Manuale d’uso / di manutenzione del prodotto Electric Keyboard del fabbricante Korg
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2 E.
iii This “Parameter Guide” contains explanations and other information regar ding the operations of the parameters and settings on the TRITON Le. The explanations ar e organized by mode, page, and tab. Explanations and other information on the effects and their parameters ar e also provided for each effect.
iv T able of Contents 1. Program mode ................................. 1 PROG PAGE MENU .............................................. 1 PROG 1.1: Play .................................................... 1 1.1–1: Program ..........................
v COMBI 3.4: Ed–Vel Zone (Velocity Zone).............. 40 3.4–1: Vel (Velocity Zone) ...............................................40 3.4–2: Slope (Velocity Slope) ..........................................40 3.4–3: Review ...................
vi SEQ 4.4: MIDI Filter4 .......................................... 68 4.4–1: M4–1..8 (MIDI Filter4–1 T01...08) ....................... 68 4.4–2: 4–2..16 (MIDI Filter4–1 T09...16) ........................ 68 4.4–3: 4–2..8 (MIDI Filter4–2 T01.
vii 7. Effect Guide .................................. 155 Overview ......................................................... 155 1. Effects in each mode ................................................155 2. Dynamic modulation (Dmod).................
viii 67: Comp–Cho/Fl (Compressor – Chorus/Flanger) ............................. 199 68: Comp–Phaser (Compressor – Phaser) .................. 199 69: Comp–M.Dly (Compressor – Multitap Delay) ......... 200 70: Limit–P4EQ (Limiter – Parametric 4-Band EQ) .
PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 1 PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 1. Program mode Use the following procedur e to select the desired page fr om within the current mode. 1 Press the [MENU] key to access the “P AGE MENU.
2 Program Select [(A…D)0…127: name, (G, g(d))1…128: name] Selects a program. Choose this parameter , and use the [INC], [DEC] keys, numeric keys [0]–[9], or the [V ALUE] dial to select a pro- gram. Y ou can select programs by category , or by using “10’s Hold.
PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 3 4 Press “T o” to specify the writing destination. Y ou can also use the Bank [A]–[D] keys to select a bank. It is not possible to write to banks G, g(d).
4 Decay (Decay Time) [–10…+00…+10] This adjusts the Decay T ime and Slope T ime of the filter EG and amp EG. W ith an adjustment of +00 , the value of the program param- eters will be unchanged. Positive (+) settings will lengthen the Decay T ime and Slope Ti me beyond the values that were set.
PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 5 Here you can make basic settings for the oscillator(s).
6 Key [C…B] Indicates the tonic note of the specified scale. This setting is not valid for Equal T emperament , Stretch , and User All Notes Scale . Random [0…7] As this value is increased , a greater variance will be applied to the pitch when each note is sounded.
PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 7 Each multisample has an upper limit, and may not pro- duce sound when played above that limit. S.Ofs (High Star t Of fset) [Of f, On] This specifies the point at which the multisample will begin sounding.
8 For the procedur e, refer to “Select by Category” ( ☞ p.2). This command is valid when the 2.1–2b: High, Low parameters are selected under the following conditions. •“ Mode (Oscillator Mode)” (2.1–1a) is set to either Single or Double •“ High MS Bank” and “Low MS Bank” (2.
PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 9 2.1–5: Audit. (Audition) When selecting preloaded pr ograms, you can play back a pre-specified rif f (phrase) that is suitable for the sound of that program.
10 In order to maintain compatibility , you are able to set these “invalid” parameters on this instrument. N/A indicates Not A vailable. ■ 2.2–1c: UTILITY ☞ “W rite Program” (1.1–1c), “Copy Oscillator ,” “Swap Oscillator” (2.1–1d) Here you can make pitch modulation settings for oscillators 1 and 2.
PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 11 range of pitch change produced by the pitch EG in a range of ±1 octave ( ☞ p.214). As you play more softly , the pitch change will draw closer to the pitch EG levels.
12 3.1–4: OS2lfo (OSC2 LFO) Specifies the amount of pitch change produced by LFO1 and LFO2 for oscillator 1. For an explanation of each parameter , refer to the pr eceding “3.1–2: OS1lfo.” 3.1–5: EG (Pitch EG) Here you can make settings for the pitch EG, which cr eates time-variant changes in the pitch of oscillators 1 and 2.
PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 13 AMS2 (Level Mod. AMS2) [Of f, (KT , EXT)] I (AMS2 Intensity) [–99…+99] S (AMS2 SW Star t) [–, 0, +] A (AMS2 SW Attack) [–, 0, +] Refer to the preceding paragraphs “AMS1 (Level Mod.
14 Reso.AMS (Resonance AMS) [Of f, (PEG, FEG, AEG, LFO, KT , EXT)] Indicates the source that will contr ol the “Resonance (A Res- onance)” level ( ☞ p.212 “AMS List”). Intensity (AMS Intensity) [–99…+99] Specifies the depth and direction of the ef fect that “Reso.
PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 15 Int. to B (KBDT rk Int. to B) [–99...+99] Specifies the depth and direction of the ef fect on filter 1B produced by keyboar d tracking. ( ☞ “Int.
16 4.1–4: lfoMod (LFO Modulation) Here you can use the filter 1 LFO to apply cyclic modulation to the cutoff fr equency of filter 1 (for oscillator 1) to create cyclical changes in tone.
PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 17 R (Release Level) [–99…+99] Specifies the change in cutoff fr equency that will occur when the release time has elapsed. T (Time): These parameters specify the time over which each change will occur .
18 R (AMS1 SW Release) [–, 0, +] Specifies the direction in which “AMS1 (T ime Mod. AMS1)” will affect the r elease time. W ith positive (+) values of “I (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting this parameter to – will allow AMS1 to shorten the time.
PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 19 Use DKit Setting [Of f, On] This is valid when “Mode (Oscillator Mode)” (2.1–1a) is set to Drums . On (checked): The sound will be output at the “Pan” set- ting that has been made for each key of the drum kit (GLO- BAL 5.
20 5.1–2b: Amp Mod., LFO1 Mod., LFO2 Mod. Indicates settings to specify how the volume of oscillator 1 will be controlled by velocity , OSC1 LFO1, and OSC1 LFO2. Amp Mod. (Amp Modulation): Ve locity Int. (Amp V elocity Int.) [–99…+99] W ith positive (+) values , the volume will increase as you play more str ongly .
PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 21 R (Release Time) [00…99] Specifies the time over which the volume will change after note-off until it r eaches 0.
22 AMS2 (Time Mod. AMS2) [Off, (EXT , KT)] I (AMS2 Intensity) [–99…+99] A (AMS2 SW Attack) [–, 0, +] D (AMS2 SW Decay) [–, 0, +] S (AMS2 SW Slope) [–, 0, +] R (AMS2 SW Release) [–, 0, +] These parameters specify how “AMS2 (T ime Mod. AMS2)” will control the amp 1 EG “T ime” parameters ( ☞ “AMS1 (T ime Mod.
PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 23 Key Sync. [Of f, On] On (checked): Key Sync. will be On . The LFO will start each time you play a note, and an independent LFO will operate for each note.
24 5.3–4: 2LFO2 (OSC2 LFO2) This can be used when “Mode (Oscillator Mode)” (2.1–1a) is set to Double . Here you can make settings for the OSC2 LFO2, which is the second LFO that can be applied to oscil- lator 2 ( ☞ “5.3–1: OS1LFO1 (OSC1 LFO1)” and “5.
PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 25 Latch* [Of f, On] Specifies whether or not the arpeggio will continue playing after you take your hand off the keyboar d. On (checked): The arpeggio will continue playing after you re move your hand from the keyboard.
26 ☞ For details on insertion effect, r efer to p.155 “7. Effect Guide.” 7.1–1: BUS These settings specify the bus on which the output of the oscillator will be sent, and adjust the send levels to the mas- ter effects. The following diagram shows the LCD screen when “Mode (Oscillator Mode)” (2.
PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 27 4 If you check “Post IFX Mixer Setting,” the “Pan (CC#8),” “BUS Select,” “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” settings that follow the copy source insert effect will also be copied.
28 ☞ For details on master effects, r efer to p.155 “7. Effect Guide.” 7.2–1: Setup Here you can select the master ef fect types, switch them on/ off, specify chain or der , and set the master EQ. 7.2–1a: Master Effect Setup The master effects do not output the dir ect sound (Dry).
PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 PROG 1.1 2.1 2.2 3.1 4.1 4.2 5.1 5.2 5.3 6.1 7.1 7.2 29 Swap Master Ef fect This command swaps (exchanges) the settings of MFX1 and MFX2. 1 Select “Swap Master Effect” to access the dialog box. 2 To execute the Swap Master Effect command, press the [F8] (“OK”) key.
30.
31 COMBI 1.1 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 6.1 7.1 7.2 2. Combination mode For details on how to select pages in Combination mode, r efer to p.1. In this display page you can select and play Combinations. A Combi allows you to use up to 8 programs at one time from the keyboar d.
32 Categor y [00...15: name] This is the combination category display . All combinations are or ganized into sixteen categories. Y ou can select a category , and then select from combinations that belong to that category . To select combinations by category , use “Cat.
