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About this manual This “Parameter Guide” contains explanations and other information regarding the operations of the parameters and settings on the TRITON Le. The explanations are organized by mode, page, and tab. 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.
Table of Contents PROG 5.3: Ed–LFOs............................................ 22 5.3–1: OS1LFO1 (OSC1 LFO1) ...................... 22 5.3–2: 1LFO2 (OSC1 LFO2) .......................................... 23 1. Program mode ................................. 1 PROG PAGE MENU .............................................. 1 PROG 1.1: Play.................................................... 1 1.1–1: Program ................................................................ 1 5.3–3: 2LFO1 (OSC2 LFO1) ........
COMBI 3.4: Ed–Vel Zone (Velocity Zone)..............40 SEQ 2.1: Cue List ................................................58 3.4–1: Vel (Velocity Zone)...............................................40 2.1–1: Cue List ............................................................... 58 3.4–2: Slope (Velocity Slope)..........................................40 3.4–3: Review .................................................................40 COMBI 4.1: Ed–MIDI Filter1.................................41 4.
SEQ 4.4: MIDI Filter4.......................................... 68 SMPL 5.1: Memory ........................................... 118 4.4–1: M4–1..8 (MIDI Filter4–1 T01...08) ....................... 68 5.1–1: Memory (Free Memory)..................................... 118 4.4–2: 4–2..16 (MIDI Filter4–1 T09...16) ........................ 68 5.1–2: No. (Free Number) ............................................ 118 4.4–3: 4–2..8 (MIDI Filter4–2 T01...08) .......................... 68 4.4–4: 4–2..
7. Effect Guide .................................. 155 28: St.AutoFd Mod (Stereo Auto Fade Modulation) ..... 179 29: 2Voice Reso (2Voice Resonator)........................... 179 Overview .........................................................155 30: Doppler................................................................... 180 1. Effects in each mode ................................................155 31: Scratch ................................................................... 181 2.
67: Comp–Cho/Fl (Compressor – Chorus/Flanger)............................. 199 Knob 1...4 B Assign.......................................... 221 Realtime Control Knobs B Assign List.......................... 221 68: Comp–Phaser (Compressor – Phaser).................. 199 69: Comp–M.Dly (Compressor – Multitap Delay)......... 200 70: Limit–P4EQ (Limiter – Parametric 4-Band EQ) .......................... 200 71: Limit–Cho/Fl (Limiter – Chorus/Flanger) ................ 201 72: Limit–Phaser (Limiter – Phaser..
PROG PAGE MENU 7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1 PROG 1 Press the [MENU] key to access the “PAGE MENU.” The “PAGE MENU” will show an abbreviated name for each page. PROG 1.1: Play In this display page you can select and play programs. All MIDI data in PROG 1.1: Play is transmitted and received on the Global MIDI Channel (☞GLOBAL 2.1– 1a). 2 Use the [F1]–[F7] keys at the bottom of the page to select the desired page.
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 [VALUE] dial to select a program. You can select programs by category, or by using “10’s Hold.” (☞“Category,” “Cat. HOLD,” “10’s HOLD”) You can receive MIDI program changes from a connected external MIDI device, or use a foot switch to select programs. (☞p.125 “Foot SW Assign” (GLOBAL 1.1–3a), p.222 “Foot Switch Assign List”) Category [00...
It is not possible to write to banks G, g(d). If you have edited a program from banks G, g(d) and wish to write it, you must write to banks A–D. 5 If you wish to change the program name, press the [F5] (“Name”) key to move to the text dialog box, and input the name. (☞BG p.43) 6 To write the program, press the [F8] (“OK”) key. To cancel without writing, press the [F7] (“Cancel”) key. 7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.
Decay (Decay Time) [–10…+00…+10] This adjusts the Decay Time and Slope Time of the filter EG and amp EG. With an adjustment of +00, the value of the program parameters will be unchanged. Positive (+) settings will lengthen the Decay Time and Slope Time beyond the values that were set. With an adjustment of +10, the times will be 99. Negative (–) settings will shorten the Decay Time and Slope Time. With an adjustment of –10, the times will be 0.
This is available when the “Mode (Voice Assign Mode)” setting is set to Mono. 2.1–1: Basic (Prog Basic) 2.1–1a 2.1–1b 2.1–1c PROG 2.1–1d 2.1–1a: Oscillator 7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1 [Single, Double, Drums] Specifies the basic program type; whether it will use one or two oscillators, or a drum kit. Single: The program will use one oscillator (Oscillator 1, Filter 1, Amplifier 1). In this case the program will have a maximum of 62-note polyphony.
Key [C…B] Indicates the tonic note of the specified scale. This setting is not valid for Equal Temperament, 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. Normally you will set this to 0. This parameter is used when simulating instruments that have natural instability in pitch, such as tapemechanism organs or acoustic instruments.
[Off, On] 7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1 PROG This specifies the point at which the multisample will begin sounding. For some multisamples this parameter will have no effect. On (checked): The sound will start from the start offset location that is pre-determined for each multisample. However when a RAM bank is selected, this will depend on the selected multisample.
For the procedure, refer to “Select by Category” (☞p.2). Decay: Adjusts the decay times of the filter EG and amp EG. This adjustment will be added to the “D (Decay Time)” of “Filter 1 EG,” “Filter 2 EG,” “Amp 1 EG,” and “Amp 2 EG.” 4 Press the [F8] (“Done”) key to execute, and close the dialog box. Please be aware that the Compare function is not available for this command. This command is valid when the 2.1–2b: High, Low parameters are selected under the following conditions.
Here you can select the audition riff and specify the transposition. PROG 2.2: Ed–Ctrl These settings specify the B-mode functions of the REALTIME CONTROLS knobs [1]–[4] in Program mode, and the functions of the [SW1] key, the [SW2] key. 7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1 When selecting preloaded programs, you can play back a pre-specified riff (phrase) that is suitable for the sound of that program. This is called the Audition function.
In order to maintain compatibility, you are able to set these “invalid” parameters on this instrument. N/A indicates Not Available. Ribbon Lock JS X&Rbn Lock JS+Y&Rbn Lock JS-Y&Rbn Lock ■ : N/A : N/A : N/A : N/A Ribbon (#16) [–12…+12] Specifies in semitone units how the pitch will change when CC#16 is received (or when the ribbon controller is pressed on an instrument, such as the TRITON, connected via the MIDI IN connector). 12 half-steps equal one octave.
