nation.”
2In the Sampling mode P0: Recording, Input/Setup
page, make Input settings so that you can monitor the
audio that you want to rip.
A dialog box will appear.
“Input”: Analog
Input1 “BUS (IFX/ Indiv.)” L/ R, “Level” 127, “Pan”
Specify the destination to which the ripped sample will
be written.
L000
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.
Input2 “BUS (IFX/ Indiv.)” L/ R, “Level” 127, “Pan”
R127
Ripping will not be affected by these inputs.
3Access the Sampling mode P5: Audio CD, Ripping
page.
4In “Drive” (drive select), select the drive that contains
the audio CD, and use “Track” to select the track that
you want to rip.
Raise the “Volume.”
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Select DISK if you want to rip the sample to hard disk.
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
9Press the OK button to execute ripping, or press the
Cancel button to cancel without executing.
6Specify the recording method in Recording Setup.
“Source BUS” L/ R
When you press the OK button, the “Obey Copyright
Rules” dialog box will appear.
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.
“Trigger” Sampling START SW
Sampling will start when you press the SAMPLING
[START/ STOP] key.
“Resampling” Manual
7In REC Sampling Setup, make settings for the sample
that will be recorded.
“Save to” RAM: if you want to write the sample into
sample memory (RAM)
“Save to” DISK: if you want to write the sample to
hard disk
“Sample Mode” Stereo
“Sample Time” maximum
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.
In the same way as when you send the audio output of a
CD player to the TRITON STUDIO’s AUDIO INPUT 1
and 2, use audio cables to connect the audio outputs of
your SCSI-connected CD-ROM or CD-R/ RW drive to the
TRITON STUDIO’s AUDIO INPUT 1 and 2.
You can use the TRITON STUDIO’s SEQUENCER
[START/ STOP] key etc. to control operations such as
playback and stop on your CD-ROM or CD-R/ RW drive.
8Adjust the recording level.
Press the SAMPLING [REC] key.
When you press the SEQUENCER [START/ STOP] key
to play back the audio CD, the level meter will indicate
the volume that will be sampled. If the display indi-
cates “ADC OVERLOAD !!,” adjust the “Volume” in
the P5: Audio CD, Ripping page.
If you are using an external SCSI drive, you can also
make adjustments using the volume control of the
drive, or the rear panel [LEVEL] knob.
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.
When using the CDRW-1 option, the analog output can be
internally connected to AUDIO INPUT 1 and 2, so it is not
necessary to make connections using audio cables.
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.
1If you are using a SCSI-connected CD-ROM or CD-
R/RW drive, use audio cables to connect its audio
outputs to the TRITON STUDIO’s AUDIO INPUT 1
and 2.
Press the SAMPLING [REC] key once again.
9Execute sampling.
2Insert an audio CD.
3Access the Sampling mode P5: Audio CD, Ripping
Press the SAMPLING [REC] key.
page.
Press the SEQUENCER [START/ STOP] key to start
playback of the audio CD track.
4Use “Drive” (drive select) to select the drive that con-
tains the audio CD, and use “Track” to select the track
that you want to read.
At a point slightly earlier than where you want to sam-
ple, press the SAMPLING [START/ STOP] key to begin
sampling.
Raise the “Volume.”
Some SCSI-connected CD-ROM or CD-R/ RW drives
cannot be controlled in this way, so this setting may
not affect the volume.
At the point where you want to stop sampling, press
the SAMPLING [START/ STOP] key to stop sampling.
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Loop settings
Using the default settings after the TRITON STUDIO 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.
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.
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:
4If necessary, use the page menu command “Truncate”
to delete unwanted data that falls outside the start (or
loop start) and end addresses.
If you use “Sample Select” to select the sample, be
aware that the assignment to the index will also
change.
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.
Set the parameters, and press the OK button to exe-
cute the operation. (ꢀPG p.101)
Loop On: Start→End→LoopS→End→ (LoopS→End is
repeated)
For cautions on the “Save to No.” and “Overwrite”
check boxes, refer to “About “Overwrite”” (ꢀPG
p.101).
Loop Off: Start→End
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.
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.
To play the sample, press the key to which the sample
is assigned (the key range that is highlighted in “Key-
board & Index”).
1Select the page menu command “Grid”.
The following dialog box will appear.
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.”
Turn “Grid” On, set the desired “Resolution,” and
press the OK button. Dotted grid lines will appear.
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
2Set “Grid” to the desired BPM tempo value.
3Set the end address so that it coincides with a dotted
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 (ꢀPG
p.100).
line of the grid.
This will cause the loop interval to be the same length
as the BPM value.
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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.”
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.
4To hide the grid display, select the page menu com-
mand “Grid”, uncheck “Grid,” and press the OK but-
ton.
The procedure for using the ZOOM and “Use Zero”
check boxes is the same as for P2: Loop Edit.
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.
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.
For details on each command (ꢀPG p.101).
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.92, 93) to copy the multisample or sam-
ple before you begin editing it.
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.
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.
Multisample editing
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.
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.
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1Select the P3: Multisample.
Using samples in a drum kit
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.
Using Time Slice to divide a sample,
and playing it in Sequencer mode
2Use “Multisample (MS)” to select the multisample
that you wish to edit.
3Select the “Index.”
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.
You can also select an index by holding down the
[ENTER] key and playing a note on the keyboard.
4Press the buttons to modify the number or order of
the indices, and edit them.
To delete the selected index, press the Cut button.
The Insert button is used in conjunction with the Cut
and Copy buttons. The contents of the index that was
Cut or Copied will be inserted.
The Create button has the same function as the Create
The time-slices sample can be used in the following ways
by the song of Sequencer mode.
•
Multiple rhythm loop samples of differing tempo can
be matched to the same tempo without changing their
pitch.
Modifying the settings of an index
1Make the settings described in steps 1–3of “Edit-
•
You can change the tempo in realtime without
affecting the pitch.
ing the indexes.”
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.
2Set parameters for the selected index.
(ꢀPG p.117)
•
Changing the “Top Key” will change the upper limit
of the zone. Simultaneously, the lower limit of the
next-numbered index will also change.
If you check “Constant Pitch,” all notes in the index
zone will sound the sample at its original pitch.
“Pitch” adjusts the sample pitch for each index. You
can use the “Pitch BPM Adjust” page menu command
to set the loop interval to a desired BPM value (ꢀPG
p.118).
You will need to provide rhythm loop samples of drums
etc. You can either record these on the TRITON STUDIO,
or load them in Disk 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.
1Select “Sample Select” 120 BPM rhythm loop sample.
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-
110).
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.
2Access the P2: Loop Edit page.
For details on the “Convert MS To Program” page menu
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3Select the page menu command “Time Slice.”
•
If you want to create the performance data in a track
Turn “Program” and “Seq.Event” On (checked)
Program: I-E101
The Set Sample Tempo dialog box will appear.
Track: On
Song: 000, Track: 01, Meter: 4/ 4
Start Measure: 001, Time: 008
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.
5Press the OK button.
Press the Save button to save the data.
The sample will automatically be sliced, and a dialog
box will appear.
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.
Turn “Program” and “Seq.Event” On (checked)
Program: I-E102
Pattern: On
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.
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.
Press the Save button to save the data.
You will return to the dialog box of step 5.
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.110)
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.”
6Press the Save button.
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.
The following song data has been set/ created automat-
ically as you specified in step 6.
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•
•
•
P0: Play/ REC page
Song: 000, Meter: 4/ 4, Tempo: 120
P0: Play/ REC, Program T01–08 page
Track01 Program: INT-E101
P5: Track Edit, Track Edit page
Track01: track data: 8 measures (D2–)
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.
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.
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.
In the same way as in step 8, changing the playback
tempo will not affect the pitch.
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.112 9)
9In “Song Select,” choose 001.
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: INT-E102
P6: Pattern/ RPPR, RPPR Setup page
Key: C#2, Assign: On,
Pattern: User, U00, Track: Track01
Pattern data: 1 measure (D2–)
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Make the following settings.
“Input”: Analog
Input1 “Level”: 127, “Pan”: L000, “BUS Select”: 1/ 2
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 STUDIO’s full range of fea-
tures (filters, effects, arpeggiator, and sequencer).
You can also sample the TRITON STUDIO’s performance
together with audio from an external input source, or
monitor the performance of the TRITON STUDIO’s
arpeggiator and sequencer etc. while you sample only the
external audio from the input jacks.
5Set 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.
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.”)
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.
ꢀ For examples of sampling in Program and Combina-
Combination mode is the same as in Program mode.
If the display indicates “CLIP!!,” use the VALUE con-
trollers to lower the “Recording Level” slider (in the
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.
Record an external audio input source
while a song plays, and create event
data at the same time (In-Track
Sampling function)
When you have finished making adjustments, press
the SAMPLING [REC] key.
6Set the various Sampling Setup parameters.
Make the following settings.
“Source BUS”: Indiv. 1/ 2
“Trigger”: Threshold, “Level”: as desired
“Save to”: RAM, “Mode”: Mono
Sample Time”: as desired
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.
7Select the page menu command “Select Bank & Smpl
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.
No.,” and make the following settings.
1In Sequencer mode, select the song to which you
want to add the guitar sound.
You can either create a song, or use Disk mode to load a
previously-created song.
2Connect your guitar to the rear panel AUDIO INPUT
1 jack.
“Bank”: as desired
“Program,” “Seq.Event”: On
“Track”: a track that contains no recorded data
Set the AUDIO INPUT [MIC/ LINE] switch to the LINE
position, and set the [LEVEL] knob near the center
position.
“Auto +12 dB On”: Off (unchacked)
You should normally turn this Off when you sample
external audio sources in Sequencer mode. (The
power-on default is On.)
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.
After making these settings, press the OK button to
close the dialog box.
3Access the Sequencer P0: Play/REC, Sampling page.
4Set the various Input parameters so that the signal
from the AUDIO INPUT 1 jack will be sent to INDI-
VIDUAL 1.
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8Begin sampling.
3Select the page menu command “Select Directory,”
and specify the destination to which the WAVE file
will be written.
Press the SAMPLING [REC] key, and then the SAM-
PLING [START/ STOP] key to enter recording-standby
mode.
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.