COMBI 1.1 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 6.1 7.1 7.2 33 1.1–2: Prog (Timbre Program) Indicates the program that will be used by each timbr e. 1.1–2a: Bank, Combi Select, Cat.Hold, 10’ s Hold, (T empo) Bank [Bank A…C] Combi Select (Combination Select) [0…127: name] Cat.
34 If you have selected “Program Select,” selecting Utility “Select by Category” will access the Category/Prog T1…T8 dialog box, allowing you to select a program for each timbr e by category . For the procedur e of selecting by category , refer to p.
COMBI 1.1 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 6.1 7.1 7.2 35 1.1–4: Arp. A (Arpeggio Play A) 1.1–5: Arp. B (Arpeggio Play B) Here you can select the arpeggiator settings for the combina- tion. A combination can run two arpeggiators simulta- neously .
36 Here you can set the Combination mode functions of the B- mode functions of REAL TIME CONTROLS knobs [1]–[4], and [SW1] key , [SW2] key . 2.2–1: Ctrls (Controls) 2.2–1a: Knob B Assign These settings assign functions (mainly various control changes) to the B-mode of the REAL TIME CONTROLS knobs [1]–[4] ( ☞ p.
COMBI 1.1 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 6.1 7.1 7.2 37 3.1–2: OSC These settings specify how each timbre will be sounded. 3.1–2a: Force OSC Mode, OSC Select, Por tamento Force OSC Mode [PRG, Poly , Mono, LGT] Specifies the “Mode (V oice Assign Mode)” (PROG 2.
38 ■ 3.1–3b: UTILITY ☞ “W rite Combination,” “Solo Selected T imbre” (1.1–1c) For details on how to select the desired utility function, r efer to “PROG 1.
COMBI 1.1 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 6.1 7.1 7.2 39 These settings specify the keyboard range in which each timbre will sound. The top/bottom key parameters specify the range of notes in which timbres 1–8 will sound, and the top/bottom slope parameters specify the range over which the original vol- ume will be reached.
40 ■ 3.3–3b: UTILITY ☞ “W rite Combination,” “Solo Selected T imbre” (1.1–1c) Sets the T op/Bottom V elocity parameters to specify the range of velocities that will sound each timbre 1–8 , and sets the T op/Bottom Slope parameters to specify the range over which the volume will change.
COMBI 1.1 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 6.1 7.1 7.2 41 These settings allow you to apply filters to the MIDI data that will be transmitted and received by each timbr e 1–8. For example even if two timbres ar e being played by the same MIDI channel, you can make settings so that the damper pedal will apply to one but not the other .
42 4.2–2: MIDI 2–2 (MIDI Filter 2–2) 4.2–2a: JS X/Bend as AMS, Ribbon CC#16 JS X/Bend as AMS [Of f, On] Specifies whether or not MIDI pitch bend messages (the X axis of this instrument’s joystick) will be received to contr ol the AMS ( ☞ p.
COMBI 1.1 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 6.1 7.1 7.2 43 4.4–2: MIDI 4–2 (MIDI Filter 4–2) 4.4–2a: Foot Pedal/Switch, Other Control Change FootPedal/Switch [Of f, On] Specifies whether or not the effect of the ASSIGNABLE PEDAL/SWITCH will be transmitted and received.
44 Example 2) The “MIDI Channel” (3.1–1a) of timbres 1, 2, 3, 4, and 5 are set r espectively to Gch , Gch , 02 , Gch , and 03 . Their “Status” (3.1–1a) is set respectively to INT , Off , INT , Of f , and INT . Assign arpeggiator A to timbres 2 and 3, assign arpeggiator B to timbres 4 and 5, and check “Arpeggiator Run A, B” (1.
COMBI 1.1 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 6.1 7.1 7.2 45 6.1–4: Zone (Scan Zone) These settings specify the note and velocity ranges that will operate arpeggiators A and B. 6.1–4a: Scan Zone A/B Zone Map This shows the “Scan Zone” for each arpeggiator , A and B.
46 Control change #93 can be used to contr ol the Send 1 level, and #91 to control the Send 2, and modify their respective settings. These messages will be r eceived on the MIDI channel specified for each timbre in the 3.
COMBI 1.1 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 6.1 7.1 7.2 47 7.1–2c: Routing Map, BUS Select This displays the bus to which the programs used by tim- bres 1–8 will be sent. Routing Map This displays the insert effect settings. The r outing, the spec- ified effect name, and the on/of f status are shown.
48 7.2–1d: Master EQ Gain [dB] Low [–18.0...+18.0] Mid [–18.0...+18.0] High [–18.0...+18.0] These are the same as in Pr ogram mode. ( ☞ PROG 7.2–1: Setup) ■ 7.2–1e: UTILITY ☞ “W rite Combination,” “Solo Selected T imbre” (1.1–1c), “Select by Category” (PROG 7.
49 SEQ 1.1 1.2 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 5.1 5.2 6.1 7.1 7.2 3. Sequencer mode In Sequencer mode you can use the built-in 16-track sequencer to play , recor d and edit songs.
50 Here you can select a song, begin to cr eate a new song, or make basic settings such as selecting the program used by each track. 1.1–1: Play .REC (Play/REC) Here you can select a song, make settings for song play- back/recor ding, and turn RPPR on/off.
51 SEQ 1.1 1.2 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 5.1 5.2 6.1 7.1 7.2 Te mpo Mode [Auto, Manu, REC] Auto: The tempo will follow the tempo of the Master T rack . The tempo of the master track can be specified by using “Event Edit” (5.2–1b) with Master T rack chosen in “T rack Select,” (1.
52 Rename Song Here you can r ename the selected song. A name of up to six- teen characters can be input. ( ☞ BG p.43) Delete Song This command deletes the currently selected song. 1 Select “Delete Song” to access the dialog box. 2 If you wish to execute the Delete Song command, press the [F8] (“OK”) key.
53 SEQ 1.1 1.2 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 5.1 5.2 6.1 7.1 7.2 If you execute without checking this, only the template song you specified in step 2 will be loaded. 4 To load the template song, press the [F8] (“OK”) key. T o cancel without loading, press the [F7] (“Cancel”) key.
54 Even when this dialog box is not opened, you can set this value to the current location by holding down the [ENTER] key and pressing the [LOCA TE] key . GM Initialize This command transmits a GM System On message to Sequencer mode, resetting all tracks to the GM settings (refer to the table below).
55 SEQ 1.1 1.2 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 5.1 5.2 6.1 7.1 7.2 The program you select her e will be used when the song is played or recor ded from the beginning. If the pr ogram is changed while recor ding, the program change will be recor ded as musical data, and the program will change dur - ing playback.
56 V olume [000...127] Set the volume of tracks 1–16. When “Status” (3.1–1(2)a) is INT or BTH , CC#7 V olume can be received to contr ol the volume. The volume of a track is determined by multiplying the MIDI V olume (CC#7) and Expression (CC#1 1) values.
57 SEQ 1.1 1.2 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 5.1 5.2 6.1 7.1 7.2 Multi REC [Of f, On] On (checked): Multi-track recor ding mode will be selected.
58 ■ 1.2–1(2)b: UTILITY ☞ “Memory Status,” “Solo Selected T rack,” “Rename Song,” “Delete Song,” “Copy From Song,” “Copy Fr om Combi,” “Load T emplate Song,” “Save T emplate Song,” “FF/REW Speed,” “Set Location” (1.
59 SEQ 1.1 1.2 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 5.1 5.2 6.1 7.1 7.2 Cue Edit-Song [S000...S199: name, End, Continue to Step01] This selects the song for the step.
60 Copy Cue List This command copies the settings of another cue list to the currently selected cue list. 1 Select “Copy Cue List” to access the dialog box. 2 In “From,” specify the copy sour ce cue list. 3 To execute, press the [F8] (“OK”) key .
61 SEQ 1.1 1.2 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 5.1 5.2 6.1 7.1 7.2 After executing this command, you can press the [COM- PA RE] key to return to the state before execution. Copy Song This command creates a song fr om a specified portion of a song in a cue list.
62 3.1–1: MIDI..8 (MIDI T01...08) 3.1–2: MIDI..16 (MIDI T09...16) Here you can make MIDI-r elated settings for each track. 3.1–1(2)a: Status, MIDI Channel, Bank(EX2) MSB/ LSB Status [INT , Of f, BTH, EXT , EX2] This sets the status of MIDI and the internal tone generator for each track.
63 SEQ 1.1 1.2 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 5.1 5.2 6.1 7.1 7.2 Por tamento [PRG, Of f, 001...127] Specifies the portamento effect for each track 1–16 ( ☞ COMBI 3.1–2a). The portamento setting you make here will be used when the song is played or recor ded from the begin- ning.
64 3.2–1: Othr ..8 (Other T01...08) 3.2–2: Othr ..16 (Other T09...16) Here you can make additional settings for each track. 3.2–1(2)a: Delay [ms], Use Prog’ s Scale Delay [ms] (Delay Time) [0000...5000, KeyOf f] Specifies a delay time from when a track r eceives a note-on until it actually sounds.