Pitch change (level) Note-on Note-on Softly played (Intensity (Pitch EG) setting) Strongly played with a positive (+) value Note-off Strongly played with a negative (–) value 7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1 PROG “Intensity” and “AMS (Pitch EG AMS)” will be summed to determine the depth and direction of the pitch modulation applied by the pitch EG. 3.
3.1–4: OS2lfo (OSC2 LFO) Time-varying pitch settings (when Pitch EG Intensity = +12.00) Specifies the amount of pitch change produced by LFO1 and LFO2 for oscillator 1. For an explanation of each parameter, refer to the preceding “3.1–2: OS1lfo.” 3.
Refer to the preceding paragraphs “AMS1 (Level Mod. AMS1)”–“A (AMS1 SW Attack).” 3.1–5c: Time Mod. (Time Modulation) These parameters let you use alternate modulation to control the “T (Time)” parameters of the pitch EG. 7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1 PROG AMS (Time Mod. AMS) [Off, (KT, EXT)] Indicates the source that will control the “T (Time)” parameters of the pitch EG (☞p.212 “AMS List”).
Reso.AMS (Resonance AMS) [Off, (PEG, FEG, AEG, LFO, KT, EXT)] Indicates the source that will control the “Resonance (A Resonance)” level (☞p.212 “AMS List”). Intensity (AMS Intensity) [–99…+99] Specifies the depth and direction of the effect that “Reso. AMS (Resonance AMS)” will have on the resonance level specified by “Resonance (A Resonance).” For example, if Velocity has been selected, changes in keyboard velocity will affect the resonance.
Int. to B (AMS Int. to B) Specifies the depth and direction of the effect that “AMS (Filter EG AMS)” will have on filter 1B. (☞“Int. to A (Intensity to A).”) The sum of the settings for “Int. to A (B),” “Vel to A (B),” and “Int. to A (B) (AMS Int. to A/B)” will determine the depth and direction of the effect produced by the filter EG. 4.1–2b: Filter EG PROG Int.
4.1–4: lfoMod (LFO Modulation) 4.1–4b: Filter LFO2 Modulation Here you can use the filter 1 LFO to apply cyclic modulation to the cutoff frequency of filter 1 (for oscillator 1) to create cyclical changes in tone. 4.1–4a 4.1–4b 4.1–4c 4.1–4a: Filter LFO1 Modulation Intensity to A (LFO1 Int. to A) Intensity to B (LFO1 Int. to B) ■ 4.1–4c: UTILITY ☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap Oscillator” (2.
T (Time): These parameters specify the time over which each change will occur. A (Attack Time) [00…99] Specifies the time over which the level will change from note-on until the attack level is reached. D (Decay Time) PROG [–, 0, +] Specifies the direction in which “AMS (Level Mod. AMS)” will affect “B (Break Point Level).
R (AMS1 SW Release) [–, 0, +] Specifies the direction in which “AMS1 (Time Mod. AMS1)” will affect the release time. With 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. With a setting of 0 there will be no change.
On (checked): The sound will be output at the “Pan” setting that has been made for each key of the drum kit (GLOBAL 5.1–3a). When “Mode (Oscillator Mode)” is Drums, you will normally use this setting. Off (unchecked): All notes will be output as specified by the “Pan (Amp1 Pan)” setting. 5.1–2: Mod. (Amp1 Modulation) PROG [Off, On] This is valid when “Mode (Oscillator Mode)” (2.1–1a) is set to Drums. These settings allow you to apply modulation to amp 1 (for oscillator 1) to modulate the volume. 5.
5.1–2b: Amp Mod., LFO1 Mod., LFO2 Mod. AMS (LFO2 AMS) [Off, (PEG, FEG, AEG, KT, EXT)] Indicates settings to specify how the volume of oscillator 1 will be controlled by velocity, OSC1 LFO1, and OSC1 LFO2. Indicates the source that will control the depth by which “OSC1 LFO2” (5.3-2) will modulate the volume of oscillator 1 (☞p.212 “AMS List”). Amp Mod. (Amp Modulation): Int. (AMS Intensity) Velocity Int. (Amp Velocity Int.
Amplifier EG Note-off Attack Level Note-on Sustain Level Start Level Attack Time PROG You can use two AMS sources to control the Amp 1 EG times that were specified in “Amp 1 EG” (5.1–3a). [Off, (EXT, KT)] Selects the source that will control the “Time” parameters of Amp 1 EG. (☞p.212 “AMS List”) Volume Time Decay Slope Time Time Release Time 5.1–3b: Level Mod. (Level Modulation) These parameters let you use AMS to modulate the amp 1 EG levels that were specified in “Amp 1 EG” (5.1–3a).
Amp 1 EG changes (Time) PROG 5.3: Ed–LFOs (AMS=Amp KTrk +/+, Intensity = a positive (+) value) (When Amp Keyboard Track (5.1–2a) Low Ramp= a positive (+) value, and High Ramp = a positive (+) value) Note-on Note-on Note-on Note-off Note-off Note-off Settings of 5.
Fade [00…99] Specifies the time from when the LFO begins to apply until it reaches the maximum amplitude. When “Key Sync.” is Off, the fade will apply only when the LFO is first started. PROG How “Fade” affects the LFO (when “Key Sync.” is On) Note-on “Fade” Note-off 7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1 “Delay” Dly (Delay) [00…99] Specifies the time from note-on until the LFO effect begins to apply. When “Key Sync.” is Off, the delay will apply only when the LFO is first started.
5.3–4: 2LFO2 (OSC2 LFO2) [ENTER] key. 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 oscillator 2 (☞“5.3–1: OS1LFO1 (OSC1 LFO1)” and “5.3–2: OS1LFO2 (OSC1 LFO2)”). PROG 6.1: Ed–Arp. (Arpeggiator) Here you can make settings for the arpeggiator used in the program. These arpeggiator settings can be linked when you switch programs. To link, check the Program item in “Auto Arp.