Begin playing at the point where you want to record.
Sampling will begin when the Threshold “Level” vol-
ume is exceeded.
9At the point where you want to stop sampling, press
Use drive 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 Disk
mode Utility page, and execute the page menu com-
mand “Create Directory.”
the SAMPLING [START/STOP] key.
Sampling will also stop if the specified “Sample Time”
is reached.
Press the SEQUENCER [START/STOP] key to stop
playback.
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.
Event data and a program will be assigned to the track
you specified in “Select Bank & Smpl No.”
0Press 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.
After you have made the settings, press the Done but-
ton to close the dialog box.
4Set “Sample Time” to the length that you want to
Resampling the song playback to
create a WAVE file on the hard drive
sample.
Set this to a length slightly greater than the length of
the song.
Here’s how you can play back a song you created, and
sample it to the hard drive When you sample to the hard
disk, a WAVE file will be created.
5Set the recording level.
Press the SAMPLING [REC] key.
If you want to sample to an external SCSI hard disk,
make connections as described on PG p.298.
It will take between several seconds to nearly a
minute from the moment you press the SAMPLING
[REC] key until the TRITON STUDIO enters standby
mode (i.e., until the SAMPLING [REC] key LED
changes from blinking to lit). This time is required in
order to allocate sufficient space on the hard disk.
1In Sequencer mode, select the song from which you
want to create a WAVE file.
Either create a song, or use Disk mode to load a previ-
ously-created song.
Press the SEQUENCER [START/ STOP] key to play
back the song, and adjust the resampling volume while
you watch the level meters.
Set “Recording Level” to –12.0 (dB). 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
A maximum of 80 minutes for either mono or stereo
can be written to hard disk in one sampling operation
(monaural: approximately 440 Mbytes, stereo:
approximately 880 Mbytes).
2Access the Sequencer P0: Play/REC, Sampling page.
The power-on default setting is –12 dB. At the –12 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.
Specify the sampling method.
6Start sampling.
“Source BUS”: L/ R
“Trigger”: Sequencer START SW
“Save to”: DISK, “Mode”: Stereo
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.
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7When 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.138).
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Creating an audio CD from WAVE files
sampled to hard disk
This section explains how you can create an audio CD by
specifying the desired order of WAVE files on the hard
disk.
To add the file, press the Insert button.
You can continue adding files until you press the Exit
button. The files will be added to the track list in the
order in which you selected them. If you want to add
all the WAVE files in the directory, press the Insert All
button.
ated in Sequencer mode can be sampled to the hard disk
to create a WAVE file.
When you have finished adding files to the list, press
the Exit button to close the dialog box.
To do this, the CDRW-1 option (ꢀPG p.286) must be
installed or an external CD-R/ RW drive must be con-
nected to the SCSI connector (ꢀPG p.298).
Notice that the WAVE files have been added to the
track list.
In order to write data to CD-R/ RW media, the drive
containing the WAVE files must have at least as much
free space as the WAVE files. Before you execute this
procedure, make sure that the drive containing the
WAVE files has sufficient free space.
1Access the Disk mode Make Audio CD page.
In the default state, the WAVE File area will show only
“====End====.”
In this page as well, you can select a WAVE file and
press the SAMPLING [START/ STOP] key to play back
the sample.
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.
2To the track list, add the WAVE files that you want to
To delete a WAVE file from the track list, select the
WAVE file that you want to delete, and press the Cut
button.
write to the CD.
Select “====End====” (it will be highlighted), and
press the Insert button.
Subsequent tracks will be moved forward in the list.
The Insert Track dialog box will appear.
For details on editing operations such as Clear and
Swap Track, refer to PG p.173.
3Insert a blank CD-R or CD-RW disk into the drive.
Use the Make Audio CD page drive select area to select
your CD-R/ RW drive.
If you are using the CDRW-1 option, the drive select
area will indicate “CDD: Blank Disc.”
If you are using a SCSI-connected CD-R/ RW drive, the
display will indicate “ID*:Blank Disc.” (* will be the
SCSI ID number.)
Use drive 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.
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.”
If you want to audition the file, you can press the SAM-
PLING [START/ STOP] key to play back the sample.
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.
If you have selected a WAVE file of a sampling fre-
quency other than 44.1 kHz or 48 kHz, it will not be
possible to press the Insert button.
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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4Select the page menu command “Write to CD” to
access the dialog box, and specify how the CD will be
written.
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 created.
Press the Play Audio CD tab to access the Play Audio
CD page.
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 2x.
Be aware that if you use a faster writing speed in a
slower system, writing errors will occur.
In “Drive,” select your CD-R/ RW drive. “Drive” will
indicate Audio CD (ꢀPG p.156).
Use “Mode” to specify the writing method.
Make the following settings to allow monitoring.
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.”
“Input”: Analog
Input1 “BUS(IFX/ Indiv.)” L/ R, “Level” 127, “Pan”
L000
Input2 “BUS(IFX/ Indiv.)” L/ R, “Level ”127, “Pan”
R127
“Volume” 127
Use “Track” to select the track, and press the
SEQUENCER [START/ STOP] key to begin playback.
Press the OK button to execute the writing test.
After verifying that data can be written correctly at
the specified speed, select Write.
Saving a track list that you have completed or par-
tially edited
“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.
The track list will be lost when the power is turned
off. If you want to keep this data, you must save it.
1In the Save page, select the directory in which you
If you only want to execute finalization, execute
“Finalize Audio CD.”
want to save the track list.
2Select the page menu command “Save 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.
Track List” to access the dialog box.
3Press the OK button to save the data, or press the
Cancel button to cancel without saving.
When you press the OK button, the “Obey Copyright
Rules” dialog box will appear.
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.
In order to avoid causing errors, do not subject the
drive to physical shock or vibration while CD-R/ RW
media is being written.
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SMF (Standard MIDI File) playback
In Song Play mode, you can play back Standard MIDI
Files (SMF) directly from media such as floppy disk or
hard disk. You can select this mode if you simply want to
play back the SMF without editing it.
About MIDI
Track status settings in Song Play mode
You can select whether the musical data played by a track,
or the data produced by operating the TRITON STUDIO’s
keyboard and controllers will sound the TRITON STU-
DIO’s internal tone generator, and/ or will sound an exter-
nal tone generator.
If the EXB-MOSS is installed, the special bank INT-F
can be used in Song Play mode as well. For details on
the bank INT-F parameters, refer to the EXB-MOSS
owner’s manual.
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 STUDIO will play
and control the TRITON STUDIO’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 STU-
DIO will play and control an external tone generator. (The
MIDI channel of the external tone generator must match
the “MIDI channel” of the TRITON STUDIO track that is
set to EXT or BTH.) With a setting of BTH, the external
tone generator and the TRITON STUDIO’s own tone gen-
erator will be played and controlled simultaneously.
(ꢀPG p.126)
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.
While playing back data from a disc inserted in the
CDRW-1 option, do not subject the TRITON STUDIO
to physical shock or vibration.
If you play the keyboard or controllers, the data may
not play back correctly.
The structure of Song Play mode
As shown in the diagram below, Song Play mode consists
of tracks 1–16, effects and arpeggiator.
Synchronization with external devices
In Song Play mode, the TRITON STUDIO will be the mas-
ter (the controlling device) regardless of the MIDI Clock
setting (Global P1: MIDI “MIDI Clock”) (ꢀPG p.266).
About SMF
SMF data in format 0 or format 1 can be played back in
Song Play mode.
The TRITON STUDIO recognizes only files with an exten-
sion of .MID as SMF data. Be sure that the filename exten-
sion is .MID.
Insert effects, Master effects
The TRITON STUDIO’s effects can be used in the same
Arpeggiator : P7
Controller Setup : P2
Track 1
Track 2
Track 3
Track 4
Track 5
Track 6
Track 7
Track 8
Setup parameters
Setup parameters
Setup parameters
Setup parameters
Setup parameters
Setup parameters
Setup parameters
Setup parameters
Musical data
Musical data
Musical data
Musical data
Musical data
Musical data
Musical data
Musical data
Master Effect 1, 2 : P9
Routing : P8-1
AUDIO OUTPUT
L/MONO, R
Insert Effect 1 ... 5 : P8
MasterEQ : P9
Track
AUDIO OUTPUT
INDIVIDUAL 1,2,3,4
Insert Effect
Master Effect
Individual Outputs
Track 16
Setup parameters
Musical data
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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
Direct playback from external media such
as a floppy disk
File Select
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).
1Press the [S.PLAY] key to enter Song Play mode.
2Press the [EXIT] key to display the P0: Prog/Mix page.
3Make sure that the media containing the SMF data
can be detected.
5Press the SEQUENCER [START/STOP] key.
If you want to play back data from a floppy disk, insert
the floppy disk into the TRITON STUDIO’s disk drive.
If you want to play back data from an external SCSI
device, make sure that the external SCSI device is con-
nected. Also make sure that the media contains SMF
data.
Playback will begin. At this time, all songs displayed in
the “File Select” popup button will playback consecu-
tively (if “Auto Start” is checked).
6Press the SEQUENCER [START/STOP] key once
again to stop playback.
If there is no SMF data in the floppy disk, or if there is
no SMF data in the currently selected directory, no file-
name will be displayed (as shown below).
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.125).
To move to a directory that contains SMF data, press
the [MENU] key, and then press “P3: Select Directory”
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-
Drive select
Press the drive select button, and select the drive that
contains the data that you want to play.
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.52, 124).
Then press the Open button or Up button to move
between levels, and find the desired SMF.
When the SMF file (make sure that the extension is
.SMF) appears in the LCD screen, press the [EXIT] key,
and move to P0: Prog/ Mix.
“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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Playback using the Jukebox func-
tion
Saving a Jukebox list
Saving procedure
1Use the procedure described above to create a juke-
The TRITON STUDIO 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 internal
hard disk or an external SCSI device, 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
media.
3In P3: Jukebox, select the “Save Jukebox List” page
menu command.
1Press the [EXIT] key to display the P0: Prog/Mix page.
2Check the “Jukebox” check box.
3Select P3: Jukebox.
4Use the text edit button to enter a name for the juke-
5Press the OK button.
The jukebox list will be saved to the media.