65 SEQ 1.1 1.2 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 5.1 5.2 6.1 7.1 7.2 3.3–3: Slp..8 (Slope T01...08) 3.3–4: Slp..16 (Slope T09...16) 3.3–3(4)a: T op Slope, Bottom Slope T op Slope [00...72] Specifies the key range (12 is one octave) from the top key until the original volume is reached.
66 3.4–3: Slp..8 (Slope T01...08) 3.4–4: Slp..16 (Slope T09...16) 3.4–3(4)a: T op Slope, Bottom Slope T op Slope [0…120] Specifies the range of values over which the volume will be adjusted from the top velocity until the original volume is reached.
67 SEQ 1.1 1.2 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 5.1 5.2 6.1 7.1 7.2 ■ 4.1–1(2)b: UTILITY ☞ “Memory Status,” “Solo Selected T rack,” “Rename Song,” “Delete Song,” “Copy From Song,” “Copy Fr om Combi,” “Load T emplate Song,” “Save T emplate Song,” “FF/REW Speed,” “Set Location” (1.
68 Specifies whether the A- and B-mode operations of REAL- TIME CONTROLS knobs [1]–[4] will be received. MIDI con- trol messages ar e fixed as the A-mode operation of each knob. In B-mode the knobs correspond to the messages you assign in the 2.2: Controller Contr ols page.
69 SEQ 1.1 1.2 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 5.1 5.2 6.1 7.1 7.2 On this instrument you can use preset patterns P000–149 , and user patterns U00–99 . One song can contain up to one hundred user patterns. Pr eset patterns suitable for use in a drum track are pr ovided in memory , and can be selected from any song.
70 Rename Patter n Press the [F5] (“Name”) key to access the dialog box, and rename the selected pattern. Y ou may input up to sixteen characters. ( ☞ BG p.43) Step Rec (Loop) Here you can perform step r ecording into a pattern. This is available when a user pattern is selected.
71 SEQ 1.1 1.2 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 5.1 5.2 6.1 7.1 7.2 Get From T rack This command loads musical data from a track into the specified pattern. 1 Use “Pattern” and “Pattern Select” to specify the pattern. 2 In “Pattern Param.
72 5.1–2: RPPR Setup Here you can make settings for the RPPR (Real-time Pattern Play/Recording) function. RPPR lets you assign a pattern from a song to each key , and then playback patterns simply by pressing individual notes on the keyboar d. The results can also be recor ded.
73 SEQ 1.1 1.2 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 5.1 5.2 6.1 7.1 7.2 Measure: The pattern will synchronize to the measur es of the pattern that was started by the first key . This setting is suitable for rhythm, bass or drum patterns. SEQ: The pattern will synchronize to the measur es of the sequencer song.
74 5.2–1a: T rack Select, Measure (From)/Meas. (T o End of) T rack Select [T01...T16, Master Trk] Use the cursor keys [ ][ ] to select the track in which you wish to recor d or edit (or use as the copy source). If you wish to select all tracks, you do not need to select T01.
75 SEQ 1.1 1.2 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 5.1 5.2 6.1 7.1 7.2 Y ou can even input notes as shown in the following dia- gram. Deleting a note or rest To delete a note or rest, press the [F6] (“Back”) key. The location will move backward by the amount specified in 4 , and the data in that interval will be deleted.
76 Erase T rack This command erases the data from the specified track. However , it is not possible to erase the master track by itself. 1 In “T rack Select,” select the track that you wish to erase. 2 Select “Erase T rack” to access the dialog box.
77 SEQ 1.1 1.2 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 5.1 5.2 6.1 7.1 7.2 If in 4 you uncheck “All T racks” and execute this oper- ation, the measures will not be deleted fr om the master track.
78 Copy Measure This command copies measures of musical data fr om the copy source to the specified measur e location. When you execute the Copy Measure command, the track data at the copy destination will be rewritten. 1 Select the copy source song.
79 SEQ 1.1 1.2 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 5.1 5.2 6.1 7.1 7.2 7 To execute the Create Control Data command, pr ess the [F8] (“OK”) key . T o cancel without executing, press the [F7] (“Cancel”) key . Executing the Create Contr ol Data command will use up a substantial amount of sequencer memory .
80 8 To execute the Quantize command, press the [F8] (“OK”) key. T o cancel, press the [F7] (“Cancel”) key. By varying the Offset and Intensity settings you can cr e- ate quantize effects such as the following.
81 SEQ 1.1 1.2 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 5.1 5.2 6.1 7.1 7.2 Set Song Length This command changes the length of the specified song. When it is executed, the length of the master track will change, and the number of measures played will change.
82 6.1–1(2)b: Assign Assign [Of f, A, B] This assigns arpeggiator A or arpeggiator B to each track 1– 8, 9–16. When the [ARP ON/OFF] key is turned on, the arpeggiator specified for each track will run, subject to the “Arpeggiator Run” settings and setting here.
83 SEQ 1.1 1.2 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 5.1 5.2 6.1 7.1 7.2 6.1–3: Arp. A (Arpeggiator A) 6.1–4: Arp. B (Arpeggiator B) Indicates settings for arpeggiator A in the Arp. A page, and for arpeggiator B in the Arp. B page. Y ou can use the “Copy Arpeggiator” utility to copy set- tings from another mode such as Pr ogram mode.
84 ☞ For details on insert effects, r efer to p.155 “7. Effect Guide.”. 7.1–1: BUS..8 (BUS T01...08) 7.1–2: BUS..16 (BUS T09...16) Specifies the bus to which the program oscillator(s) of each track 1–8, 9–16 will be sent. Y ou can also set the amount of signal that will be sent to the master effects.
85 SEQ 1.1 1.2 2.1 2.2 3.1 3.2 3.3 3.4 4.1 4.2 4.3 4.4 5.1 5.2 6.1 7.1 7.2 7.1–3b: Control Channel Control Channel [Ch01...16, All Rt.] Indicates the MIDI channel that will control ef fect dynamic modulation (Dmod), pan following the insert effect “Pan (CC#8),” “Send1(MFX1),” and “Send2(MFX2).
86 7.2–1b: Master FX Chain MFX Chain [Of f, On] Direction (Chain Direction) [MFX1 → MFX2, MFX2 → MFX1] Signal (Chain Signal) [LR Mix, L Only , R Only] Level (Chain Level) [000...127] This is the same as in Program mode. Refer to “PROG 7.2–1: Setup.
SMPL 1.1 2.1 3.1 4.1 5.1 5.2 7.1 87 4. Sampling mode If the EXB-SMPL option (sold separately) is installed in the TRITON Le, you will be able to use Sampling mode to r ecor d 48 kHz ster eo 16-bit samples. ( ☞ For details on install- ing an option board, r efer to p.
88 For details on selecting pages in Sampling mode, refer to p.1. Here you can set the input level and make other basic set- tings for sampling (sample recor ding), and make basic set- tings for multisamples and samples. Normally you will recor d samples in this page.
89 SMPL 1.1 2.1 3.1 4.1 5.1 5.2 7.1 This parameter can also be set in 2.1: Sample Edit–4.1: Multi- sample. The sampling and editing that you perform in these pages will apply to the index you select here. When first entering the sample page, this value will be 001/ 001 .
90 Orig.K (Original Key) [C–1...G9] Specifies the key that will play the sample at its original pitch (i.e., the pitch at which it was recor ded). The pitch will change in semitone steps relative to the original key . For example, suppose that you recor ded a sample with “Orig.
91 SMPL 1.1 2.1 3.1 4.1 5.1 5.2 7.1 For example if the 16 Mbyte SIMM (sample data RAM) included with the EXB-SMPL option (sold separately) is installed in slot 1 and you install 32 Mbytes in slot 2, you will be able to select “Bank (RAM Bank)” 1 (16 Mbyte), 3 (16 Mbyte), and 4 (16 Mbyte).
92 Count Down (Count Down REC) [Of f, 4, 8, 3, 6] When you begin sampling with “Mode (REC Mode)” set to Manual, this parameter specifies whether there will be a count-down before sampling begins. Off : When you pr ess the [ST ART/STOP] key fr om sampling standby mode, sampling will begin immediately .
93 SMPL 1.1 2.1 3.1 4.1 5.1 5.2 7.1 ■ 1.1–2d: UTILITY ☞ “Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename SMPL,” “SMPL T o Stereo,” “Delete MS,” “Copy MS,” “Move MS,” “Rename MS,” “MS T o Stereo/MS T o Mono,” “Conv .
94 Delete SMPL (Delete Sample) This command deletes the currently selected sample, or samples that are not mapped to (i.e., used by) any multisam- ple or drum kit, or all samples. 1 Select “Delete SMPL” to open the following dialog box. 2 Use the [INC], [DEC] keys or the [V ALUE] dial to select the sample(s) that you wish to delete.
95 SMPL 1.1 2.1 3.1 4.1 5.1 5.2 7.1 Example) If data already exists at the move destination sample number , the sample will not be overwritten; instead, all subsequent samples will be renumber ed upward. Example) If there is no empty sample number and forwar d move- ment is not possible, samples will be renumber ed down- ward.