PROG Key Sync.* This command copies arpeggio settings. 1 Select “Copy Arpeggiator” to access the dialog box. [Off, On] Specifies whether the arpeggio pattern will begin when you press a key, or whether it will always follow the “ (Tempo)” setting. On (checked): The arpeggio pattern will start playing from the beginning when a note-on occurs from a condition where no keys are pressed.
CC#93 will control the Send 1 level for OSC 1 and 2, and control change #91 will control the Send 2 level for OSC 1 and 2. These are controlled on the global MIDI channel “MIDI Channel” (GLOBAL 2.1–1a). The actual send level is determined by summing these values with the send level setting of each oscillator. PROG 7.1: Ed–InserFX ☞ For details on insertion effect, refer to p.155 “7. Effect Guide.” 7.1–1: BUS 7.
5 To execute the Copy Insert Effect command, press the [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key. PROG control change CC#91 will control the Send 2 level. These messages are received on the global MIDI channel specified by “MIDI Channel” (GLOBAL 2.1–1a). 7.1–2b: Routing 7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.
Signal (Chain Signal) PROG 7.2: Ed–MasterFX ☞ For details on master effects, refer to p.155 “7. Effect Guide.” 7.2–1: Setup Here you can select the master effect types, switch them on/ off, specify chain order, and set the master EQ. [L/R Mix, L Only, R Only] When chain is On, this parameter specifies how the stereo output signal of the first master effect will be connected to the input (mono) of the next master effect.
■ This command swaps (exchanges) the settings of MFX1 and MFX2. ☞ “Write Program” (1.1–1c) PROG Swap Master Effect 7.2–4a: UTILITY 7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1 1 Select “Swap Master Effect” to access the dialog box. 2 To execute the Swap Master Effect command, press the [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key. Select by Category 7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1 PROG Selects master effects by category.
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2. Combination mode COMBI PAGE MENU 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 keyboard. COMBI For details on how to select pages in Combination mode, refer to p.1. COMBI 1.1: Play Play P/M 1.1: Play 2.1: Ed-Prog/Mix Select and play combinations. Select a program for each timbre, and set status, pan, and level. Select an arpeggio pattern and make settings. (☞p.31) 1.1–1a 1.
Category [00...15: name] This is the combination category display. All combinations are organized into sixteen categories. You can select a category, and then select from combinations that belong to that category. To select combinations by category, use “Cat.HOLD” and Utility “Select by Category.” (☞PROG 1.1–1a) To specify the category for a combination, use Utility “Write Combination” (1.1–1c). To modify a category name, use “Category Name Comb. 00–07, 08–15” (GLOBAL 4.1–3/4). Cat.HOLD Press the [.
1.1–2: Prog (Timbre Program) If bank select and program change messages are received on a MIDI channel that matches the MIDI channel of a timbre whose “Status” (3.1–1a) is INT, the program of that timbre will change. However if the MIDI channel of the incoming message matches the global MIDI channel “MIDI Channel,” then the combination will change. Indicates the program that will be used by each timbre. 1.1–2a 1.1–2b 1.1–2c 1.1–2d 1.1–2a: Bank, Combi Select, Cat.
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 timbre by category. Volume The volume of each timbre is determined by summing this volume value with the MIDI volume (CC#7) and expression (CC#11). If “Status” (3.1–1a) has been set to INT, incoming MIDI CC#7 or CC#11 messages will control the volume of a timbre. (However these messages will not affect the setting of this parameter.
1.1–4: Arp. A (Arpeggio Play A) 1.1–5: Arp. B (Arpeggio Play B) COMBI 2.1: Ed–Prog/Mixer Indicates the bank and program for each timbre 1–8. These parameters can also be set from the 1.1: Play, Prog page. COMBI To save the edits you make, use “Write Combination.” The arpeggiator can also be edited in realtime by the REALTIME CONTROLS C-mode [TEMPO] knob, [ARP-GATE] knob, and [ARP-VELOCITY] knob. (☞BG p.27) 2.1–1: Prog (Timbre Program) 2.1–1a 7.2 7.1 6.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.
COMBI 2.2: Ed–Ctrl COMBI 3.1: Ed–Param1 Here you can set the Combination mode functions of the Bmode functions of REALTIME CONTROLS knobs [1]–[4], and [SW1] key, [SW2] key. 3.1–1: MIDI Here you can make MIDI settings for each timbre. 2.2–1: Ctrls (Controls) 3.1–1a 2.2–1a 3.1–1b 2.2–1b 2.2–1c Status 2.2–1a: Knob B Assign These settings assign functions (mainly various control changes) to the B-mode of the REALTIME CONTROLS knobs [1]–[4] (☞p.221 “Realtime Control Knobs B Assign List”).
3.1–3: Pitch These settings specify how each timbre will be sounded. Here you can make pitch-related settings for each timbre. 3.1–2a 3.1–3a 3.1–3b 3.1–2a: Force OSC Mode, OSC Select, Portamento 3.1–3a: Transpose, Detune, Bend Range Force OSC Mode Transpose [PRG, Poly, Mono, LGT] Specifies the “Mode (Voice Assign Mode)” (PROG 2.1–1b) of the program selected for each timbre 1–8. PRG: The settings of the program will be used.
■ 3.1–3b: UTILITY COMBI 3.2: Ed–Param2 3.2–1: Other ☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c) Specifies the delay from note-on until sound is produced for each timbre. Also specifies the scale. For details on how to select the desired utility function, refer to “PROG 1.1–1c: UTILITY.” 3.
■ By setting timbres of different sounds to ranges that do not overlap, you can play different sounds in different ranges of the keyboard (Key Split). By setting the ranges to overlap, you can play two or more sounds with a single note (Layer). If you set the slopes (the grayed portion) to overlap, the sounds will overlap, and the proportion of the overlap will change according to the keyboard location (Positional Cross-fade). ☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c) 3.
■ 3.4–2: Slope (Velocity Slope) 3.3–3b: UTILITY ☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c) 3.4–2a COMBI 3.4: Ed–Vel Zone 3.4–2b (Velocity Zone) Sets the Top/Bottom Velocity parameters to specify the range of velocities that will sound each timbre 1–8, and sets the Top/Bottom Slope parameters to specify the range over which the volume will change.
On (checked): Transmission and reception of MIDI data is enabled. When “Status” (3.1–1a) is INT, operations of the built-in controllers or incoming MIDI data will apply the effect of the checked item to the program of the corresponding timbre. (The effect dynamic modulation function is not affected by this setting.) When “Status” is EXT or EX2, operations of the built-in controllers will transmit MIDI data on the channel of that timbre.