Loading procedure
1In the Jukebox page, select a jukebox list (filename
extension .JKB).
2Press the “Load Jukebox List” page menu command.
Drive select
The jukebox list will be loaded into the TRITON STU-
DIO.
Press the drive select 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
Remove media (such as the floppy disk)
Change drives
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Playing along with SMF data
Do not subject the TRITON STUDIO to physical
shock or vibration while playing back data from a
disc in the CDRW-1 drive (if installed). If you perform
on the keyboard or controllers at this time, the data
may not play back correctly.
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 STUDIO
(Global settings)
In Global mode you can make settings that affect the
entire TRITON STUDIO, such as master tune, key trans-
pose, effect global switch, global MIDI channel, and sys-
tem clock. In this mode you can also make settings for the
damper pedal, assignable foot switch/ pedal, and edit the
program/ combination category names. You can also cre-
You can use numeric keys [0]–[9] to enter a value and
press the [ENTER] key. Alternatively, you can use the
[VALUE] dial, the [VALUE] slider, or the [ ][ ] keys.
Adjusting the way in which veloc-
ity or after touch will affect the
volume or tone
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. Three types
of data are handled 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
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.135).
Global mode does not provide a “Compare” function
that lets you return to the state of the data before it
was edited.
1Press the [GLOBAL] key to enter Global mode.
2Press the [EXIT] key.
3Select the Basic tab.
4To change the velocity curve, select “Velocity Curve”
Tuning to another instrument/
Transposing
and specify the desired curve.
To change the after touch curve, select “After Touch
Curve,” and specify the desired curve.
This setting will affect the operation of the entire TRI-
TON STUDIO.
Each program has parameters that allow you to
adjust the effect of velocity (playing dynamics), and
the change will depend on the settings of these
parameters. These parameters can be individually set
in detail in Program mode.
When you play the TRITON STUDIO together with other
instruments, or along with music on a CD or tape, you
may need to adjust the tuning so that the pitch matches.
To adjust the tuning, use Global P0: Basic Setup, Basic
page “Master Tune.” The tuning can be adjusted in a
range of –50 – +50 cents (one semitone is 100 cents).
Bypassing the effects
Normally, effects are turned on/ off within each program,
combination, or song, or in Sampling mode or Song Play
mode. However if you want the entire TRITON STUDIO
not to use its insert effects or master effects, you can
bypass these effects.
You can also transpose by changing the pitch in semitone
steps. To transpose the pitch of the entire TRITON STU-
DIO, use Global P0: Basic Setup, Basic page “Key Trans-
pose.” The pitch can be transposed over a range of ±1
octave.
This is set by the Effect Global SW parameter in the Global
P0: Basic Setup, Basic page.
1Press the [GLOBAL] key to enter Global mode.
2Press the [EXIT] key.
Here we will explain how to adjust the tuning and trans-
position of the entire TRITON STUDIO.
3Select the Basic tab.
4To turn off insert effects 1–5, check the “IFX1–5 Off”
1Press the [GLOBAL] key to enter Global mode.
2Press the [EXIT] key.
check box.
To turn off master effect 1, check the “MFX1 Off”
check box. To turn off master effect 2, check the
“MFX2 Off” check box.
3Select the Basic tab.
4To adjust the tuning, select “Master Tune.” to adjust
the transposition, select “Key Transpose.”
5Use the VALUE controllers to adjust the setting.
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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.
Recalling the last-selected mode
and page at power-on
This pedal can be used to control master volume, alternate
modulation or effect dynamic modulation, portamento
pitch change speed, volume, the pan following an insert
effect, pan, volume, or send levels to the master effects
(ꢀPG p.252).
•
This setting is made in Global P2: Controller “Foot
Pedal Assign.”
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).
The state of TRITON STUDIO when the power is turned
on will depend on the setting of “Power On Mode” (Glo-
bal P0: System Preference page).
If “Power On Mode” is Reset (factory setting), TRITON
STUDIO will automatically selects the Combination mode
P0: Play.
Here we will show how to make settings that allow an
assignable switch to change programs or combinations.
1Connect an optional Korg PS-1 to the ASSIGNABLE
SWITCH jack.
2Press the [GLOBAL] key to enter Global mode.
If “Power On Mode” is Memorize, TRITON STUDIO will
be in the mode and page that were last selected when the
power was turned off.
3After pressing the [MENU] key, and press the P2:
Controller.
4Press the “Foot Switch Assign” popup button, and
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.
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.
5Set the “Foot Switch Polarity” to the polarity of the
foot switch you have connected.
If you have connected a Korg PS-1 pedal switch, set
this to (–) KORG Standard. If the polarity is not set
correctly, the pedal will not function appropriately.
Specifying the function of the
ASSIGNABLE Switch and
ASSIGNABLE Pedal
6Either 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.
Sets the function of an assignable switch such as the
optional Korg PS-1 connected to the ASSIGNABLE
SWITCH jack.
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 to advance the cue list
step (ꢀPG p.251).
•
This setting is made in Global P2: Controller “Foot
Switch Assign.”
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Creating original scales
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.
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).
Changing the scale
You can specify the scale for each program, for each tim-
bre in a combination, or for each track of a song.
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 mode Combination P2: Edit-Trk Param, Other
Sequencer mode
Song Play mode
Sequencer P2: Trk Param, Other
Song Play P1: Track, Status/Scale
Here we will show how to make settings in Sequencer
mode.
1Press the [SEQ] key to enter Sequencer mode.
2After pressing the [MENU] key, and press the P2: Trk
Param.
3Press the Other 1–8 tab or Other 9–16 tab to select the
Sequencer P2: Trk Param, Other page.
4If you wish to use the scale that is specified for the
program used by a track, check the “Use Program’s
Scale” check box for that track.
Tracks that are not checked will use the scale specified
by Scale “Type (Song’s Scale).”
5Set “Type (Song’s Scale)” to select the scale for the
entire currently selected song.
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Drum kit settings
This section explains how to edit a drum kit.
Multisample programs and drum kit programs
When you play the keyboard in Global mode, the
TRITON STUDIO 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.
There are two types of programs: those whose oscillator
uses a multisample, and those whose oscillator uses a
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.
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).
About program parameters
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
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.
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.
About drum kits
A drum kit consists of drum samples (PCM drum wave-
form data) assigned to individual notes, with individual
adjustments for pitch and level, etc.
The TRITON STUDIO has 144 drum kit memory areas.
When shipped from the factory, some of the 000 (I–A/ B)–
015 (A/ B) and 128 (User)–143 (User) areas contain pre-
loaded drum kits suitable for various musical styles.
In Global P5: Drum Kit you can edit these drum kits to
create your own original drum kits. You can also create
original drum kits using sample waveforms that you sam-
pled on the TRITON STUDIO or loaded into sample
memory (RAM) in Disk mode.
A drum kit that you edited or created can be written into
one of the user drum kit memory areas 000 (I-A/ B)–143
(User). Drum kits can also be saved to various types of
media in Disk mode.
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”.)
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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.
Editing a drum kit
Before editing a drum kit, uncheck the Memory Pro-
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.
1In Prgoram P0: Play, select the program that you wish
to use while editing the 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. (In the
separate “VNL,” programs that use a drum kit are
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)
ROM drumsamples can be selected if “High/ Low
Drumsample Bank” is set to ROM, samples you
recorded on the TRITON STUDIO or loaded in Disk
mode can be selected if you set this to RAM, and drum
samples from a EXB-PCM option (if installed) can be
selected if you set this to EXB.
d
marked by a
symbol.)
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 effects will sound using the settings of the last-
selected program.
Some of the EXB-PCM series options do not contain
drum samples.
When you edit a drum kit, all programs that use that
drum kit will be affected.
2Access the Sample Setup page of Global P5: Drum
Kit.
About the ROM drum samples
The TRITON STUDIO contains 417 different drum sam-
ples 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”)
Key
High
Drumsample Bank
High Drumsample
Low
7Use “Velocity Sample SW Lo→Hi” to specify how
Drumsample Bank
velocity will switch between drumsamples.
Low Drumsample
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.
3In “Drum Kit,” select the drum kit that you wish to
If you set this to 001, only the High Drumsample will
sound.
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 is the same type of function as the Velocity Multi-
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 (I-A/ B) – 143
(User), and then edit the copy.
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.148.)
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.
9As necessary, repeat steps 4–8to set drumsample
parameters for each note number.
If you wish to use the settings of another “KEY,” select
the page menu command “Copy Key Setup”.
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.
0Select the Voice/Mixer page in Global P5: Drum Kit.
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.
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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.
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.
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.28, 179)
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.21).
DUse “Send1(MFX1)” and “Send2(MFX2)” to set the
send levels to the master effects.
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
(ꢀPG p.28).
EUse the page menu command “Write Drum Kits” to
save the data.
If you wish to change the name of the drum kit before
you save it, use the page menu command “Rename
If you turn off the power before writing the data into
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Arpeggiator settings
This chapter describes the procedure for making arpeg-
P000: UP
giator settings in each mode. For details on the arpeggia-
tor function, refer to “Using the arpeggiator while you
UP
Arpeggiator settings for a pro-
gram
P001: DOWN
DOWN
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 LED will light. When you
play the keyboard, an arpeggio will play according to the
selected arpeggio pattern.
P002: ALT1
The on/ off setting is stored when the program is
written.
ALT1
Arpeggiator settings
1Select the Program P7: Edit-Arpeggiator, Arpeg.
Setup page.
P003: ALT2
ALT2
P004: RANDOM
2Use “ꢀ (Tempo)” to set the tempo.
RANDOM
You can adjust the tempo by rotating ARPEGGIATOR
[TEMPO] knob. The LED will blink at the specified
tempo.
If “MIDI Clock” (Global P1: MIDI) is set to External
MIDI or External mLAN, 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 STU-
DIO.
U000 (I-A/ B)–U199 (I-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).
3In “Pattern,” select the arpeggio pattern.
You can select from preset arpeggio patterns P000–
P004 and user arpeggio patterns U000 (I-A/B)–U506
(User).
U200 (E–A) – U311 (E–G)
With the factory settings, these do not contain patterns.
U312 (User) – U506 (User)
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.
When the TRITON STUDIO is shipped from the factory,
arpeggio patterns are preloaded in some of these memo-
ries.