96 4 To execute the Copy Multisample command, press the [F8] (“OK”) key. T o cancel, press the [F7] (“Cancel”) key. When a multisample is copied, the samples assigned to the multisample will also be copied at the same time. At this time, they will be automatically copied to vacant sample numbers.
97 SMPL 1.1 2.1 3.1 4.1 5.1 5.2 7.1 MS T o Stereo • The selected multisample will be converted to stereo. The last two characters of the multisample name will be overwritten as -L. • An identical multisample will be newly created, but with the last two characters of the multisample name overwritten as -R.
98 Here you can edit the sample data (waveform data) that you sampled or loaded in Media mode. Editing operations such as deleting unwanted portions of the waveform, reversing the waveform, or lowering the sampling frequency can be performed in detail while view- ing the “sample waveform display .
99 SMPL 1.1 2.1 3.1 4.1 5.1 5.2 7.1 ■ 2.1–2d: ZOOM These buttons let you zoom-in and zoom-out the “sample waveform display” in the horizontal axis (sample addresses) or vertical axis (sample level). : Press the [F4] key to zoom-in vertically .
100 Tr uncate This command deletes unwanted data that lies beyond the “S (Edit Range Start)” and “E (Edit Range End).” Use this command when you wish to delete silence at the beginning or end of the waveform data.
101 SMPL 1.1 2.1 3.1 4.1 5.1 5.2 7.1 6 To execute the Clear command, press the [F8] (“OK”) key. T o cancel, press the [F7] (“Cancel”) key. Copy This command copies the sample data from the ar ea between “S (Edit Range Start)” and “E (Edit Range End)” into the sample data buffer .
102 Paste Beginning at the “S (Edit Range Start)” address, this com- mand places the sample data that was loaded into the buffer by “Copy” command. The original data will be deleted, and overwritten by the sample data from the buf fer . Y ou can also place sample data into a blank sample.
103 SMPL 1.1 2.1 3.1 4.1 5.1 5.2 7.1 Norm./Level Adj. ( Nor malize/Level Adjust) This command uniformly modifies the data values (volume) of the data between the “S (Edit Range Start)” and “E (Edit Range End).” “Normalize” will amplify the level of the sam- ple data as far as possible without allowing it to clip (dis- tort).
104 7 If you wish to delete the original sample data and over- write it with the edited sample data, check “Overwrite”. Normally , you will leave “Save to No.
105 SMPL 1.1 2.1 3.1 4.1 5.1 5.2 7.1 The volume of the two samples can be changed gradually at the transition to gradually mix the samples with each other . This is called crossfade , and can be used to produce a natu- ral-sounding transition between the two sounds.
106 1 Use “SMPL” (2.1–1a) to select a sample. 2 In the Edit2 page “UTILITY ,” choose “Grid” to open the following dialog box. 3 Check “Grid” to turn on the grid display . 4 Set “Resolution” to the desired grid interval – .
107 SMPL 1.1 2.1 3.1 4.1 5.1 5.2 7.1 ■ 3.1–1c: UTILITY ☞ “Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename SMPL,” “SMPL T o Stereo,” “Delete MS,” “Copy MS,” “Move MS,” “Rename MS,” “MS T o Stereo/MS T o Mono,” “Conv .
108 3 Range “Start” and “End” will show the range of data that will be edited. 4 Use “T runcate” to select the portion that will be deleted. Front & End: The sample data that lies before the “Start” and after the “End” will be deleted.
109 SMPL 1.1 2.1 3.1 4.1 5.1 5.2 7.1 1 Use “SMPL” (3.1–1b) to select the sample that you wish to T ime Slice. 2 From the Edit2 page “UTILITY ,” choose “T ime Slice” to open the following dialog box. 3 Specify the number of quarter-note beats and tempo of the currently selected sample.
110 If you wish to adjust the “S (Start)” or “E (End)” address of a divided sample, it is best to first check “Use Zero.” In general, using zer o-cross points to spec- ify sample addresses will make it less likely that clicks or pops will occur , particularly at the end address.
111 SMPL 1.1 2.1 3.1 4.1 5.1 5.2 7.1 It is not possible to make settings that would cause “Src BPM (Source BPM)” or “New BPM” to exceed the range of 40 – 480. It is not possible to make settings that would cause “Ratio” to exceed the range of 50.
112 3 Select “ Sustaining ” as the time stretch method. Press the [F8] (“OK”) key to execute T ime Stretch, or press the [F7] (“Cancel”) key to cancel without executing. If the L and R of a stereo sample ar e differ ent in length, blank data will automatically be added to the end of the shorter sample so that it matches the longer side.
113 SMPL 1.1 2.1 3.1 4.1 5.1 5.2 7.1 0 Save the sample that you created. Pr ess the [F6] (“Save”) key , and the Save dialog box will appear . In “ Save to No. ,” specify the save destination sample number . By default, an unused sample number will be selected.
114 Index [Source(C2), Result(C#2), xxx: 001...090(zzz: D2...G9)/yyy: 001...090]: Select s the index for the sample whose waveform you wish to display . If you select Source , the original waveform before time- stretching will be selected. If you select Result , the time-stretched sample will be selected.
115 SMPL 1.1 2.1 3.1 4.1 5.1 5.2 7.1 Crossfade Loop When pitched instrumental samples such as strings or winds are looped to sustain a note, the sound will “jump” or “skip” repeatedly during playback if ther e is a significant differ ence between the waveforms at the loop start and loop end locations.
116 Here you can make settings for multisamples. Y ou can create indexes for a multisample, and then assign a sample to each index. (These basic settings can also be performed in 1.
117 SMPL 1.1 2.1 3.1 4.1 5.1 5.2 7.1 Pitch [–64.00...+63.00] Adjusts the playback pitch of the sample in one-cent steps. 0 : The sample will sound at the original pitch when the orig- inal key is played. –: The pitch will be lowered. At a setting of –12.
118 5.1–1: Memor y (Free Memor y) 5.1–1a: Free Memor y This shows the remaining amount of memory (the time available for sampling, the size of the sample files that can be loaded in Media mode, or the size available for editing) in RAM banks 1–4.
119 SMPL 1.1 2.1 3.1 4.1 5.1 5.2 7.1 ■ 5.2–1c: UTILITY ☞ “Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename SMPL,” “SMPL T o Stereo,” “Delete MS,” “Copy MS,” “Move MS,” “Rename MS,” “MS T o Stereo/MS T o Mono,” “Conv .
120.
121 GLOBAL 1.1 2.1 3.1 4.1 5.1 6.1 GLOBAL 1.1 2.1 3.1 4.1 5.1 6.1 5. Global mode In Global mode you can make settings that affect the entir e instrument, such as master tuning, MIDI, and memory pro- tect. Y ou can also edit user scales, drum kit setups, and user arpeggio patterns.
122 RPN fine tune messages will be received on the MIDI channel for each timbre (in Combination mode) or track (in Sequencer mode). ( ☞ “Detune,” “T ranspose”: COMBI 3.
GLOBAL 1.1 2.1 3.1 4.1 5.1 6.1 GLOBAL 1.1 2.1 3.1 4.1 5.1 6.1 123 MFX1 Of f [Of f, On] On (checked): MFX1 will be disabled. Off (unchecked): The Master Ef fect Setup page (7.2–1) “MFX1 On/Off” settings of Pr ogram, Combination, and Sequencer mode will be valid.
124 If you turn on the power while holding down the [MENU] key and [EXIT] key , the “Load All (Preload PCG and Demo Songs)” operation will be executed automatically (the LCD will display a message of “Now W riting Internal Memory”), and all PCG data and demo song data will be loaded.
GLOBAL 1.1 2.1 3.1 4.1 5.1 6.1 GLOBAL 1.1 2.1 3.1 4.1 5.1 6.1 125 LCD Contrast [0…62] This sets the contrast of the LCD screen. Higher values will increase the contrast. If because of the temperature or other r easons, the LCD screen is unr eadable when the power is turned on, use the following procedur e to adjust the contrast.
126 Damper Polarity [(–) KORG Standard, (+)] Set this to match the polarity of the damper pedal connected to the rear panel DAMPER jack. If a Korg DS-1H (sold separately) damper pedal is con- nected, the pedal switch polarity will be ( ↓ ), so select “ (–) KORG Standard ” for this setting.
GLOBAL 1.1 2.1 3.1 4.1 5.1 6.1 GLOBAL 1.1 2.1 3.1 4.1 5.1 6.1 127 2.1–1: MIDI Here you can make MIDI-r elated settings that affect this instrument. 2.1–1a: MIDI Setup MIDI Channel [1…16] Sets the global MIDI channel. The global MIDI channel is used in the following cases.
128 PostMIDI: V elocity Curve, After T ouch Curve, and T rans- pose will be applied to data before it enters the tone genera- tor . This means that the V elocity Curve, After T ouch Curve, and T ransp.
GLOBAL 1.1 2.1 3.1 4.1 5.1 6.1 GLOBAL 1.1 2.1 3.1 4.1 5.1 6.1 129 AfterT (After T ouch) [Of f, On] On (checked): MIDI after touch messages will be transmit- ted and received. Off (unchecked): MIDI after touch messages will neither be transmitted nor received.