4.2–2: MIDI 2–2 (MIDI Filter 2–2) Knob2 4.2–2a 4.2–2b 4.3–2a: Real-time Control Knob 3, 4 Knob3 4.2–2a: JS X/Bend as AMS, Ribbon CC#16 JS X/Bend as AMS [Off, On] Specifies whether or not MIDI pitch bend messages (the X axis of this instrument’s joystick) will be received to control the AMS (☞p.212 “Alternate Modulation Source”) effect assigned to JS X. (This is not a filter for MIDI pitch bend message reception.
4.4–2: MIDI 4–2 (MIDI Filter 4–2) 6.1–1b: Assign Assign 4.4–2a: Foot Pedal/Switch, Other Control Change FootPedal/Switch [Off, On] Specifies whether or not the effect of the ASSIGNABLE PEDAL/SWITCH will be transmitted and received. The function is assigned in GLOBAL 1.1–3a: System Foot page. This filter setting is valid when a MIDI control change is assigned. Other Ctrl Change Off: The arpeggiator will not play this timbre. A: This timbre will be played by Arpeggiator A. Make settings in the Arp.
Example 2) The “MIDI Channel” (3.1–1a) of timbres 1, 2, 3, 4, and 5 are set respectively to Gch, Gch, 02, Gch, and 03. Their “Status” (3.1–1a) is set respectively to INT, Off, INT, Off, and INT. Assign arpeggiator A to timbres 2 and 3, assign arpeggiator B to timbres 4 and 5, and check “Arpeggiator Run A, B” (1.1–4a/5a, 6.1–1a). • When the front panel [ARP ON/OFF] key is off, playing the keyboard will sound only timbre 1.
6.1–4: Zone (Scan Zone) These settings specify the note and velocity ranges that will operate arpeggiators A and B. 6.1–4a COMBI 7.1: Ed–InsertFX ☞ For details on insertion effects, refer to p.155 “7. Effect Guide.” COMBI 7.1–1: BUS 6.1–4b 7.1–1a 7.2 7.1 6.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.1 6.1–4a: Scan Zone A/B 7.1–1b Zone Map This shows the “Scan Zone” for each arpeggiator, A and B. 7.
Control change #93 can be used to control the Send 1 level, and #91 to control the Send 2, and modify their respective settings. These messages will be received on the MIDI channel specified for each timbre in the 3.1: Ed–Param1, MIDI page. The actual send levels are determined by summing this value with the send level “S1 (Send1(MFX)), ” “S2 (Send2(MFX))” (PROG 7.1–2a) for each oscillator of the program selected for the timbre. ■ 7.1–1b: 7.
7.1–2c: Routing Map, BUS Select COMBI 7.2: Ed–MasterFX This displays the insert effect settings. The routing, the specified effect name, and the on/off status are shown. T01...8: BUS Sel [DKit, L/R, IFX, 1, 2, 1/2, Off] While viewing the map, you can specify the bus where each timbre 1–8 will be sent. Use the cursor keys to select the timbre, and use the [INC]/ [DEC] keys or the [VALUE] dial to set “BUS Select” (7.1–1a). These settings can also be made in “BUS Select” (7.1–1a). 7.
7.2–4: MEQ (Master EQ) 7.2–1d: Master EQ Gain [dB] Low Mid High [–18.0...+18.0] [–18.0...+18.0] [–18.0...+18.0] These are the same as in Program mode. (☞PROG 7.2–1: Setup) ■ The master EQ is a three-band stereo EQ. It is located immediately before the AUDIO OUTPUT (MAIN OUT) L/ MONO and R from the L/R bus, and adjusts the overall tonal character of the sound (☞p.209). The MEQ High Gain and the MEQ Low Gain can be controlled by assigning a modualtion source to the “Low Gain Mod-Src.
3. Sequencer mode These settings and any song data you have recorded are not backed up when the power is turned off. Before turning off the power, be sure to save important data on a SmartMedia or a data filer. Immediately after the power is turned on, memory will not contain any song data, so in order to playback the sequencer, you will need to load data from the SmartMedia, or receive a MIDI bulk data dump from an external MIDI sequencer (☞p.130).
SEQ 1.1: Play/REC Here you can select a song, begin to create 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 playback/recording, and turn RPPR on/off. 1.1–1a 1.1–1b 1.1–1c Changing the time signature in the middle of a measure If you know beforehand the location at which you wish to change time signatures in the middle of a measure, use “Insert Measure” (5.
Track Select When you play the keyboard of this instrument and operate its controllers, the internal tone generator will sound according to the settings (program, level etc.) of the tracks that are selected here (if “Status” 3.1–1a is INT or BTH), and other tracks whose MIDI channels match will also sound at the same time (if “Status” is INT or BTH). Messages will also be transmitted on the MIDI channels of these tracks (whose “Status” is EXT, EX2 or BTH).
Rename Song Copy From Combi (Copy From Combination) Here you can rename the selected song. A name of up to sixteen characters can be input. (☞BG p.43) Copies the settings of the combination you specify to the settings of the currently selected song. Delete Song 1 Select “Copy From Combi” to access the dialog box. This command deletes the currently selected song. 1 Select “Delete Song” to access the dialog box. 2 In “Combi,” select the copy source combination.
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. To cancel without loading, press the [F7] (“Cancel”) key. When you execute, song settings other than Play Loop and RPPR will be copied. Save Template Song (Save as User Template Song) This command saves the program selections, track parameters, and effect settings etc. of the song as a user template song U00–15.
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 [LOCATE] 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). 1.1–2: Prog...8 (Program T01...08) 1.1–3: Prog...16 (Program T09...16) Here you can make basic settings such as selecting the program used by each track. 1.
If the “Status” (3.1–1(2)a) is INT or BTH, the program can be specified by receiving a MIDI program change. When you switch songs or return to the beginning of the song, tracks whose “Status” is EXT, EX2, or BTH will transmit the bank and program number via MIDI. Tracks whose “Status” is EX2 will display the Bank as “–,” and will transmit via MIDI the bank number specified by “Bank (EX2) MSB” and “Bank (EX2) LSB” in the Param1 page (3.1–1(2)a). 1.1–2(3)b: PLAY/MUTE/REC, SOLO On/Off 1.1–4: Mix..