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4Adjust the settings of the various parameters.
“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.
“Octave”: Selects the octave range in which the arpeg-
gio will be played.
“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.27).
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 (playing
strength) that is within the specified range. Notes played
with a velocity outside this range will be sounded nor-
mally, without regard to the arpeggiator on/ off.
Sort
6If you wish to save the edited program settings to
internal memory, turn off memory protect in Global
OFF, UP
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).
①
③
②
④
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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.
Arpeggiator settings in Combina-
tion and Sequencer modes
In Combination, Sequencer and Song Play modes, the
TRITON STUDIO 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.45, 81, 129).
The dual arpeggiator functionality lets you do the follow-
ing things.
3Select Combination P7: Edit-Arp., Setup page.
•
•
•
•
Assign an arpeggiator for each timbre. Choose from
Off, (arpeggiator) A, or (arpeggiator) B.
Independently specify whether A and B will operate.
ꢀstep6
ꢀstep5
Select an arpeggio pattern and set parameters
independently for A and B.
ꢀstep7
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
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
4Set “ꢀ (Temp)” to specify the tempo.
arpeggiator is On.
ꢀstep0
the tempo is shared by both arpeggiators A and B.
5Make “Arpeggiator Assign” settings.
Arpeggiator on/ off
Assign arpeggiator A or B to the desired timbres. Each
timbre will be played by the arpeggiator that has been
assigned to it.
Each time you press the ARPEGGIATOR [ON/ OFF] key,
the arpeggiator will be switched on or off. When on, the
ARPEGGIATOR [ON/ OFF] key LED will light. The
selected arpeggio pattern will begin when you play the
keyboard. The on/ off setting is saved when the combina-
tion is written into memory.
6Make “Arpeggiator Run” settings.
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.
If “Assign” is Off or “Arpeggiator Run” is not
checked, the arpeggiator will not operate even if this
key is on.
With the settings shown in the LCD screen for steps 2
and 3, turning the ARPEGGIATOR [ON/ OFF] key on
will cause arpeggiator A to operate for 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 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.
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-
2Select Combination P2: Edit-Trk Param, MIDI Ch
page.
8In the Scan Zone A/B page, specify the range in
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”).
which arpeggiators A and B will operate.
The parameters for A and B are the same as for a pro-
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.
9If you wish to save the edited combination settings in
internal memory, turn off memory protect in Global
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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.
Combination INT-C005: “In The Pocket”
Select and play combination INT-C005: “In The Pocket.”
Before you play, make sure that the global MIDI channel
(Global P1: MIDI “MIDI Channel”) is set to 01.
Although this is a somewhat sophisticated editing
technique, we will describe the settings of one of the
preset combinations as an example.
•
Arpeggiator A is assigned to T7 and T8, and
arpeggiator B is assigned to T5. When you play the
keyboard, the T7 program INT-A068: HipHop Kit will
be sounded by the arpeggio pattern U444(User): Dr-In
The Pocket. The T5 program INT-D034: Chord
Trigger will be sounded by the arpeggio pattern
U123(I-A/B): Syn-Echo.
Combination INT-D080: Old Vox Organ
Select combination INT-D080: Old Vox Organ, and play it.
•
•
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.
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 INT-A068: HipHop Kit.
Arpeggiator B is assigned to T8 as well, but this
setting is so that the T7 program INT-A068: HipHop
Kit will sound only when the arpeggiator is on. Refer
to the preceding section “Select and play Combination
INT-D080: Old Vox Organ.”
•
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).
With this setting, the arpeggio pattern will always play
the specified pitches regardless of the note numbers
received from the keyboard. (ꢀPG p.152)
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).
•
•
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.
Arpeggiator A is also assigned to T8, but this is so that
the T7 program INT-A068: 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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4“Arpeggiator Select” will automatically be set to A
when you move here from Program mode.
Creating an user arpeggio pat-
tern
5In “Pattern,” select the arpeggio pattern that you
wish to edit.
For this example, select an empty user arpeggio pat-
tern.
About 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.
The patterns that can be selected on the TRITON STU-
DIO’s arpeggiator are called “arpeggio patterns.” There
are two types of arpeggio patterns: preset arpeggio pat-
terns and user 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.
Preset arpeggio patterns:
There are five patterns; UP, DOWN, ALT1, ALT2, and
RANDOM.
6In “Length,” specify the length of the pattern.
The operation of these patterns is fixed, and cannot be
edited.
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(I-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(I-A/ B)–
U199(I-A/ B), simply changing the “Length” can sig-
nificantly change the character of the pattern. Try
changing 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 Disk mode, user arpeggio patterns can also saved to
media such as a floppy disk or the internal hard drive.
These are program parameters, but can be set from
here as well.
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.”
Editing a user arpeggio pattern
If you want to edit a user arpeggio pattern, you must
first make sure that memory protect is unchecked.
For this example, make the settings shown in the
LCD screen on step 3.
If you enter this mode from the Program mode, your edit-
ing will apply to the arpeggio pattern specified for the
selected program.
8In Arpeggio Pattern Setup, specify how the arpeggio
will be developed.
These settings can be changed during or after editing
(ꢀPG p.152).
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.
9Select the Pattern Edit page.
2Press the ARPEGGIATOR [ON/OFF] key to turn the
arpeggiator on (the LED will light).
Even if you moved to Global mode from a program in
which the arpeggiator was turned off, you can use the
ARPEGGIATOR [ON/ OFF] key to turn it on.
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.”
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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
Length: 8
Tone No.
Tone10: [–] key
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-
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.)
0For steps 01–08, make settings for “Pitch Offset,”
“Gate,” “Velocity,” and “Flam.”
“Pitch Offset”: This offsets the pitch of the arpeggio
note in semitones up or down. You can input the same
tone for each step, and change the “Pitch Offset” value
for each to create a melody using a single tone.
“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.
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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.
Other examples of creating a user arpeggio pat-
tern
Melody pattern
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.
1Set “Step No.” to 01, and press the [0] key.
Set “Pitch Offset” to +00.
Drum pattern
2Set “Step No.” to 02, and press the [0] key.
You can use the arpeggiator to play a rhythm pattern by
using “Fixed Note” with a drum program.
Set “Pitch Offset” to +10.
3Set “Step No.” to 03, and press the [0] key.
1In Program mode, select a drum kit program.
Set “Pitch Offset” to +00.
For this example, select the preset program INT-A036:
Standard Kit 1.
4Set “Step No.” to 04, and press the [0] key.
Set “Pitch Offset” to +00.
2In Global P6: User Arpeggio, select the Pattern Setup
5Set “Step No.” to 05, and press the [0] key.
page, and make Arpeggio Pattern Setup settings.
Set “Pitch Offset” to +12.
“Arpeggio Tone Mode”: Set this to Fixed Note. This
will cause the tone to always sound at the specified
pitch.
6For “Step No.” 06, do not enter a tone.
7Set “Step No.” to 07, and press the [0] key.
Set “Pitch Offset” to +00.
“Fixed Note Mode”: If you set this to Trigger All
Tones, playing a single note on the keyboard will
sound all tones.
8Set “Step No.” to 08, and press the [0] key.
Set “Pitch Offset” to –02.
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.152).
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]
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.
Let’s input the following rhythm pattern.
7For “Step No.” 07, do not enter a tone.
8Set “Step No.” to 08, and press the [1], [2], [3], [4]
keys.
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4Make settings for “Tone No.” and “Fixed Note No.”
Dual arpeggiator editing
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.
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.
For this example, set “Tone No.” and “Fixed Note No.”
as follows.
If you have entered this mode from the Combination
mode, the arpeggio pattern selected by the combination
will be affected by your editing.
Tone No.
Fixed Note No.
00
01
02
03
C2 (kick)
1In Combination mode, select a combination that uses
F2 (snare)
the arpeggio pattern you wish to edit.
F#3 (closed hi-hat)
A#3 (open hi-hat)
For this example, select a combination to which both
arpeggiators A and B are assigned.
2Press the ARPEGGIATOR [ON/OFF] key to turn on
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.
the arpeggiator (the LED will light).
Even if the arpeggiator had been turned off when you
moved here, you can use the ARPEGGIATOR [ON/
OFF] key to turn it on. However, if “Arpeggiator Run”
A or B are not checked, and if “Arpeggiator Assign,” is
set to off, then the arpeggiator will not operate.
5Input the kick (Tone00).
Set “Step No.” to 01, and press the [0] key. Then set
“Step No.” to 05, and press the [0] key.
3Select the Global P6: User Arpeggio, Pattern Setup
page.
6Input the snare (Tone01).
4If you moved here from Combination mode, use the
“Arpeggio Select” A and B to select the arpeggiator
that you wish to edit.
Set “Step No.” to 03, and press the [1] key. Then set
“Step No.” to 07, and press the [1] key.
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.
7Input the closed hi-hat (Tone02).
Set “Step No.” to 01, 02, 03, 05, 06, and 07, and press
the [2] key for each.
8Input the open hi-hat (Tone03).
5Switch between arpeggiators A and B, and edit their
Set “Step No.” to 04, and press the [3] key. Then set
“Step No.” to 08, and press the [3] key.
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.
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.
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.
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-
9Set the parameters for each step.
Use “Velocity” etc. to add accents to the rhythm pat-
tern.
8If you wish to save the state of the combination at the
same time, return to Combination mode and write
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.
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.
Set the “Gate” and “Velocity” by using the ARPEG-
GIATOR [GATE] and [VELOCITY] knobs to the cen-
ter position (12 o’clock).
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beginning of the arpeggio pattern at the moment that
recording begins.
Synchronizing the arpeggiator
The note timing of the arpeggiator will differ depending
on the state of the arpeggiator “Key Sync.” check box.
If this is checked, the arpeggiator will operate at the tim-
ing of the first note-on you play from a state in which all
keys are released.
Synchronization with an external
sequencer in Program, Combination,
or Sequencer modes
If this is unchecked, the arpeggiator will operate in syn-
chronization with the internal or external MIDI clock.