130 When you save data dumps from this instrument to a MIDI data filer , do not save multiple data dumps together . If this data is saved together , there will be insufficient time for this instrume.
GLOBAL 1.1 2.1 3.1 4.1 5.1 6.1 GLOBAL 1.1 2.1 3.1 4.1 5.1 6.1 131 ■ 3.1–1b: UTILITY ☞ “W rite Global Setting” (1.1–1d) For details on how to select the desired utility function, r efer to “PROG 1.1–1c: UTILITY .” Copy Scale This command copies a preset scale or user scale to the user scale that you wish to edit.
132 If you want the edited user categories to be backed up when the power is turned off, you must write them into memory . Select the Utility “W rite Global Setting” to access the W rite Global Se.
GLOBAL 1.1 2.1 3.1 4.1 5.1 6.1 GLOBAL 1.1 2.1 3.1 4.1 5.1 6.1 133 5.1–1b: High (High Sample) Drumsample Bank [ROM, RAM] Specifies the bank of the High drumsample. ROM: Select preset Drumsamples. In “Dr umsample,” you can choose from 0000: BD-Dry 1 – 0412: Amp Noise .
134 Rename Drum Kit This command renames the selected drum kit. Y ou can input a name of up to sixteen characters. ( ☞ BG p.43) Copy Dr um Kit This command copies the settings of another drum kit to the currently-edited drum kit. Dr um kits 24 (GM)–32 (GM) can- not be edited, but you may copy them to another drum kit and then edit them.
GLOBAL 1.1 2.1 3.1 4.1 5.1 6.1 GLOBAL 1.1 2.1 3.1 4.1 5.1 6.1 135 Enable Note Of f (Note Of f Receive) On (checked): Note-off messages will be received. Normally you will uncheck this. This parameter is valid when “Hold” (PROG 2.1–1b) is checked ( Hold On ).
136 6.1–1b: Lgth, Reso, Oct, Sor t, Latch, K.Sync, Kbd Lgth (Length) [01...48] Specify the length of the arpeggio pattern. After the note value specified by “Reso” occurs for the number of times specified here, the pattern will r eturn to the beginning.
GLOBAL 1.1 2.1 3.1 4.1 5.1 6.1 GLOBAL 1.1 2.1 3.1 4.1 5.1 6.1 137 ■ 6.1–1e: UTILITY For details on how to select the desired utility function, r efer to “PROG 1.1–1c: UTILITY .” Write Arpeggio Patter ns This command writes user arpeggio patterns U000 (INT)– U215 (User).
138 Flam [–99...+99] Specifies how the note timing will be skewed when two or more T ones are specified in the same step. 00: A ll T ones will sound simultaneously . +01–+99: The timing of the notes will be skewed in the or der of the T one number .
139 MEDIA 1.1 6. Media mode In this mode, various types of internal memory data can be saved/loaded to/from SmartMedia or an external SCSI device (if the EXB-SMPL option is installed).
140 If sample data RAM is not installed, .KMP , .KSF , .KSC, .AIF , .W A V , and AKAI files can be recognized but not loaded. In this case, a message of “Memory overflow” will be displayed. Files handled by the TRITON Le have the following struc- ture.
MEDIA 1.1 141 Hide unknown fi le Select “Hide unknown file” in the utility menu and press the [F8] key . A check mark will appear at the left of “Hide unknown file.” W ith this setting, undefined files will not be displayed in the directory window .
142 2) Load Programs: selected icon All program data fr om a .PCG file will be loaded. 1 To load the data, press the [F8] (“OK”) key. T o cancel without loading, press the [F7] (“Cancel”) key. 3) Load Program Bank [A...D]: selected icon All program data of the selected bank will be loaded into the bank you specify .
MEDIA 1.1 143 12) Load Arpeggio Pattern [000…199(INT), 200…215(User)]: selected icon All user arpeggio pattern data in the selected user arpeggio pattern block will be loaded into the user arpeggio pattern block you specify as the loading destination.
144 20) Load Standard MIDI File: selected icon The selected Standard MIDI File will be loaded into the song number you select as the loading destination. 1 Use “T o” to select the loading destination song. 2 To load the data, press the [F8] (“OK”) key.
MEDIA 1.1 145 Loading multiple fi les Y ou can use wild cards to simultaneously load two or more .KMP , .KSF , .AIF , .W A V ., AKAI Program, or AKAI Sample files from a dir ectory . Y ou can use Utility 23) Load .KMP , 24) Load .KSF , 25) Load .AIF , 26) Load .
146 23) Load .KMP: selected icon The selected .KMP file will be loaded as a multisample. The .KSF files used by the .KMP will also be loaded as samples. The .KSF files used by the .KMP file will be saved in an identically-named directory that is cr eated auto- matically when the .
MEDIA 1.1 147 ble to export as a .AIF , .W A V format ☞ p.150 “Export Smpl AIF/W A V”) If the data that is loaded as a sample contains a loop point, you can set “S.Ofs(Start Offset)” (PROG 2.1–2b, GLOBAL 5.1–1b) on the TRITON Le so that the sound will begin from the loop point.
148 Here you can save various data fr om internal memory to media such as SmartMedia. Use the [F5] (“UP”) key and [F6] (“OPEN”) key to move to the desired dir ectory (i.e., change the current dir ectory), and then select the Utility menu com- mand [F8].
MEDIA 1.1 149 When you save, files will be created in the curr ent direc- tory . If the data you save extends across two or mor e media, these files will be divided. In addition to the .PCG, .SNG, and .KSC files that will be created with the specified filename, one directory will also be cr eated.
150 001: 108bpmDrLoop00 → 108BP001.KMP One Sample: The selected sample will be saved as a .KSF file. The filename will be the .KSF filename name. Initially , the filename will automatically be set to the first four characters (uppercase) of the sixteen-character sam- ple name + the sample number .
MEDIA 1.1 151 1 Select “Export Smpl AIF/W A V” to access the following dialog box. 2 In “Format,” select either AIFF or W A VE as the file for- mat for export. 3 Press the [F5] (“Name”) key to move to the text dialog box, and specify the filename ( ☞ BG p.
152 filename extension will be copied at the same time: i.e., NEWFILE1.PCG, NEWFILE1.SNG, NEWFILE1.KSC, ... [Example] NEWFILE1.*: NEWFILE1.PCG, NEWFILE1.SNG, NEWFILE1.KSC, ... NEWFILE?.PCG: NEWFILE1.PCG, NEWFILE2.PCG, NEWFILE3.PCG, ... When wildcards ar e used, only files will be subject to copying.
MEDIA 1.1 153 4 Press the [F5] (“Name”) key to move to the text dialog box, and specify the “V olume Label” ( ☞ BG p.43). When the dialog box appears, “V olume Label” will show the volume label that had been specified before format- ting.
154.
155 Effect 7. Ef fect Guide The effects section of TRIT ON Le consists of a single channel Insert Effect , two-channel Master Ef fects , a single-channel Master EQ (stereo, thr ee-band EQ) and a Mixer section that controls the ef fect routings.
156 The following table shows the parameters related to the level settings: Program mode Combination mode Sequencer mode Sampling mode (if the separately sold EXB-SMPL option is installed) Global mode *2 (if the separately sold EXB-SMPL option is installed) *1 : Some effects may not have these parameters.
157 Effect Use MFX1 Send “Send1” and “Send2” (PROG 7.1–1a) to specify the send level for the Master Effects. This setting is effective if “BUS Select” (PROG 7.1–1a) is set to L/R or Of f . If “BUS Select” is set to IFX , use “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))”(PROG 7.
158 2–3. Sampling mode (if the separately sold EXB- SMPL option is installed) Y ou can sample sound while applying the Insert Effects to the signal input from AUDIO INPUT s 1 and 2. Use “BUS (IFX) Select” (SMPL 1.1–3a) to set Inputs 1/2, and the buses by selecting from L/R , IFX , and Of f .
159 Effect 3–2. BUS Select This parameter enables you to specify the destination bus for the post-IFX signals. “ L/R ” is a common setting to send signals to the Master EQ before they ar e routed to the OUTPUT L/R outputs. Select 1 , 2 or 1/2 to route the signals to AUDIO OUTPUT (INDIVIDUAL) 1 or 2 ( ☞ p.
160 2. Routing Tw o master effects (MFX 1 and 2) can be used in any mode other than Sampling (if the separately sold EXB-SMPL option is installed). If you are not using the Insert Ef fect in any mode,.
161 Effect – Setting for drum pr ogram – If a drum program has been selected for a timbr e in Combi- nation mode or for a track in Sequencer mode, you will be able to select DKit for the “BUS Select” parameter . If this is selected, the “BUS (BUS Select)” (GLOBAL 5.
162 4. Controlling the Master Ef fects via MIDI Y ou can use the Dynamic Modulation (Dmod) function to control all Master Ef fects parameters in real-time fr om this instrument’s controllers or fr om an external MIDI sequencer . In Program mode , the parameters are contr olled on global MIDI channel “MIDI Channel” (GLOBAL 2.