Volume [000...127] Set the volume of tracks 1–16. When “Status” (3.1–1(2)a) is INT or BTH, CC#7 Volume can be received to control the volume. The volume of a track is determined by multiplying the MIDI Volume (CC#7) and Expression (CC#11) values. When you change the song or return to the beginning of the song, tracks whose “Status” is EXT, EX2 or BTH will transmit the volume you specify here as a MIDI Volume message. ■ 1.
[Off, On] The Multi REC setting also allows MIDI data on multiple channels to be received from a multi-track sequencer connected to this instrument, and recorded simultaneously on multiple tracks. In this case, MIDI data of matching MIDI channels will be recorded on tracks whose “PLAY/MUTE/REC” (1.1–2(3)b) is set to REC, regardless of the “Track Select” (1.1–1c) setting. When you do this, it is a good idea to set “MIDI Clock” (GLOBAL 2.
■ Cue List Select 1.2–1(2)b: UTILITY ☞ “Memory Status,” “Solo Selected Track,” “Rename Song,” “Delete Song,” “Copy From Song,” “Copy From Combi,” “Load Template Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d) When “MIDI Clock” (GLOBAL 2.1–1a) is Internal, selecting a cue list in this page will cause a Song Select message (corresponding to the cue list number) and Song Position Pointer message to be transmitted.
2.1–1c: Step (Current Step) This selects the song for the step. It cannot be selected during playback. You can also select whether playback will end with the last step in the cue list, or whether playback will return to “Step” 01 and continue endlessly. End: Playback will end. Continue to Step01: Playback will return to “Step” 01, and the cue list will continue playing endlessly. To stop, press the [START/STOP] key. Step (Current Step) Rep (Cue Edit-Repeat) 2.
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 source cue list. 3 To execute, press the [F8] (“OK”) key. To cancel without executing, press the [F7] (“Cancel”) key. When you execute this command, the settings of the currently selected cue list will be deleted and rewritten by the copy source data.
After executing this command, you can press the [COMPARE] key to return to the state before execution. SEQ 2.2: Controller Copy Song This command creates a song from a specified portion of a song in a cue list. For example if you have an eight-measure song and want to repeat measures 5–8, you can use this command to create a four-measure song from that portion. Then you can assign the resulting song to a step in a cue list, and repeat it. 1 In “Step,” select the desired step.
MIDI Channel SEQ 3.1: Param1 3.1–1: MIDI..8 (MIDI T01...08) 3.1–2: MIDI..16 (MIDI T09...16) Here you can make MIDI-related settings for each track. [01…16] Specifies the MIDI channel that the track will use to transmit and receive musical data. The MIDI channel you specify here will be the receive channel when “Status” is INT, the transmit channel when it is EXT or EX2, and the receive/ transmit channel when it is BTH.
The portamento setting you make here will be used when the song is played or recorded from the beginning. If you change the setting while recording, it will be recorded as part of the musical data. (However if you set this to PRG, it will not be recorded.) You can change this setting during playback. However if you come to any Portamento On/Off data or Portamento Time data that was recorded, the settings will change to the recorded values. When the track whose “Status” (3.
SEQ 3.2: Param2 SEQ 3.3: Key Zone 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. Here you can specify the range of keys that will be sounded by each track. Top/Bottom Key settings specify the range of notes that will be sounded by tracks 1–8, 9–16, and Top/Bottom Slope settings specify the range from the top/bottom key until the original volume is reached. These settings do not affect MIDI transmission/reception.
3.3–3: Slp..8 (Slope T01...08) 3.3–4: Slp..16 (Slope T09...16) SEQ 3.4: Vel Zone Top/Bottom Velocity specify the range of velocities that will be sounded by tracks 1–8 and 9–16, and Top/Bottom Slope specify the range over which the volume will be adjusted. 3.3–3a These settings do not affect MIDI transmission/reception. All note data that is received will be recorded into the internal sequencer, and all note data from the internal sequencer or from the keyboard will be transmitted. 1.1–1c 3.3–3b [00...
3.4–3: Slp..8 (Slope T01...08) 3.4–4: Slp..16 (Slope T09...16) SEQ 4.1: MIDI Filter1 Here you can select whether or not to apply filtering to the MIDI data received by tracks 1–16. For example even if two tracks are receiving the same MIDI channels, one can be made to respond to damper pedal activity while the other does not. 3.4–3a 1.1–1c 3.4–3b 3.
JS-Y CC#02 4.1–1(2)b: UTILITY ☞ “Memory Status,” “Solo Selected Track,” “Rename Song,” “Delete Song,” “Copy From Song,” “Copy From Combi,” “Load Template Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d) [Off, On] Specifies whether or not MIDI control message #2 (the –Y axis of this instrument’s joystick, or assigned to B-mode of the REALTIME CONTROL knobs [1]–[4]) will be received. ■ 4.
SEQ 4.3: MIDI Filter3 SEQ 4.4: MIDI Filter4 Specifies whether the A- and B-mode operations of REALTIME CONTROLS knobs [1]–[4] will be received. MIDI control messages are 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 Controls page. 4.3–1: M3–1..8 (MIDI Filter3–1 T01...08) 4.3–2: 3–1..16 (MIDI Filter3–1 T09...16) 4.3–3: 3–2..8 (MIDI Filter3–2 T01...08) 4.3–4: 3–2..16 (MIDI Filter3–2 T09...16) 4.4–1: M4–1..8 (MIDI Filter4–1 T01.
5–1–1b: Pattern, Metro. (Metronome) 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. Preset patterns suitable for use in a drum track are provided in memory, and can be selected from any song. Preset patterns cannot be edited, but you may copy a preset pattern to a user pattern, and edit.
Rename Pattern 2 Select “Erase Pattern” to access the dialog box. Press the [F5] (“Name”) key to access the dialog box, and rename the selected pattern. You may input up to sixteen characters. (☞BG p.43) Step Rec (Loop) Here you can perform step recording into a pattern. This is available when a user pattern is selected. 1 In “Pattern Bank” and “Pattern Select,” specify the pattern. By default, the pattern length is one measure.