In Program, Combination, and Sequencer modes when
“ꢀ (Tempo)” is EXT (Global P1: MIDI “MIDI Clock” set to
External MIDI or External mLAN), the TRITON STUDIO
will synchronize to MIDI Clock and Start messages
received from an external MIDI sequencer (or similar
device) connected by a MIDI cable.
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)”
Synchronization between arpeggiators
A and B
based on the timing of the external MIDI clock.
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 STUDIO 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
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Effects settings
The effect section of the TRITON STUDIO provides five
In Sampling mode, you can sample while applying insert
effects to the audio coming in via AUDIO INPUT 1, 2, S/ P
DIF IN, or mLAN (if the EXB-mLAN is installed) jacks.
Settings in Sampling mode are made in Input (SAM-
PLING) (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
Insert Effect 1-5
001–015
016–031
032–040
Filter and dynamics effects, such as EQ and com-
pressor
mLAN AUDIO IN (1, 2)
Sample
Resampling
Phase modulation effects, such as chorus and
phaser
The external input from the AUDIO INPUT 1, 2, S/ P DIF
IN, or mLAN (if the EXB-mLAN option is installed) jacks
is also valid in modes other than Sampling mode. In Pro-
gram, 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, S/ P DIF IN, and mLAN (if the EXB-mLAN
option is installed) can be made in “Input (COMBI,
PROG, SEQ, S.PLAY, DISK)” (Global P0: 0–3a).
Other modulation and pitch-shift effects such as
rotary speaker and pitch shifter
041–051
052–057
058–089
Early reflection and delay effects
Reverb effects
Mono + mono chain effects that internally connect
two mono effects in series
090–102
Double-size effects
In these modes, the external input sound from each jack
can be processed by the TRITON STUDIO’s effects and
sampled, or the TRITON STUDIO can be used as a 6-in 6-
out effect processor. The TRITON STUDIO can also be
used as a vocoder effect (093: Vocoder) that uses external
mic input to control internal sounds.
Effects 000–089 can be selected for IFX1, 2, 3, 4, 5, or
MFX 1 or 2. Effects 090–102 are double-size effects,
and will use twice the processing area of other effects.
They can be selected for IFX2, IFX3 or IFX4.
Send
Return
Master Effect 1,2
Effects in each mode
OUTPUT
L/MONO, R
Oscillator
Filter
Amplifier
Insert Effect 1-5
Master EQ
AUDIO INPUT (1, 2)
S/P DIF IN (L, R)
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.
mLAN AUDIO IN (1, 2)
When effects are applied to the external input sound
from the AUDIO INPUT 1, 2, S/ P DIF IN, and mLAN
(if the EXB-mLAN option is installed) jacks, certain
effect types or parameter settings may cause oscilla-
tion to occur. If this occurs, adjust the input level, out-
put 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.
These settings are made in Combination mode indepen-
dently for each combination, in Sequencer mode for each
song, 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
4Select the Insert FX page.
Routing settings and effect set-
tings
The insert effects, master effects, and master EQ have the
same structure in all modes, but the routing settings will
determine how the oscillators of a program or the timbres
of a combination or track of a song will be sent to each
insert effect or master effect. In the pages that follow, we
will explain how you can make routing settings and effect
settings in each mode.
5For IFX1–5, select the effect type for each insert effect.
Effect settings for a program
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.
Routing
1In Program P8: Edit-Insert Effect, select the Routing
page.
Effects 000–089 can be selected for IFX1, 2, 3, 4, 5, and
MFX1 and 2.
Effects 090–102 are double-size effects, and require
twice the processing area of other effects. These can
be selected for IFX2, IFX3, and IFX4.
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.
L/R: The output will not be sent to the insert effects.
After passing through the master EQ, the sound will be
sent to AUDIO OUTPUT (MAIN) L/ MONO and R.
IFX1–5: The output will be sent to insert effect IFX 1, 2,
3, 4, or 5.
1, 2, 3, 4, 1/2, 3/4: The output will be sent to AUDIO
OUTPUT (INDIVIDUAL) 1, 2, 3, or 4. It will not be sent
to the insert effects, the master effects, or the master
EQ.
7Make “Chain” settings.
If the “Chain” check box is checked, the insert effect
will be connected in series. Since the output of the
oscillator is being sent to IFX1 in 2, making settings as
shown in the diagram 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.
Off: The output will not be sent to AUDIO OUTPUT
(MAIN) L/ MONO, R, or to (INDIVIDUAL) 1, 2, 3, 4.
(After passing through the master effects, it will be out-
put from AUDIO OUTPUT (MAIN).) Select this when
you wish to connect the output to the master effects in
a series connection at the send levels specified by
“Send 1 (MFX1)” and “Send 2 (MFX2).”
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.
If the insert effects are chained, these settings will
apply after the last IFX.
“Pan”: Sets the pan. This is valid only when BUS Sel. is
L/ R.
3OSC MFX Send specifies the send level from each
“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, 1/ 2, or 3/ 4.
oscillator to the master effects.
This can be set only when “BUS Select (IFX/ Indiv.Out
Assign)” is either L/ R or Off.
If “BUS Select (IFX/ Indiv.Out Assign)” is set to IFX1–5,
the send level to the master effects is set by “Send 1”
and “Send 2” (Insert FX 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.187–).
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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.
The master effects are mono-in/ stereo-out. Even if a
stereo-input effect is selected, it will function as mono
input.
2Select “IFX/Indiv.Out BUS Select.” Here you can
specify the bus (insert effect) to which the output of
each timbre will be sent.
The routing, insert effects, and chain settings are
shown graphically in the upper part of the display
screen. In this example, T01 (timbre 1) uses IFX1 and 2.
T02 uses IFX2, T03 uses IFX3 and 4, T02 and T05 use
IFX4, and T06 and T07 use IFX5. Selection of each effect
type, the on/ off setting, and chain settings are made in
the Insert Effect 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
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.
timbre to the master effects.
This can be set only if “IFX/ Indiv.Out BUS Select” is
set to L/ R or Off.
The actual send level is determined by multiplying
this by the “Send 1” or “Send 2” settings for 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.187–).
Master EQ
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.
EUse the stereo 3-band master EQ to make final equal-
izing adjustments immediately before the sound is
output to the AUDIO OUTPUT L/MONO and R
jacks.
Insert effects
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.239).
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 effects are
chained, the settings after the last IFX in the chain will be
used. “Send 1” and “Send 2” adjust the amount of master
effect that is applied to the signal that has passed through
the IFX. These settings can be made in the same way as for
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Insert effects
Select an effect for IFX1–IFX5, and set “Pan (CC#8)” for
the signal that has passed through each insertion effect. If
effects are chained, the settings after the last IFX in the
chain will be used.
Master effects
Master EQ
The master effects and master EQ cannot be used in Sam-
pling mode.
Master effects
Master EQ
These settings can be made in the same way as in “Effect
Effect settings in Sampling mode
In Sampling mode, you can apply an insert effect to an
external audio source that is input from AUDIO INPUT 1,
2, S/ P DIF IN, or mLAN (if the EXB-mLAN option is
installed), or to audio from an audio CD (if the CDRW-1
option is installed), and sample the result. You can also
apply an insert effect to the samples assigned to a multi-
sample, 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 Input settings allow you to input simultaneously
from each input source.
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
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input settings for Sampling mode are made in a simi-
lar way, in Sampling P0: Recording, Input/ Setup
page Input (SAMPLING).
Effect settings for AUDIO INPUT
In Program, Combination, Sequencer, Song Play, and Disk
modes, external audio sources can be input from the
AUDIO INPUT 1, 2, S/ P DIF IN, and mLAN (if the EXB-
mLAN option is installed) jacks, or from an audio CD
inserted in the CDRW-1 option (if installed), and pro-
cessed by the TRITON STUDIO’s effects. In these modes,
the insert effects, master effects, and master EQ can be
used. Settings for the external audio input from each
AUDIO INPUT 1, 2, S/ P DIF IN, and mLAN (if the EXB-
mLAN option is installed) jack can be made in “Input
(COMBI, PROG, SEQ, S.PLAY, DISK).” Normally, you will
make these settings in the Global mode P0: Basic Setup,
Input/ Sampling page, but you can also make them in
Combination, Program, Sequencer, or Disk modes.
In these modes, you can apply the TRITON STUDIO’s
effects to the external audio signals from each jack and
sample the result, or use the TRITON STUDIO as a 6-in
(AUDIO INPUT 1, 2, S/ P DIF IN L, R, mLAN 1, 2) 6-out
effect processor. You can also use it as a vocoder effect
(093: Vocoder) in which internal sounds are controlled by
an external mic input.
When you apply effects to external input signals from
the AUDIO IN 1, 2, S/ P DIF IN, and mLAN 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.
2Set the parameters for Input1 and 2.
Input1 and 2 correspond to the following inputs.
Analog
S/P DIF
mLAN
AUDIO INPUT
1
2
Input1
Input2
S/P DIF
Lch
Rch
Input1
Input2
mLAN
1
2
Input1/Input2
Input1/Input2
“Level”: Sets the level of the input signal that you
selected in “Input (COMBI, PROG, SEQ, S.PLAY,
DISK).” Normally you will set this to 127. If the sound
is distorted even though you lower this setting signifi-
cantly, it is possible that the sound is distorting before
the AD converter. Adjust the [LEVEL] knob or the out-
put 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
Routing
“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).
In Program, Combination, Sequencer, Song Play, and Disk
modes (i.e., in other than Sampling mode), the routing of
the external audio input signals from the various jacks is
specified by “BUS (IFX/ Indiv.) Select.”
1Use “Input (COMBI, PROG, SEQ, S.PLAY, DISK)” 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 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 STUDIO.
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 STUDIO 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 P0: Play, Sampling page
Sequencer
Global
P0: Play, Sampling page
P0: Basic Setup, Input/Sampling
page
Disk
Play Audio CD page
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, DISK),” a rout-
ing 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 con-
nector or mLAN connector, 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 STUDIO from the AD converter will be
set to zero, and no noise will be output.
These settings are ignored in Sampling mode. Audio
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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.
About dynamic modulation
(Dmod)
Dynamic modulation (Dmod) is a function that lets you
use MIDI messages or the TRITON STUDIO’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.
Using the BPM/ MIDI Sync. function to synchronize
the delay time to arpeggiator tempo changes.