163 Effect Combination, Sequencer mode Sampling mode (if the EXB-SMPL option is installed) Pan Timbre / Track 1 BUS Select = L/R Send1 Select from: (DKIT) L/R IFX 1 2 1/2 Off BUS Select = L/R IFX BUS .
164 Filter and dynamics control effects 00: No Ef fect Select this option when you do not wish to use any effects. The Insert Effect section outputs unpr ocessed signals and the Master Effect section mutes the output. 01: St.Amp Sim (Stereo Amp Simulation) This effect simulates the fr equency r esponse characteristics of guitar amplifiers.
Effect 165 a: En velope When L/R Mix is selected for this parameter , the left and right channels are linked to contr ol the Limiter using the mixed signal. If L Only (or R Only ) is selected, the left and right channels are linked, and the Limiter is controlled via only the left (or right) channel.
166 e: Low Offset, f: Mid Offset, g: High Offset These parameters set the gain of the trigger signal. For example, if you do not want to apply compr ession to the high range, reduce the “High Of fset” value down below the “Thr esh- old” level.
Effect 167 a: W ah The W ah parameter switches the wah effect on/off. a: (Sw) This parameter sets how the wah effect is switched on and of f via the modulation source. When “Sw” = Mmnt (Moment) , the wah effect is usually turned off. It is turned on only when you pr ess the pedal or operate the joystick.
168 d: B2 Dyn.G Src, d: (Amount), f: G Y ou can control the gain of Band 2 using the modulation source. 08: St.Graphic7EQ (Stereo Graphic 7-Band EQ) This is a stereo 7-band graphic equalizer . The bar graph of the gain setting for each band gives you a clear , visual idea of fre- quency responses.
Effect 169 a: FreqBottm, a: FreqT op The sweep width and direction of the wah filter ar e determined by the “FreqBottm” and “Fr eqT op” settings. b: Swp Mode This parameter changes the wah control mode. Setting “Swp Mode” to Auto will select an auto-wah that sweeps accor ding to envelope changes in the input signal level.
170 When “LFO W ave” is set to Random , the “Step” parameter uses a random LFO cycle. b: LFO Phase Offsetting the left and right phases alters how modulation is applied to the left and right channels, creating a swelling af fect.
Effect 171 a: OSC Mode, b: Note Interval, c: Fine The “OSC Mode” parameter selects the oscillator operation mode. When Note (Key Follow) is selected, the oscillator ’s frequency is determined based on the note number , allowing you to use it as an octaver .
172 14: St.Decimator (Stereo Decimator) This effect cr eates a r ough sound like a cheap sampler by low- ering the sampling frequency and data bit length.
Effect 173 Pitch/phase modulation effects 16: St.Chor us (Stereo Chorus) This effect adds thickness and warmth to the sound by modu- lating the delay time of the input signal. Y ou can add spread to the sound by offsetting the phase of the left and right LFOs from each other .
174 g: Feedback Sets the feedback amount of the chorus block. Incr easing the feed- back will allow you to use the effect as a flanger . 18: MltT ap ChoDly (Multitap Chorus/Delay) This effect has four chorus blocks with a dif ferent LFO phase.
Effect 175 20: St.Flanger (Stereo Flanger ) This effect gives a significant swell and movement of pitch to the sound. It is more ef fective when applied to a sound with a lot of harmonics. This is a stereo flanger . Y ou can add spread to the sound by offsetting the phase of the left and right LFOs from each other .
176 22: St.Env .Flanger (Stereo Envelope Flanger) This Flanger uses an envelope generator for modulation. Y ou will obtain the same pattern of flanging each time you play . Y ou can also control the Flanger directly using the modula- tion source. e: Swp Mode, e: Src This parameter switches the flanger control mode.
Effect 177 24: St.Rndm Phasr (Stereo Random Phaser) This is a stereo phaser . The effect uses a step-shape waveform and random LFO for modulation, creating a unique phasing effect. 25: St.Env .Phaser (Stereo Envelope Phaser) This stereo phaser uses an envelope generator for modula- tion.
178 26: St.BiphaseMod (Stereo Biphase Modulation) This stereo chorus ef fect adds two different LFOs together . Y ou can set the Frequency and Depth parameters for each LFO individually . Depending on the setting of these LFOs, very complex waveforms will create an analog-type, unstable modulated sound.
Effect 179 “LFO Freq Mod”= AUTOF ADE , “ (Amount) ”= +3.00 The effect is of f when a value for the dynamic modulation source specified for the “AUT OF ADE Src” parameter is smaller than 64, and the effect is on when the value is 64 or higher .
180 a: Ctrl, e: V1 Reso, h: V2 Reso This parameter determines the resonance intensity . When “Ctrl” = Manual , the “Reso” parameter sets the intensity of resonance. If the “Reso” parameter has a negative value, harmon- ics will be changed, and resonance will occur at a pitch one octave lower .
Effect 181 31: Scratch This effect is applied by r ecording the input signal and mov- ing the modulation source. It simulates the sound of scratches you can make using a turntable. a: Scratch Source, b: Response(Scratch) The Scratch Source parameter enables you to select the modula- tion source that contr ols simulation.
182 Other modulation and pitch shift effects 32: St.T remolo (Stereo T remolo) This effect modulates the volume level of the input signal. The effect is ster eo, and offsetting the LFO of the left and right phases from each other pr oduces a tremolo ef fect between left and right.
Effect 183 34: St.Auto Pan (Stereo Auto Pan) This Auto Pan effect pans sound between left and right. It is stereo, and shifting the left and right LFO phases fr om each other will simulate the sound of the left and right channels crossing over each other by turns, or chasing each other .
184 a: Type, b: LFO Phase Select the type of phaser LFO and tremolo LFO for the “T ype” parameter . How the effect sound moves or r otates depends on the type of LFO. Selecting “LFO Phase” enables you to of fset the tim- ing of the phaser peak and control a subtle movement and r ota- tion of the sound.
Effect 185 37: Detune Using this effect, you can obtain a detune ef fect that offsets the pitch of the effect sound slightly fr om the pitch of the input signal. Compared to the chorus ef fect, a more natural sound thickness will be created. e: InLvl Mod, e: Src This parameter sets the dynamic modulation of the input level.
186 39: PitchShft Mod (Pitch Shift Modulation) This effect modulates the detuned pitch shift amount using an LFO, adding a clear spread and width to the sound by pan- ning the effect sound and dry sound to the left and right. This is especially effective when the ef fect sound and dry sound output from ster eo speakers are mixed.
Effect 187 When “(Sw)” = Mmnt (Moment) , the speaker is r otating. It stops only when you press the pedal or operate the joystick. Rotation will occur when the value of the modulation source is less than 64, and will stop when the value is 64 or greater .
188 42: Auto Reverse This effect r ecords the input signal and automatically plays it in reverse (the ef fect is similar to a tape reverse sound). a: Rec Mode, b: Reverse Time When ”Rec Mode“ is set to Single , you can set up to 1320msec for “Reverse T ime.
Effect 189 44: St/Cross Dly (Stereo/Cross Delay) This is a stereo delay , and can by used as a cross-feedback delay effect in which the delay sounds cr oss over between the left and right by changing the feedback routing. 45: St.MltT ap Dly (Stereo Multitap Delay) The left and right Multitap Delays have two taps respectively .
190 46: St.Mod. Delay (Stereo Modulation Delay) This stereo delay uses an LFO to sweep the delay time. The pitch also varies. Y ou will obtain a delay sound with swell and shimmering.
Effect 191 a: P ol, b: Threshold, b: Offset, c: Attack, d: Release The “Offset” parameter specifies the value for the “Ctrl T arget” parameter (that is set to None), expressed as the ratio r elative to the parameter value (the “W/D” value with “Ctrl T arget”= Out , or the “Feedback” value with “Ctrl T arget”= FB ).
192 a: BPM, b: L Bs, b: Times, c: C Bs, c: Times, d: R Bs, d: Times The delay time is the length of the note obtained by multiplying the “Bs” parameter by the T imes value, in relation to the tempo specified by the “BPM” parameter (or the MIDI Clock tempo if “BPM” is set to MIDI ).
Effect 193 a: BPM, a: Rhythm W ith the tempo specified by the “BPM” parameter (or the MIDI Clock tempo if “BPM” is set to MIDI ), the length of one beat equals the feedback delay time, and the interval between taps becomes equal. Selecting a rhythm will automatically turn the tap outputs on and off.
194 Using the “Pre Delay Thr u” parameter , you can mix the dry sound without delay , emphasizing the attack of the sound. 56: Rev Room (Reverb Room) This room-type r everb emphasizes the early reflections that make the sound tighter .
Effect 195 Effects that combine two mono ef fects connected in series 58: P4EQ–Exciter (Parametric 4-Band EQ – Exciter) This effect combines a mono-type four -band parametric equalizer and an exciter . 59: P4EQ–W ah (Parametric 4-Band EQ – W ah/Auto W ah) This effect combines a mono-type four -band parametric equalizer and a wah.
196 60: P4EQ–Cho/Fl (Parametric 4-Band EQ – Chorus/Flanger) This effect combines a mono-type four -band parametric equalizer and a chorus/flanger . h: Out When W et Inv is selected, the right channel phase of the chorus/ flanger effect sound is inverted.