1 Use “Pattern” and “Pattern Select” to specify the pattern. 2 In “Pattern Param.”, specify the pattern length of the “get” destination. 3 Select “Get From Track” to access the dialog box. 4 In “From: Song,” select the “get” source song. 5 In “Track,” select the “get” source track. 6 In “Measure,” specify the first measure of the “get” source. 7 To execute the Get From Track command, press the [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.
5.1–2: RPPR Setup KEY (Key Select) 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 keyboard. The results can also be recorded. For each song, you can assign either a preset pattern or a user pattern to each of the seventy two keys in the range C#2–C8. For each key, you can specify the pattern, track number, and how the pattern will be played.
Measure: The pattern will synchronize to the measures 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 measures of the sequencer song. Sync settings Key 1 on Key 2 on Key 1 off Example) Using RPPR to assign preset patterns P00, P01, and P02 to keys Before you begin, assign a drum program such as A036 to track 1. 1 Select C#2 as the “KEY.
5.2–1a: Track Select, Measure (From)/Meas. (To End of) Track Select [T01...T16, Master Trk] Use the cursor keys [ ][ ] to select the track in which you wish to record or edit (or use as the copy source). If you wish to select all tracks, you do not need to select T01...T16. Simply check “All Tracks” in the dialog box of the utility menu command. Master Trk: You can edit the tempo and time signature of the master track. Measure (From) [001...
Step Time = Step Time = Step Time = Tie On Press E and C Off Release E (continue holding C) ON Press G 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. Auditioning the next note before input If you wish to make sure of the next note before you actually input it, press the [PAUSE] key (the LED will light).
Erase Track This command erases the data from the specified track. However, it is not possible to erase the master track by itself. 1 In “Track Select,” select the track that you wish to erase. 2 Select “Erase Track” to access the dialog box. 4 In “Kind,” specify the type of data that will be erased. All will erase all types of data from the track, Note will erase note data, Ctl.
If in 4 you uncheck “All Tracks” and execute this operation, the measures will not be deleted from the master track. Time signature and tempo data will remain unchanged, and the time signature and tempo of the measures that were moved forward as a result of the Delete operation will change. ward by the number of measures that were inserted. However, the time signature and tempo will not move. 7 To execute the Insert Measure command, press the [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.
Copy Measure This command copies measures of musical data from the copy source to the specified measure location. When you execute the Copy Measure command, the track data at the copy destination will be rewritten. 1 Select the copy source song. 2 Select “Copy Measure” to access the dialog box. 5 To execute the Move Measure command, press the [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.
After touch Start location End location 127 100 End Value Previous data 0 Start Value default value Location 3:00 3:24 3:48 3:72 4:00 4:24 4:48 Executing the Create Control Data command will use up a substantial amount of sequencer memory. This means that if there is only a small amount of free memory remaining, it may not be possible to create the data. If this occurs, you should first use “Quantize” to quantize the data, deleting unneeded control data.
8 To execute the Quantize command, press the [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key. By varying the Offset and Intensity settings you can create quantize effects such as the following. Original 100% Quantize Resolution = Offset = 0, Intensity = 100% 50% Quantize Resolution = 100% This command modifies the velocity values of notes in the specified area so that they will change over time according to a selected curve.
Set Song Length 2 In “Length,” specify the length of the song. 3 To execute the Set Song Length command, press the [F8] (“OK”) key. To cancel without executing, press the [F7] (“Cancel”) key. Be aware that if you shorten the song, data will also be deleted from the tracks other than the master track. Here you can specify how the arpeggiator will operate in Sequencer mode. These settings can be made for each song. In Sequencer mode (as in Combination mode), you can run the two arpeggiators simultaneously.
6.1–1(2)b: Assign Assign [Off, 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. Off: The arpeggiator will not operate. A: Arpeggiator A will operate. Use the Arp. A page to select the arpeggio pattern and set the parameters. B: Arpeggiator B will operate. Use the Arp. B page to select the arpeggio pattern and set the parameters.
6.1–3: Arp. A (Arpeggiator A) 6.1–4: Arp. B (Arpeggiator B) 6.1–5: Zone (Scan Zone) Specifies the range of notes and velocities that will trigger each arpeggiator A and B. Indicates settings for arpeggiator A in the Arp. A page, and for arpeggiator B in the Arp. B page. You can use the “Copy Arpeggiator” utility to copy settings from another mode such as Program mode. 6.1–5a 6.1–3b 6.1–5b 6.1–3a 6.1–5a: Scan Zone A/B This shows the “Scan Zone” settings for arpeggiators A and B (☞COMBI 6.1–4a).
SEQ 7.1: Insert FX ■ 7.1–1(2)b: UTILITY ☞ For details on insert effects, refer to p.155 “7. Effect Guide.”. 7.1–1: BUS..8 (BUS T01...08) 7.1–2: BUS..16 (BUS T09...16) ☞ “Memory Status,” “Solo Selected Track” (1.1–1d), “DKit IFX Patch” (COMBI 7.1–1b), “FF/REW Speed,” “Set Location” (1.1–1d) Specifies the bus to which the program oscillator(s) of each track 1–8, 9–16 will be sent. You can also set the amount of signal that will be sent to the master effects.
7.1–4: IFX (Insert Effect) 7.1–3b: Control Channel Control Channel [Ch01...16, All Rt.] Sets the parameters for the effects selected for IFX in the Setup page (☞p.164–). Indicates the MIDI channel that will control effect dynamic modulation (Dmod), pan following the insert effect “Pan (CC#8),” “Send1(MFX1),” and “Send2(MFX2).” An asterisk “*” will be displayed at the right of the channel number Ch01–16 for tracks that are routed to an IFX.
7.2–1b: Master FX Chain MFX Chain [Off, On] Direction (Chain Direction) [MFX1→MFX2, MFX2→MFX1] Signal (Chain Signal) [LR Mix, L Only, R Only] Level (Chain Level) [000...127] 7.2–2: MFX1 (Master Effect1) 7.2–3: MFX2 (Master Effect2) Here you can set the parameters of the “Master Effect1” and “Master Effect2” effects that were selected in the Setup page (☞p.164–). This is the same as in Program mode. Refer to “PROG 7.2–1: Setup.” 7.2–1c: MEQ Ctrl 7.2–2a MEQ Ctrl (MEQ Control Ch) [Ch01...