8Set “BPM” to MIDI.
9For L, C, and R, set “Delay Base Note” and “Times” as
For details on each of these functions, refer to PG p.246,
248.
desired.
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.
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.
2Access the Program P8: Edit-Insert Effect, IFX1 page.
Using Dmod to change the delay level by moving
the joystick away from yourself
3Set “Input Level Dmod” to +100.
4Set “Src” to JS+Y: CC#01. The delay sound will disap-
pear.
0Rotate the [TEMPO] knob, and the delay time will
change.
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.
When you (push the joystick away from yourself and)
press the [SW] key, the feedback level will rise, and the
delays will become longer.
AWhen you turn on the ARPEGGIATOR [ON/OFF]
switch, the arpeggiator will begin playing.
Select any desired arpeggio pattern. When you rotate
the [TEMPO] knob, the delay time will change in 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.248.
Using Dmod to modify the feedback level from
[SW1] key
5In P1: Edit-Basic, select the Controller Setup page,
and set the function of “SW1” to SW1 Mod.: CC#80
(Toggle).
6Return to P8. Set “Feedback Src” to SW 1: CC#80.
7Set “Amt” to +30.
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Other functions
Setting the function of [SW1] and
Setting the B-mode functions of
[SW2]
REALTIME CONTROLS [1]–[4]
You can specify the function of the [SW1] and [SW2] keys
(ꢀPG p.249).
You can specify the B-mode functions of REALTIME
CONTROLS knobs [1]–[4] (ꢀPG p.250).
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-Zonr/Ctrl, Control
P4: Zonr/Ctrl, Controller Setup
P4: Controller Setup
Here we will give 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.
3Press the Controller tab.
An example of settings in a program
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.
Use the rear panel contrast knob to make adjustments.
In this case, you will normally select SW1
Mod.:CC#80 and SW2 Mod.:CC#81.
For an example in which the [SW1] key is specified as an
effect dynamic modulation source for a program and used
If you wish to keep these settings after the power is
the settings of Sampling mode cannot be saved.
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Sounding a beep when the LCD
screen is pressed
Shortcuts
[MENU] key + numeric keys [0]–[9]
•
Accesses the pages within a mode
If the Global P0: Basic Setup, System Preference page
“Beep Enable” check box is turned on, a beep will sound
when you press an object in the LCD screen.
[ENTER] key + numeric keys [0]–[9]
•
Accesses the page menu commands in each page (up
to ten items)
Uncheck this if you do not want a beep to be sounded.
[ENTER] key + keyboard
•
•
Inputs note number values or velocity values
Selects “KEY” in Global P5: Drum Kit, Sequencer P6:
Pattern/ RPPR, RPPR Setup page
Using the TRITON STUDIO as a
•
Selects base key and index in Sampling mode
data filer
[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)
MIDI exclusive data transmitted from an external device
can be received by the TRITON STUDIO and saved on a
floppy disk, or other media (the Data Filer function). This
is done using the Disk mode Save page “Save Exclusive”
page menu command (ꢀPG p.168).
Setting the calendar function
Here’s how to set the date and time for the TRITON Stu-
dio’s internal calendar. The date and time are recorded
when you save data. Use the page menu command “Set
Date/ Time” (Disk, Utility page) to make these settings.
You will need make these settings after you purchase
the TRITON Studio, and after you replace the calen-
dar backup battery.
1Press the [DISK] key to enter Disk mode.
2Press the Utility tab.
3Select the page menu command “Set Date/Time.”
The following dialog box will appear.
4Use the VALUE controllers to set “Year,” “Month,”
“Day,” “Hour,” “Minute,” and “Second” to the correct
year, month, day, hour, minute, and second.
5Press the OK button.
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.
You can replace the calendar backup battery by your-
self. Refer to PG p.286 for details.
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Appendices
Troubleshooting
If you experience problems, refer to the relevant item
and take the appropriate measures.
to access this), and then hold down the [ENTER]
key and press numeric key [2] to display the dialog
box.
Can’t switch modes or pages
Are you recording or playing a song?
Are you sampling?
Power supply
Power does not turn on
Are you playing a CD?
Are you playing a WAVE file?
Is the [POWER] switch turned on?
In Combination, Sequencer, or Song Play modes,
can’t edit the value of Timbre/ Track parameters
such as “MIDI Channel” or “Status”
LCD screen
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 (Glo-
bal P2: Controller)?
The power is turned on, but nothing is shown in
the LCD screen.
The TRITON STUDIO functions normally when you
play the keyboard or perform other operations.
→ In some cases, this problem can be solved be execut-
ing the page menu command “Half Damper Cali-
bration” (Global P0: Basic Setup).
Use the rear panel [Contrast adjustment] knob to
The power is turned on, but the LCD screen does
not display normally, or an error message is dis-
played. There is no sound when you play the key-
board, and the TRITON STUDIO does not function
normally.
No beep is sounded when you touch the LCD
screen
Check the “Beep Enable” check box (Global P0:
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
STUDIO was turned off while a program or other
data was being written. If this occurs, use the
following procedure to initialize the TRITON
STUDIO’s internal memory.
Audio input and output
No sound
Are connections made correctly to your amp,
1Turn off the power.
2Hold down the [MENU] key and the [9] key, and
turn on the power.
Is the connected amp or mixer powered-on, and is
its volume raised?
The TRITON STUDIO will be initialized, and data
will be written into internal memory. While the data
is being written, the LCD screen will indicate “Now
writing into internal memory.”
After initialization, you will need to load the pre-
loaded data. Load the data from the included floppy
Is Local Control turned on?
→ In Global P1: MIDI, check the “Local Control On”
check box. ꢀPG p.142
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
Can’t operate the LCD screen correctly
In Global P0: Basic Setup, execute the “Touch Panel
Calibration” page menu command to adjust the
sensitivity of the touch panel. ꢀPG p.137
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
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
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Are the Key Zone and Velocity Zone set so that sound
will be produced when you play? ꢀPG p.11, 42, 66
Digital audio input is sometimes not heard for two
or three seconds.
When you change the sampling frequency in “S/ P
DIF Sample Rate” (e.g., from 48 kHz to 96 kHz), two
or three seconds will be required in order to lock to
the new sampling frequency. Please wait until the
sound is heard.
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.7
If audio cannot be input from the mLAN connector
(if the EXB-mLAN is installed), have the mLAN
plug settings been made correctly? ꢀPG p.139, 141
In Global P2: Controller, make sure that “Damper
Polarity” or “Foot Switch Polarity” is set correctly.
ꢀPG p.146
Is the correct sampling frequency being input from
the mLAN connector (if the EXB-mLAN is
installed)? ꢀPG p.139, 141
Can’t input sound
Are the appropriate sources connected to the
AUDIO INPUT 1, 2 jacks, the S/ P DIF IN jack, or
the mLAN connector (if the EXB-mLAN option is
→ A sampling frequency of 48 kHz can be input.
Can’t output sound from an audio CD
Make sure that you have selected the Disk mode
Play Audio CD page or Sampling mode.
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/
Make sure that the audio outputs of your external
SCSI CD-R/ RW drive are connected to the AUDIO
If there is no sound in Program, Combination,
Sequencer, Song Play, and Disk 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
Is the CD output being correctly input?
→ If you want to listen to the audio CD playback in the
Disk mode Play Audio CD page, set “Input
(COMBI, PROG, SEQ, S.PLAY, DISK)” 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
If you are inputting sound to the AUDIO INPUT 1
and 2 jacks, make sure that the AUDIO INPUT
Is the “Volume” slider raised? (Disk mode Play
Audio CD page, Sampling P5: Audio CD, Ripping
page) ꢀp.120, 174
If you are inputting sound to the AUDIO INPUT 1
and 2 jacks, is the [MIC/ LINE] switch set
Has the CD been finalized?
→ A CD-R/ RW disc that you wrote using the Disk
mode Make Audio CD page cannot be played in the
Disk 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.174
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.
Is the correct sampling frequency being input from
the S/ P DIF IN jack?
→ Sampling frequencies of 48 kHz and 96 kHz can be
input. If you input an unsupported sampling fre-
quency, noise will occur or a message of “S/ P DIF
Clock Error!” will be displayed.
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?
Set “S/ P DIF Sample Rate” to match the sampling
frequency that is being input (either 48 kHz or 96
kHz). The default setting for “S/ P DIF Sample
Rate” is 96 kHz (Normal). ꢀPG p.138
→ If “Recording Level” indicates “ADC OVER-
LOAD!!,” adjust the [LEVEL] knob. If “CLIP!!” is
displayed, adjust the “Recording Level” slider.
Adjusting the “Recording Level” will not affect the
level of the output sound, but will affect the level
that is sampled. While watching the level meter,
adjust “Recording Level” as high as possible with-
If “System Clock” is set to S/ P DIF and “S/ P DIF
Sample Rate” is set to 48 kHz, and you want to
change the sampling frequency that is being input
to the S/ P DIF IN jack from 96 kHz to 48 kHz or
from 48 kHz to 96 kHz, you must make sure that
the TRITON STUDIO is not accessing data when
you make the change. Also, do not touch the TRI-
TON STUDIO at this time. In particular, you must
not change the sampling frequency being input to
the S/ P DIF IN jack when data access is occurring
(e.g., load/ save, read/ write, or sampling opera-
tions involving the internal hard disk, floppy disk,
CD-R/ RW, external SCSI media, sample memory,
or internal memory).
If you are inputting to the S/ P DIF IN jack or
mLAN connector (if the EXB-mLAN option is
installed), are the level of the output device and the
“Recording Level” set appropriately?
→ 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.138
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Noise or oscillation is heard
Can’t record in Sequencer mode
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.
Is the Memory Protect “Song” check box (Global
P0) unchecked? ꢀPG p.139
Is the “MIDI Clock” (Global P1: MIDI) set to
Internal? ꢀPG p.143
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
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.
Have you checked “Multi REC”? (Sequencer P0:
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.
Depending on the settings of the combination, it
may be necessary to adjust settings such as “Track
Select,” “MIDI Channel,” “Status,” and
→ 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 set-
→ 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 per-
formance of a combination, make sure that the
ARPEGGIATOR [ON/ OFF] key is turned on for the
combination when you write it in Combination
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.