Effect 197 62: P4EQ–M.Dly (Parametric 4-Band EQ – Multitap Delay) This effect combines a mono-type four -band parametric equalizer and a multitap delay . 63: Comp–W ah (Compressor – W ah/Auto W ah) This effect combines a mono-type compr essor and a wah.
198 64: Comp–AmpSim (Compressor – Amp Simulation) This effect combines a mono-type compr essor and an amp simulation. Y ou can change the order of the ef fect connection. 65: Comp–OD/HG (Compressor – Overdrive/Hi.Gain) This effect combines a mono-type compr essor and an over- drive/high-gain distortion.
Effect 199 67: Comp–Cho/Fl (Compressor – Chorus/Flanger) This effect combines a mono-type compr essor and a chorus/ flanger . Y ou can change the order of the ef fect connection. g: Out, h: [Routing] When W et Inv is selected, the right channel phase of the chorus/ flanger effect sound is inverted.
200 69: Comp–M.Dly (Compressor – Multitap Delay) This effect combines a mono-type compr essor and a multitap delay . Y ou can change the order of the effect connection. 70: Limit–P4EQ (Limiter – Parametric 4-Band EQ) This effect combines a mono-type limiter and a four -band parametric equalizer .
Effect 201 71: Limit–Cho/Fl (Limiter – Chorus/Flanger) This effect combines a mono-type limiter and a chorus/ flanger . Y ou can change the order of the ef fect connection. 72: Limit–Phaser (Limiter – Phaser) This effect combines a mono-type limiter and a phaser .
202 73: Limit–M.Dly (Limiter – Multitap Delay) This effect combines a mono-type limiter and a multitap delay . Y ou can change the order of the effect connection. 74: Exct–Comp (Exciter – Compressor) This effect combines a mono-type exciter and a compr essor .
Effect 203 76: Exct–Cho/Fl (Exciter – Chorus/Flanger) This effect combines a mono-type limiter and a chorus/ flanger . 77: Exct–Phaser (Exciter – Phaser) This effect combines a mono-type limiter and a phaser . 78: Exct–M.Dly (Exciter – Multitap Delay) This effect combines a mono-type exciter and a multitap delay .
204 79: OD/HG–AmpSim (Overdrive/Hi.Gain – Amp Simulation) This effect combines a mono-type over drive/high-gain dis- tortion and an amp simulation.
Effect 205 81: OD/HG–Phaser (Overdrive/Hi.Gain – Phaser) This effect combines a mono-type over drive/high-gain dis- tortion and a phaser . Y ou can change the order of the ef fect connection. 82: OD/HG–M.Dly (Overdrive/Hi.Gain – Multitap Delay) This effect combines a mono-type over drive/high-gain dis- tortion and a multitap delay .
206 83: W ah–AmpSim (W ah/Auto W ah – Amp Simulation) This effect combines a mono-type wah and an amp simula- tion. Y ou can change the order of the ef fect connection. 84: Deci–AmpSim (Decimator – Amp Simulation) This effect combines a mono-type decimator and an amp sim- ulation.
Effect 207 86: AmpSim–T r ml (Amp Simulation – T remolo) This effect combines a mono-type amp simulation and a tr em- olo. 87: Cho/Fl–M.Dly (Chorus/Flanger – Multitap Delay) This effect combines a mono-type chorus/flanger and a mult- itap delay .
208 88: Phasr–Cho/Fl (Phaser – Chorus/Flanger) This effect combines a mono-type phaser and a chorus/ flanger . 89: Reverb–Gate This effect combines a mono-type r everb and a gate.
Effect 209 Master EQ Use 7.2: MasterFX MEQ page in Program, Combination modes and 7.2: Master FX MEQ page in Sequencer mode. Y ou cannot use the Master EQ in Sampling mode. Y ou cannot use the Master EQ for the Insert Effect or Master Effects. a: Gain, b: Gain, c: Gain These parameters are linked with the “Master EQ Gain [dB]” (7.
210.
211 Appendices 8. Appendices About Alternate Modulation Alternate Modulation can be specified for the following 55 alternate modulation destinations shown in the diagram below . (Pitch EG is common to OSC 1 and 2.) The AMS (Alternate Modulation Source) and amount can be selected independently to apply modulation to each of these destinations.
212 AMS (Alternate Modulation Source) List In the above table, the parentheses ( ) indicate the type of sour ce that can be used for each AMS. For example, the “AMS (Pitch AMS)” value for OSC1 Pitch (PROG 3.1–1a) can be [Off, (FEG, AEG, EXT)] ( ☞ p.
213 Appendices Flt KT +/+ (Filter Keyboard T rack +/+) Flt KT +/– (Filter Keyboard T rack +/–) Flt KT 0/+ (Filter Keyboard T rack 0/+) Flt KT +/0 (Filter Keyboard T rack +/0) Amp KT +/+ (Amp Keybo.
214 Alternate Modulation settings When you operate an AMS (Alternate Modulation Source), the modulation destination will be affected as shown in the table below . By using alternate modulation, you can create complex sys- tems of modulation in which EG, LFO, keyboard tracks, and controllers work together .
215 Appendices • If you select the same controller for “AMS” and set the Filter A (Low Pass Filter) “Intensity (A AMS 1/2 Intensity)” parameter and Filter B (High Pass Filter) “Intensity (.
216 Amp LFO 1/2 Intensity (PROG 5.1–2b, 5.2) The amp modulation intensity of LFO 1/2 can be controlled by EG, keyboard tracking, contr ollers, or tempo etc. • If you select EG as the “AMS (LFO1/2 AMS),” the depth of the tremolo effect produced by LFO modulation will change in synchronization with the changes in EG level.
217 Appendices Y ou can control certain effect parameters using the joystick, REAL TIME CONTROLS knobs, etc. “on the fly .” Controlling effects in this way is r eferred to as Dynamic Modulation . For example, you can use After T ouch to speed up the LFO of the chorus and flanger , or you can use the joystick to acti- vate the wah effect.
218 In Program mode and Sampling mode (if the EXB- SMPL option is installed), dynamic modulation of the insert effect and master ef fects is controlled on the glo- bal MIDI channel.
219 Appendices About the BPM/MIDI SYNC function BPM/MIDI SYNC can be used for most effects that have an LFO, such as 09:St. W ah/Auto W ah, and for some delay- type effects such as 49:L/C/R BPM Delay .
220 The following functions can be assigned to the [SW1] or [SW2] keys. • For a program, combination, or song make the settings in 2.2: Ed-Ctrl/Controller page “SW1/2 Assign” (2.2– 1b). • In Sampling mode (when the EXB-SMPL option is installed), assign the functions in the 5.
221 Appendices The following functions can be assigned to the REAL TIME CONTROLS [1]–[4] knobs in B-mode. • For program, combination, or song, make these settings in 2.2: Ed-Ctrl/Controller page “Knob B Assign” (2.2– 1a). • In Sampling mode (when the EXB-SMPL option is installed), assign the functions in the 5.
222 The A-mode functions of the REAL TIME CONTROLS are fixed. Knob1-A: LPF Cutoff (Filter LPF Cutof f: CC#74) Control the low pass filter cutof f frequency of the filter .
223 Appendices Y ou can assign the function that will be controlled by an assignable pedal (separately sold Korg XVP-10 or EXP-2 option) connected to the ASSIGNABLE PEDAL jack. • This setting is made in GLOBAL 1.1: System Foot page “Foot Pedal Assign” (1.
224 The following table shows the relation between the MIDI messages that are transmitted when the TRIT ON Le’s con- trollers ar e operated, and the AMS (alternate modulation source) or DMS (dynamic modulation sour ce) that corre- spond to each MIDI message.
225 Appendices Sequencer mode When one of the TRITON Le’s contr ollers is operated, its effect will apply to the track 1–16 that is selected by “T rack Select” (SEQ 1.
226.
227 Appendices TRITON Le controller Ava ilable for AMS Av ailable fo r DMOD Joy Stic k Realtime Controls A Realtime Controls B Arp-Gate (Realtime Controls C) Arp-V elocity (Realtime Controls C) SW1,2 .
228 The following table shows the operations that the TRITON Le will perform when control change messages ar e received, and the r elation between settings and controller movements on this instrument TRITON Le operations when control changes are transmitted/received CC # Control V alue Function 0 Bank select (MSB) 0.
229 Appendices Any control change number (CC#00–95) can be assigned as the B-mode function of a REAL TIME CON- TROLS knob. In this case, the transmitted values will all be 0–127. *1 On the TRITON Le’s sequencer , bank select messages are normally specified as a program change event (“Event Edit” SEQ 5.
230 CC#75: Decay time Corresponds to “Filter/Amp EG Decay T ime” (PROG 4.1/2: Ed–Filter1/2, EG page, 5.1/2: Ed–Amp1/2, EG page) Corresponds to “Filter/Amp EG Slope T ime” (PROG 4.1/2: Ed–Filter1/2, EG page, 5.1/2: Ed–Amp1/2, EG page) CC#76: LFO1 speed Corresponds to “LFO 1 Fr equency” (PROG 5.