4. Sampling mode “Sampling” refers to the process of digitally converting an analog signal from a mic or audio device connected to the AUDIO INPUT jack, and recording it into internal memory. You can also apply the insert effect to the analog audio signal while it is being sampled. If the sample data RAM (16 Mbyte SIMM memory) included with the EXB-SMPL is installed, you will be able to sample approximately 2 minutes 54 seconds in monaural, or approximately 1 minute 27 seconds in stereo.
SMPL PAGE MENU For details on selecting pages in Sampling mode, refer to p.1. SMPL 1.1: Recording Here you can set the input level and make other basic settings for sampling (sample recording), and make basic settings for multisamples and samples. Normally you will record samples in this page. 1.1–1: Sample Rec 1.1: Recording Record samples. Select the sample or multisample to record, and make various recording settings and AUDIO INPUT settings. (☞p.88) Smpl 2.
Stereo A “Stereo” indication will appear at the top right of LCD display if you have selected a stereo multisample or sample, or if you recorded a sample with “Mode (Sample Mode)” (1.1–2a) set to Stereo. About stereo multisamples and stereo samples Stereo multisamples: Under the following conditions, two multisamples will be handled as a stereo multisample. • If you checked “Stereo” when creating a new multisample (i.e., selected a new multisample in “MS” 1.
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 recorded). The pitch will change in semitone steps relative to the original key. For example, suppose that you recorded a sample with “Orig.K” of F2. When the zone of the index is C2–B2, pressing the F2 key would playback the sample at its original pitch. Pressing F#2 would playback the sample a semitone higher. Pressing E2 would playback the sample a semitone lower.
[L-Mono, R-Mono, Stereo] Select s the channel(s) to be sampled, to specify whether a mono or a stereo sample will be recorded. Depending on the “Input1, Input2” (1.1–3a) settings, the external source from the AUDIO INPUT 1 and 2 jacks will be sent, either as direct sound without being routed through an effect, or as effect-processed sound routed through an insertion effect, to the L/R bus and sampled from the internal L and R channels. L-Mono: The sound of the internal L channel will be sampled in mono.
Count Down (Count Down REC) [Off, 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 press the [START/STOP] key from sampling standby mode, sampling will begin immediately. 4, 8, 3, 6: When you press the [START/STOP] key from sampling standby mode, sampling will begin after a countdown of the specified length, based on the tempo of “ (Tempo).
Pstn (Position) 1.1–2d: UTILITY ☞ “Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename SMPL,” “SMPL To Stereo,” “Delete MS,” “Copy MS,” “Move MS,” “Rename MS,” “MS To Stereo/MS To Mono,” “Conv. To Prog,” “Keyboard Disp.” (1.1–3f) Specify the input level from the rear panel AUDIO INPUT 1, 2, and set pan and bus. You can also set other setup parameters. 1.1–3a 1.1–3b 1.1–3c 1.1–3e 1.1–3f 001: A single note of the keyboard will be the index.
Delete SMPL (Delete Sample) This command deletes the currently selected sample, or samples that are not mapped to (i.e., used by) any multisample or drum kit, or all samples. 1 Select “Delete SMPL” to open the following dialog box. 2 Use the [INC], [DEC] keys or the [VALUE] dial to select the sample(s) that you wish to delete. Selected: The currently selected sample will be deleted. The sample assignment for “Index” (1.1–1a) will change to ---No Assign---.
Example) If data already exists at the move destination sample number, the sample will not be overwritten; instead, all subsequent samples will be renumbered upward. Also, if the selected multisample is mono, it will change to stereo. • The last two characters of the multisample name will be overwritten as “–L”. • A new multisample will be created with the same name, but whose last two characters are “–R”. • The stereo sample that was created will be assigned automatically.
4 To execute the Copy Multisample command, press the [F8] (“OK”) key. To 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. The sample data (waveform data) will be shared between the copy source and copy destination. (Additional sample memory area will not be consumed.
Conv. To Prog (Convert Multisample To Program) This command converts the selected multisample into a program. If you have recorded a sample or created a multisample and would like to play it in Program mode, Combination mode, or Sequencer mode, you must create a program that uses that multisample for its oscillator. It is possible to set the Program mode OSC1 and OSC2 parameters “High, Low” (PROG 2.
2.1–2: Edit2 SMPL 2.1: Sample Edit 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 viewing the “sample waveform display.” 2.1–1: Edit1 2.1–2a 2.1–2b 2.1–2c 2.1–2d 2.1–2a: Sample waveform display Sample waveform display This displays the waveform of the selected sample.
ever, be aware that once a sample has been mixed to mono, it is no longer possible to return it to a stereo sample. 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). The playback “S (Start)” (start address), “LpS (Loop Start)” (loop start address), and “E (End)” (end address) of the sample waveform data are specified in 3.1: Loop Edit, Edit2.
Truncate 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. If you wish to delete unneeded (unplayed) sample data after setting the start address, loop start address, and end address, use the Utility “Truncate” found in 3.1: Loop Edit, Edit2 page. 1 Use “SMPL” (2.
6 To execute the Clear command, press the [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key. Copy This command copies the sample data from the area between “S (Edit Range Start)” and “E (Edit Range End)” into the sample data buffer. This data can then be used by the “Insert,” “Mix” or “Paste” commands. When “Copy” is executed, the data that is loaded into the buffer simply references the data of the original sample.
Paste Beginning at the “S (Edit Range Start)” address, this command 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 buffer. You can also place sample data into a blank sample. This is convenient when you wish to “Copy” part of a sample and create a new sample based on it. If the sample data loaded into the buffer by “Copy” is stereo, the display will indicate “Save to No.(L)” and “(R).
Norm./Level Adj. (Normalize/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 sample data as far as possible without allowing it to clip (distort). If the level of the sampled data is too low, you can execute this command to increase the dynamic range. “Level” allows you to raise or lower the level as desired.
7 If you wish to delete the original sample data and overwrite it with the edited sample data, check “Overwrite”. Normally, you will leave “Save to No.” at its default setting, and execute without checking “Overwrite.” (☞p.99 “*1: About “Overwrite””) 8 To execute the Volume Ramp command, press the [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key. Reverse This command reverses the sample data (i.e., exchanges the beginning and end).