Program, Combination
Settings for oscillator 2 are not displayed
Make sure that the “Oscillator Mode” (Program P1:
mode. Then execute the “Copy From Combi.”
Program Basic) parameter is set to Double.
ꢀPG p.7
RPPR does not start
A combination does not play correctly after you
load data
Is the Sequencer P0: Play/ REC “RPPR” setting
In the dialog box when you saved the data, did you
check the items that you wanted to save?
ꢀPG p.166
Are “Assign,” “Pattern Select,” and “Track” set
Are the bank/ numbers of the programs used by the
combination the same as when the combination
was created?
If the “MIDI Clock” (Global P1: MIDI) parameter
set to Internal? ꢀPG p.143
In Song Play mode, a GM/ GS/ XG-compatible SMF
is not played correctly
Song
Execute “GM Initialize” to initialize the settings.
ꢀPG p.124
A song does not play correctly after you load data
Is “Bank Map” set to GM(2)? ꢀPG p.137
In the dialog box when you saved the data, did you
check the items that you wanted to save? ꢀPG
p.166
Is “Status” set to INT? ꢀPG p.126
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.166, 157
Sampling
Can’t sample
If you are sampling to external SCSI storage media,
have you selected a hard disk? ꢀPG p.5, 90
Have you loaded the multisamples and samples
used by the program?
Are the audio input settings correct?
Playback does not start when you press the
SEQUENCER [START/ STOP] key in Sequencer mode
Is the “MIDI Clock” (Global P1: MIDI) set to
Internal? ꢀPG p.143
Is there free space in memory? ꢀPG p.99, 175
→ If you are sampling to sample memory (RAM),
select a different memory bank. ꢀPG p.6, 37, 57, 90
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→ If you are sampling to hard disk, select a different
hard disk. ꢀPG p.7, 37, 57, 96
→ Delete unneeded samples. ꢀPG p.92
→ Save samples you want to keep, and then delete
them. ꢀPG p.167, 92
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.
Is the “Trigger” setting correct? ꢀPG p.4, 37, 56, 97
In Sampling mode if you are resampling with
“Resample” set to Auto, has the sample to be
resampled been assigned to the keyboard, and
There is a time lag after you press the SAMPLING
[REC] key until you enter sampling-standby mode
Is the “Source BUS” setting correct?
The length of time until you enter sampling-
standby mode will depend on the state of the free
space on the hard disk (i.e., whether the free space
is continuous or fragmented).
When sampling to the hard disk, pressing the SAM-
PLING [REC] key will cause the amount of space
specified by “Sample Time” to be allocated within
the hard disk.
→ If you want to listen to the performance of the inter-
nal tone generator while sampling only the external
input sound (i.e., when using the In-Track Sampling
function), you will normally set this to Indiv.1/ 2.
For other types of sampling or resampling, set this
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” (Disk, Utility page) to find and
correct any errors on the selected MS-DOS format
media. ꢀPG p.171
→ You should set “Sample Time” slightly longer than
the length that you will actually sample, and avoid
specifying an excessively long sample time.
A stereo sample can’t be played in stereo
Drum kits
Is the multisample stereo?
→ Execute the page menu command “MS Mono To
Stereo” to convert the multisample to stereo. ꢀPG
p.94
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.
Is the sample name assigned correctly? ꢀPG p.90
Volume of a recorded sample is too low/ too high
→ 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.
A sample that you resampled with “Recording
Level” set at approximately –12.0 (dB) plays back at
a lower volume than the volume at which you
resampled it.
→ Did you turn on the “Auto +12 dB On” setting when
→ If you resampled with “Auto +12 dB On” turned off,
turn on “+12 dB” (Sampling mode Loop Edit page)
for that sample.
Arpeggiator
Arpeggiator does not start
The playback volume of a sample is different than
the volume at which it was resampled or sampled.
→ If the sample playback is louder, did you set
“Recording Level” above +0.0? If it is lower, did you
set “Recording Level” below +0.0?
Is the ARPEGGIATOR [ON/ OFF] key turned on
(lit)?
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
The “Recording Level” setting affects the level of
the sample data that is recorded, but it is not possi-
ble to monitor that level.
Is the “MIDI Clock” (Global P1: MIDI) parameter
set to Internal? ꢀPG p.143
→ If the sample playback is louder, is “Auto +12 dB
On” turned on? If the playback is softer, is this set-
ting turned off?
→ If you resampled the playback of a song or your
playback performance using a program, combina-
tion, or sample, or combined your performance
with an external audio source and sampled the
result, did you set “Recording Level” to approxi-
mately –12.0 dB and turn on the “Auto +12 dB On”
If the ARPEGGIATOR [ON/ OFF] key does not
respond in Global P6: User Arpeggio, you may
have moved here from Sampling mode or Disk
mode.
Effects
→ If you sampled only an external audio source, did
you set “Recording Level” to approximately +0.0,
Effects are not applied
Have you selected effect program 000?
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→ Select an effect other than 000: No Effect for “IFX1–
Is the write protect hole of the floppy disk covered,
so that it is in the “write permit” position?
→ Correctly insert a 3.5 inch 2HD or 2DD floppy disk
(with its write protect hole covered) into the disk
drive, and perform the save or load operation once
again.
5” 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
Alternatively, has “Send 1” or “Send 2” for each
oscillator of the program used by the timbre/ track
Internal hard drive, external devices
SCSI-connected external drive is not recognized
Has the drive been formatted? ꢀPG p.170
Is the external device connected correctly? ꢀPG
p.298
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.
Is the terminator of the external device connected
correctly? ꢀPG p.298
The SCSI device ID settings of two or more drives
may be conflicting.
→ For details on setting the SCSI device ID, refer to the
owner’s manual for your drive.
Have you routed the output to an insert effect?
You may have turned on the power of the SCSI
device after powering-on the TRITON STUDIO.
→ Turn off the power of the SCSI device and of the
TRITON STUDIO. Then turn on the power of the
SCSI device, and wait at least ten seconds before
powering-on the TRITON STUDIO.
MIDI
The TRITON STUDIO does not respond to incoming
MIDI data
Are all MIDI cables connected correctly?
ꢀPG p.258
Execute the page menu command “Scan SCSI
device” (Disk, Media Information) to re-mount the
SCSI device.
Is the MIDI data being received on the channel on
which it is being transmitted? ꢀPG p.259
The TRITON STUDIO does not respond correctly to
incoming MIDI data
The TRITON STUDIO does not recognize when MO
disk has been exchanged, and does not correctly
display the media information after the exchange.
Are the Global P1: MIDI settings “Enable Program
Change,” “Enable Bank Change,” “Enable Control
Change,” and “Enable AfterTouch” each checked?
ꢀPG p.144
If you are able to switch the mode setting of your
MO drive between PC/ AT and Mac settings, please
use PC/ AT mode. For details on changing the
mode of your drive, refer to the owner’s manual for
your MO drive.
If you wish to receive MIDI exclusive messages, is
the “Enable Exclusive” (Global P1: MIDI) item
checked? ꢀPG p.144
If your MO drive does not have a mode setting, or
if the media exchange is not recognized even after
you switch the mode, use the drive select button to
select a different drive, and then re-select the MO
drive.
Does the TRITON STUDIO support the types of
messages that are being sent to it? ꢀPG p.259
Media
“Error in writing to medium” occurs frequently
when saving data to the internal hard drive or
external device
Floppy disk
Execute the page menu command “Check
Medium” (Disk, Utility page) to detect and correct
errors on the selected MS-DOS format media. ꢀPG
p.171
Can’t format a floppy disk
Are you using a 3.5 inch 2HD or 2DD floppy disk?
Is the floppy disk inserted correctly?
Cover the write protect hole of the floppy disk, so
that it is in the “write permit” position.
CD-R/ RW
→ Correctly insert a 3.5 inch 2HD or 2DD floppy disk
(with its write protect hole covered) into the disk
drive, and format it once again.
CD-R/ RW drive is not recognized
If you are using the CDRW-1 option, was it
installed correctly?
→ Turn on the power of the TRITON STUDIO once
again, and verify that the CDRW-1 is displayed in
the startup screen. If it is not displayed, turn off the
Can’s save/ load data to/ from a floppy disk
Is the floppy disk inserted correctly?
Is the floppy disk formatted?
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Can’t write
Can’t write audio tracks
Was the drive subjected to physical shock or
vibration while data is being written?
Additional writing is not possible on a CD-R/ RW
disc that has been finalized.
If you are unable to save data such as PCG or SNG
files, has the disc been formatted?
Can’t play back the disc on an audio CD player
If you are writing audio tracks to create an audio
CD, it is not necessary to format the disc.
Did you finalize the disc?
→ If you want to finalize the disc after writing addi-
tional data, check the “Execute finalize too” check
box when executing the page menu command
“Write to CD” (Disk, Make Audio CD), so that the
→ If you only want to finalize the disc, select the page
menu command “Finalize Audio CD” (Disk, Make
Audio CD), and press the OK button to finalize the
disc. ꢀPG p.173
Are you using the recommended media for your
drive?
If you are writing from an external SCSI drive to
CD-R/ RW, it is possible that the transfer speed is
insufficient.
→ Writing may be successful if you lower the writing
speed. ꢀPG p.173
→ Writing may be successful if you first copy the data
from the external SCSI drive to the internal hard
disk, and then execute the writing operation from
the internal hard disk.
Are you using CD-R media?
→ 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 success-
fully by using a different type (brand) of CD-R/ RW
media.
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 STUDIO
that you save in Disk mode or execute sampling to
hard disk in Sampling mode), some time will be
required to allocate free area.
Are you using blank media?
WAVE files
→ If using CD-R, please use new media. If using CD-
RW, use the page menu command “Erase CD-RW”
(Disk, Make Audio CD) to erase the contents of the
media before you execute Save.
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
A CD-R/ RW saved on the TRITON STUDIO is not
recognized by an external device.
A CD-R/ RW saved or copied on the TRITON
STUDIO using packet writing is not recognized on
a computer.
HEADPHONES will be louder. ꢀPG p.138
WAVE file playback level is louder/ softer than the
→ If you install a UDF version 1.5 compatible UDF
reader or packet writing software on your com-
puter, it will be possible to recognize the disc. ꢀPG
p.299
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.