231 Appendices ■ About MIDI MIDI stands for Musical Instrument Digital Interface, and is a world-wide standard for exchanging various types of musical data between electronic musical instruments and computers.
232 generator will be internally disconnected). When you play the keyboard of the TRIT ON Le, the musical data will be transmitted to the external MIDI sequencer or computer , and then echoed back to play the TRITON Le tone genera- tor .
233 Appendices Bank select MSB (CC#0) [Bn, 00, mm], Bank select LSB (CC#32) [Bn, 20, bb] (n: channel, mm: bank number upper byte, bb: bank number lower byte) • The internal banks that correspond to each bank select number will depend on the “Bank Map” setting (GLOBAL 1.
234 Using the joystick to apply modulation Modulation 1 depth (CC#01) [Bn, 01, vv] When you move the TRITON Le’s joystick in the +Y direc- tion (away from yourself), Modulation 1 Depth messages will be transmitted. When these messages are r eceived, the same effect will be applied as when the TRIT ON Le’s joy- stick is operated.
235 Appendices beginning of the measure in Sequencer mode, Post Insert Effect Panpot message will be transmitted by each track whose “Status” is BTH , EXT , or EX2 ( ☞ p.
236 Sostenuto (CC#66) [Bn, 42, vv] If the above CC# is assigned as the function of the ASSIGN- ABLE SWITCH, operating the switch will transmit this mes- sage with vv=127 [7F] for ON, and vv=0 [00] for OFF , and the sostenuto effect will be turned on/of f.
237 Appendices value of 8192 [mm, vv=40, 00] is center, 0 [mm, vv=00, 00] is -100 cents, and 16383 [mm, vv=7F , 7F] is +99 cents. Y ou can use the universal exclusive Fine T une message to adjust the overall tuning that corresponds to the “Master T une” (GLOBAL 1.
238 Master coarse tuning [F0, 7F , nn, 04, 04, vv , mm, F7] (Normally only the upper byte mm is used. A value of 8192 [mm, vv=40, 00] is center , 6656 [mm, vv=34, 00] is –12 semi- tones, and 9728 [mm, vv=4C, 00] is +12 semitones.) When this is received, “Key T ranspose” (GLOBAL 1.
239 Appendices Synchronizing the playback of the arpeg- giator or sequencer The choice of whether the TRITON Le will be the master (the controlling device) or the slave (the contr olled device) is made by “MIDI Clock” (GLOBAL 2.
240 from MIDI OUT accor ding to the local control setting (“Local Control On”) as described below . Local Control On : Notes from the arpeggiator or RPPR will be transmitted from MIDI OUT . Normally you will use this setting. Local Control Off : Notes fr om the arpeggiator or RPPR will not be transmitted from MIDI OUT .
241 Appendices About standard MIDI files Standard MIDI files (SMF) make it possible for differ ent computer programs or musical instruments made by dif fer- ent manufacturers to exchange time-based MIDI data. Each standard MIDI file contains one song.
242 A Are you sure? C Can’t calibrate Can’t open patter n Continue ? Completed D Destination and source are identical Destination from-measure within the limits of source Destination is empty Dest.
243 Appendices F File already exists File contains unsuppor ted data File is read-only protected File unavailable File/path not found Front sample data used in rear sample Can’t over write I Illegal.
244 Medium write protected Memor y full Memor y over flow Memor y protected Multisample L and R are identical N No data No medium No recording track specifi ed No Sampling Upgrade Installed No space.
245 Appendices Not enough multisample memor y Not enough relative parameter memor y Not enough sample memor y Not enough sample/multisample locations available Not enough song memor y O Oscillator Mode confl icts (check PROG P2.
246 Selected file/path is not correct Slice point over limit Can’t divide Source is empty Source sample is empty T There is no readable data U Unable to create director y Unable to save fi le Y Y .
247 Appendices The TRITON Le can load (and automatically convert) .PCG/ .SNG files from TRIT ON keyboard models (TRIT ON/TRI- TO N-pro/TRITON-pr oX) or the TRITON-Rack. However , please be aware of the following limitations and cautions. The category of the programs or combinations may be inappropriate in some cases.
248 Drum Kits *: Banks/numbers of a TRITON keyboard model or TRI- T ON-Rack whose data is being convert-loaded, for which the TRITON Le has no corr esponding bank/number #: TRITON Le bank/number into which the * bank/num- ber will be converted when loading.
249 Appendices Chunks that are suppor ted When loading AIFF files When data is loaded into the TRITON Le, the following four chunks are r eferenced: Common chunk, Sound Data chunk, Marker chunk, and Instrument chunk. Other chunks are ignored. Restrictions on the parameters in each chunk are described below .
250 About KORG format files KORG format file structure There ar e three types of files: .KMP files for multisamples, .KSF files for samples, and .KSC files which handle the first two as a collection. Similar to the AIFF format, .KMP/.KSF files consist of chunks.
251 Appendices ● Sample parameter chunk ● Sample data chunk •A ttributes ● Sample number chunk ● Sample filename chunk ● Divided sample parameter chunk ● Divided sample data chunk KSC(Korg SCript) fi le These files are text files which contain a list of filenames for .
252.
253 Appendices Please read this before you begin installation Safety precautions Wa r nings •W hen installing, repairing, or replacing the parts of this product, you must perform only those actions that the owner’s manual directs, and no other.
254 If you install only DRAM SIMM modules (without installing the EXB-SMPL), you will be able to load multisample and sample data in Media mode. DRAM SIMM boards ar e not a manufacturer option. Please purchase commer cially-available boards that ar e sold for use in computers.
255 Appendices 2–1. Detaching cover “A” for the EXB-SMPL 1 Use a screwdriver to r emove one screw fr om cover “A.” When the TRITON Le is upturned and the r ear panel is toward you, cover “A” is the lar ge one at the right. 2–2. Detaching cover “B” for DRAM SIMM 1 Use a screwdriver to r emove one screw fr om cover “B.
256 8 Attach the flat cable as shown in the diagram. Plug the cable all the way into the connector . When connecting the flat cable, be careful not to touch any part other than the connector on the circuit boar d. 9 Reversing the procedur e by which you removed cover “A , ” re-attach the cover .
257 Appendices 6 When all steps have been completed, turn on the power and make sure that the DRAM SIMM has been installed correctly . ( ☞ “4. Checking after installation”) 4. Checking after installation When the power is turned on, the LCD screen will show the capacity of the currently-installed memory , and will indicate “EXB-SMPL.
258 Numerics 00: No Effect ...................45, 156, 159 10’s Hold Combination..............................32 Program .......................................2 A ADC OVER! .............................92, 93 After Touch MIDI Filter Combination ...
259 Appendices Current Directory ....................... 140 Cut Sampling ................................. 116 Sequencer .................................. 59 Cutoff................ 8, 133, 214, 221, 222 Cutoff frequency ......... 8, 13, 14, 133 D Data Dump .
260 Program .......................................8 Amp Level .............................. 3 Level (Chain Level) ............. 28 Level (High/Low Level) ......7 OSC Bal (OSC Balance) .........3 Rtn 1, 2 (Return 1, 2)............28 Sample...........
261 Appendices Pure Major ....................................... 5 Pure Minor ....................................... 5 Q Quantize ......................................... 79 Reso (Realtime Quantize Resolution)........................... 50 R RAM Bank .
262 V Velocity Arpeggiator Combination .................. 44, 45 Program ................................24 Arpeggio .................................. 137 Combination..................40, 43, 45 Modify Velocity ........................ 80 Program ...
Un punto importante, dopo l’acquisto del dispositivo (o anche prima di acquisto) è quello di leggere il manuale. Dobbiamo farlo per diversi motivi semplici:
Se non hai ancora comprato il Korg Electric Keyboard è un buon momento per familiarizzare con i dati di base del prodotto. Prime consultare le pagine iniziali del manuale d’uso, che si trova al di sopra. Dovresti trovare lì i dati tecnici più importanti del Korg Electric Keyboard - in questo modo è possibile verificare se l’apparecchio soddisfa le tue esigenze. Esplorando le pagine segenti del manuali d’uso Korg Electric Keyboard imparerai tutte le caratteristiche del prodotto e le informazioni sul suo funzionamento. Le informazioni sul Korg Electric Keyboard ti aiuteranno sicuramente a prendere una decisione relativa all’acquisto.
In una situazione in cui hai già il Korg Electric Keyboard, ma non hai ancora letto il manuale d’uso, dovresti farlo per le ragioni sopra descritte. Saprai quindi se hai correttamente usato le funzioni disponibili, e se hai commesso errori che possono ridurre la durata di vita del Korg Electric Keyboard.
Tuttavia, uno dei ruoli più importanti per l’utente svolti dal manuale d’uso è quello di aiutare a risolvere i problemi con il Korg Electric Keyboard. Quasi sempre, ci troverai Troubleshooting, cioè i guasti più frequenti e malfunzionamenti del dispositivo Korg Electric Keyboard insieme con le istruzioni su come risolverli. Anche se non si riesci a risolvere il problema, il manuale d’uso ti mostrerà il percorso di ulteriori procedimenti – il contatto con il centro servizio clienti o il servizio più vicino.