→ In the case of a CD-R, it may be possible to make the
disc be recognized by executing the page menu
command “Convert to ISO9660 Format” (Disk, Util-
ity 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 soft-
ware or packet writing software on your computer,
it will be possible to recognize the disc. ꢀPG p.299
Can’t preview
Is the WAVE file format supported?
→ Select a WAVE file of a supported format. ꢀPG
p.156, 172, 283
A CD-R/ RW that was saved or copied on the
TRITON STUDIO using packet writing is not
recognized by the TRITON/ TRITON pro/ TRITON
proX/ TRITON-Rack.
Other
→ These models do not support UDF version 1.5, and
therefore will not recognize such a disc.
Saved files or sampled WAVE files have an
incorrect date/ time.
→ In the case of a CD-R, it may be possible to make the
disc be recognized by executing the page menu
command “Convert to ISO9660 Format” (Disk, Util-
ity 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.299
→ Use the page menu command “Set Date/ Time”
(Disk, Utility page) to set the current date and time.
152
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Specifications and options
Specifications
System
HI (Hyper Integrated) synthesis system
Modes
Combination, Program, Sequencer, Sampling, Song Play, Global, Disk
HI (Hyper Integrated) synthesis system
Tone generator
Polyphony
24 dB/oct LPF with resonance
Filters
12 dB/oct LPF + HPF
Alternate modulation function
Waveform memory
Sampling
48 Mbytes PCM ROM (429 multisamples, 417 drumsamples)
PCM ROM options allow expansion of up to 112 Mbytes (EXB-PCM series is supported)
16 Mbytes user sampling RAM (SIMM) (expandable to a maximum of 96 Mbytes)
48 kHz, 16 bit linear
Maximum sample data memory capacity 96 Mbytes (with SIMM expansion)
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
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
Combinations/
Programs
1,536 user memory combinations (512 presets)
1,536 user memory programs (128 more when EXB-MOSS is installed) (512 presets)
256 + 9 drum ROM programs (GM2 sound map compatible)
144 user drum kits (20 presets)
Drum Kits
9 ROM GM drum kits (GM2 sound map compatible)
Use two arpeggiators simultaneously (Combination, Sequencer, Song Play modes)
5 preset arpeggio patterns
Dual polypnonic
arpeggiator
507 user arpeggio patterns (367 presets)
Sequencer
16 timbres, 16 tracks + 1 master track
Maximum capacity: 200,000 notes
Resolution ꢀ /192
200 songs, 20 cue lists, 150 preset patterns, 100 user patterns (for each song)
16 preset/16 user template songs
Supports TRITON format and SMF (formats 0 and 1)
RPPR (Realtime Pattern Play/Recording) function (One set is available for each one song)
16 timbres, 16 tracks
Song play
Disk mode
SMF (formats 0 and 1) supported
Load, save, utility Audio CD writing/playback
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
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.
Controllers
Joystick, ribbon controller, [SW1]/[SW2] keys, REALTIME CONTROLS knobs [1]–[4] and A/B mode key,
[VALUE] slider, ARPEGGIATOR [TEMPO], [GATE], [VELOCITY] knobs and [ON/OFF] key
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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], [DISK]
Value controllers
[VALUE] slider, [VALUE] dial, [
[ENTER])
][
] keys, numeric keys ([0]...[9], [–], [./10’s HOLD],
[MENU] key, [EXIT] key, [COMPARE] key
BANK keys
[INT-A], [INT-B], [INT-C], [INT-D], [INT-E], [INT-F], [INT-G],
[EXB-A], [EXB-B], [EXB-C], [EXB-D], [EXB-E], [EXB-F], [EXB-G]
SEQUENCER keys [PAUSE], [REW], [FF], [LOCATE], [REC/WRITE], [START/STOP]
SAMPLING keys [REC], [START/STOP]
AUDIO OUTPUT (MAIN) L/MONO, R Output impedance
AUDIO OUTPUT (INDIVIDUAL) 1, 2, 3, 4 Maximum output level +13.5 [dBu]
Audio outputs
1.1 [kΩ] (L/MONO is 550 [Ω] for mono)
Load impedance
100 [kΩ] or greater
AUDIO OUTPUT HEADPHONE
Output impedance
Maximum output level
Load impedance
33 [Ω]
25 [mW]
33 [Ω]
S/P DIF
Connector: optical, Format: 24-bit S/P DIF (IEC60958, EIAJ CP-
1201), Sample rate: 48 kHz, 96 kHz selectable
Audio inputs
AUDIO INPUT 1, 2
LEVEL [MIC/LINE] switch, [LEVEL] knob Nominal level
Input impedance
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:
Source impedance
–7 [dBu] @ [LEVEL] knob= min.
–42 [dBu] @ [LEVEL] knob= max.
600 [Ω]
S/P DIF
Connector: optical, Format: 24-bit S/P DIF (IEC60958, EIAJ CP-
1201), Sample rate: 48 kHz, 96 kHz selectable
Control inputs
Internal hard drive
Other
DAMPER (half-damper supported), ASSIGNABLE SWITCH/PEDAL
5 Gbyte
MIDI IN, OUT, THRU, SCSI connector (D-sub half-pitch 50 pin), LCD contrast knob, 3.5 inch floppy disk drive, AC
power inlet, power switch, Calendar backup battery
Support for options
EXB-PCM series PCM expansion board (16 Mbytes ROM) slots × 7
72 pin SIMM memory slots × 3 (for user sample memory)
CDRW-1, EXB-MOSS, EXB-DI, EXB-mLAN
Dimensions
(W × D × H)
88Keys: 1475 × 440 × 146 (mm) Inches: 58.07" × 17.32" × 5.75",
76Keys: 1311 × 382 × 129 (mm) Inches: 51.61" × 15.04" × 5.08",
61Keys: 1104 × 382 × 129 (mm) Inches: 43.46" × 15.04" × 5.08"
Weight
88 Keys: 29.7 kg/65.48lbs., 76 Keys: 19.6 kg/43.21lbs., 61 Keys: 17.2 kg/37.92lbs.
Power supply
Power consumption
Included items
AC Local Voltage
38 W
AC cable, Preloaded program disks TNSFD-00P, Installation plate for EXB-mLAN
Options
Expansion boards
EXB-PCM06/07: Orchestral Collection
EXB-PCM08: Piano
The multisamples of the EXB-PCM08 are built into the TRI-
TON STUDIO.
EXB-MOSS (DSP Synthesizer Board)
EXB-DI (Digital Interface Board)
EXB-mLAN (mLAN Interface Board)
CD-R/RW drive
CDRW-1
XVP-10
EXP-2
EXB-PCM series
Expression/volume pedal
Foot controller
Damper pedal
Pedal switch
EXB-PCM01: Piano/Classic Keyboards
EXB-PCM02: Studio Essentials
EXB-PCM03: Future Loop Construction
EXB-PCM04: Dance Extreme
EXB-PCM05: Vintage Archives
DS-1H
PS-1
Other
MIDI cable
*
Appearance and specifications of this product are subject to
change without notice. (March/’02)
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［M usicW orkstation/Sam pler］
Date :2001. 11. 6
MIDI Implementation Chart
TRITON STUDIO
Function
Transmitted
Recognized
Remarks
1－16
1－16
Memorized
Basic
Channel
Default
Changed
1－16
1－16
Memorized
Messages
Altered
3
×
Mode
×
＊＊＊＊＊＊＊＊＊＊＊＊＊＊
Note
Number:
Sequencer and Arpeggiator data
can transmit all note numbers 0–127
0－127
0－127
0－127
True Voice
＊＊＊＊＊＊＊＊＊＊＊＊＊＊
Note On
Note Off
○9n, V=1－127
×
Velocity
○9n, V=1－127
×
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
○0－127
○0－127
0－127
Variable Range
＊＊＊＊＊＊＊＊＊＊＊＊＊＊
○
*E*4
○
System Exclusive
○
○0－127
×
○
○0－127
×
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
○
○123－127
×
×
○
×
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 mLAN.
*2: LSB,MSB=02,00: Arpeggiator ON/OFF, 0A,00: Arpeggiator Gate control, 0B,00: Arpeggiator Velocity control
*3: LSB,MSB=00,00: Pitch bend range, 01,00: Fine tune, 02,00: Coarse tune
*4: In addition to Korg exclusive messages, Inquiry, GM System On, Master Volume, Master Balance, Master Fine Tune,
and Master Coarse Tune are supported.
Mode 1: OMNI ON, POLY
Mode 3: OMNI OFF, POLY
Mode 2: OMNI ON, MONO
Mode 4: OMNI OFF, MONO
: Yes
:No
155
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Index
Numerics
F
24 dB/ oct low pass filter with
Connection 10
resonance 71
A
Copy the sounds of a combination
Program/ Combination will
change 125
LFO 73
D
G
AMS (Alternate Modulation
Grid 110
Delete
Dialog
H
Dmod 144
HI (Hyper Integrated) synthesis
system
I
Audio input/ output
E
B
BANK key
J
Load 66
Load 65
EXB-PCM/ sample memory (RAM)
slot cover
[EXIT] key
C
K
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Sequencer 82
N
L
Q
Quantize 51
O
R
OK button
Radio button
Level
Open Sampling System
Multisample 69
Overdub 84
Realtime recording
Pattern 86
Overwrite 83
Track 83
P
Load
Page menu button
Page menu command
Pan
Loop
Sequencer 82
Parameter 17
Pattern
Create 92
Realtime-recording 94
Pin
S
M
Combination 77
Media 59
Recalling the last-selected mode
Song 54
PRELOAD.KSC 21
PRELOAD.SNG 21
Scroll bar
mLAN
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Send
Track 83
Combination, Sequencer, Song
Play 141
Program 140
U
Copy 88
Save 54
Setting the number of measures
V
Velocity drumsample switch-
ing 128
Velocity multisample switch-
ing 69
Step
Stereo 111
Synchronization 138
Combination 36
Sequencer 82
Synchronize 144
[VOLUME] slider
T
W
Global settings, User drum kits,
Toggle button
Z
TouchView
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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.
2002 KORG INC.
1403 FTH Printed in Japan
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