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 natural-sounding transition between the two sounds. SOUND A If the rear sample is short, the “Crossfade Length” cannot be set any longer than the length of the “Rear ”sample. In this case, it will not be possible to specify a value up to 100%. If you set “Crossfade Length” to other than 0, “F XF®” and “R XF®” will be displayed.
3.1–1b: SMPL, Lp, Tune, Rev SMPL (Sample Select) [----: ---No Assign----, 0000...3999] 1 Use “SMPL” (2.1–1a) to select a sample. 2 In the Edit2 page “UTILITY,” choose “Grid” to open the following dialog box. This shows the sample number and name, and the range of the selected index. If you change “SMPL,” the sample you specify will be assigned to this index. The sample you select here will appear in the “sample waveform display” (☞1.1– 1a). Lp (Loop) 3 Check “Grid” to turn on the grid display.
(Grid Tempo) ☞ “Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename SMPL,” “SMPL To Stereo,” “Delete MS,” “Copy MS,” “Move MS,” “Rename MS,” “MS To Stereo/MS To Mono,” “Conv. To Prog,” “Keyboard Disp.” (1.1–3f) 3.1–2: Edit2 3.1–2a 3.1–2b 3.1–2c 3.1–2d This is not related to the setting of the REALTIME CONTROLS C-mode [TEMPO] knob. 3.1–2e ■ 3.1–2a: Sample waveform display Sample waveform display The waveform of the “SMPL (Sample)” is displayed here (☞2.1–2a). (Grid Tempo) S (Start) [0000000...
3 Range “Start” and “End” will show the range of data that will be edited. 4 Use “Truncate” 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. Front: The sample data that lies before the “Start” (start address) will be deleted. End: The sample data that lies after the “End” (end address) will be deleted.
3 Specify the number of quarter-note beats and tempo of the currently selected sample. If you know the BPM of the original waveform, set “Source BPM.” If you do not know the BPM, specify “Beat” and the BPM will be calculated automatically. The setting you make here will be used as the reference value when detecting the attack, when performing Time Stretch in step 9b, and when saving the sequence data in step 0. Beat: Specify the number of quarter-note beats.
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 zero-cross points to specify sample addresses will make it less likely that clicks or pops will occur, particularly at the end address. Divide: This splits the sample of the currently selected “Index” into two. Use this when you wish to add another location to slice the sample. Modify “E (End)” or “S (Start)” to adjust the divided sample.
When you audition the time-stretched samples, the sound you hear is the sound of each divided sample as it will be played in Sequencer mode. If there is obtrusive noise or if the attack is not sound cleanly, return to step 7 and adjust the “S (Start)” and “E (End)” addresses, etc. 0 When you execute Save, use “With” to specify the data that will be created simultaneously. Program: If this check box is checked, the multisample will be converted to a program when you save it.
3 Select “Sustaining” as the time stretch method. Press the [F8] (“OK”) key to execute Time Stretch, or press the [F7] (“Cancel”) key to cancel without executing. When you press the [F8] (“OK”) key, the Time Stretch dialog box will appear. If the L and R of a stereo sample are different in length, blank data will automatically be added to the end of the shorter sample so that it matches the longer side. 4 A dialog box for executing Time Stretch will appear.
“*1: About “Overwrite””) In the case of a stereo sample, the dialog box will indicate “To Sample No. (L)” and “To Sample No. (R).” Specify the save destination sample for the L channel and R channel. To execute the Save operation, press the [F8] (“OK”) key. To cancel without saving press the [F7] (“Cancel”) key. A By repeating steps 9–0 you can create more samples as desired. B Press the [F7] (“Exit”) key to exit the Time Stretch operation. The index will specify the last-saved sample number.
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 timestretching will be selected. If you select Result, the time-stretched sample will be selected. If you set this to xxx(zzz)/yyy, an individually sliced sample will be selected. xxx is the selected index, and yyy indicates the total number of sliced samples.
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 there is a significant difference between the waveforms at the loop start and loop end locations. In order to solve such problems, Crossfade Loop causes the sound to change gradually from the end to the beginning of the loop.
If you have not yet executed “CUT” or “COPY,” such as immediately after power-on, the new index will be created according to the “Create (Create Zone Preference)” settings (1.1–3b, 4.1–3a) “Position,” “Zone Range,” and “Orig.K Position” as same as “CREATE.” SMPL 4.1: Multisample Here you can make settings for multisamples. You can create indexes for a multisample, and then assign a sample to each index. (These basic settings can also be performed in 1.1: Recording page.
[–64.00...+63.00] 120. If “Beat” is set to 2, the display would indicate “Current BPM” as 60. Adjusts the playback pitch of the sample in one-cent steps. 0: The sample will sound at the original pitch when the original key is played. –: The pitch will be lowered. At a setting of –12.00 the pitch will be one octave lower. +: The pitch will be raised. At a setting of +12.00 the pitch will be one octave higher. You can also use “Pitch” to make fine adjustments in the length of a rhythm loop.
SMPL 5.1: Memory SMPL 5.2: Controller 5.1–1: Memory (Free Memory) 5.2–1: Ctrls (Controls) Specifies the functions that the [SW1], [SW2] key, and the Bmode functions of the REALTIME CONTROLS knobs [1]–[4] will have in Sampling mode. 5.1–1a These controllers can be used to make realtime changes in effect dynamic modulation functions etc. while you sample. 5.1–1b In Sampling mode, it is not possible to use AMS to control program parameters. 5.
■ 7.1–2: IFX 5.2–1c: UTILITY ☞ “Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename SMPL,” “SMPL To Stereo,” “Delete MS,” “Copy MS,” “Move MS,” “Rename MS,” “MS To Stereo/MS To Mono,” “Conv. To Prog,” “Keyboard Disp.” (1.1–3f) Sets the effect parameters for the IFX effect that you selected in the Setup page (☞p.164–). Effect Dmod (dynamic modulation) is controlled by the global MIDI channel specified in “MIDI Channel” (GLOBAL 2.1–1a). SMPL 7.
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In Global mode you can make settings that affect the entire instrument, such as master tuning, MIDI, and memory protect. You can also edit user scales, drum kit setups, and user arpeggio patterns. GLOBAL 1.1: System 1.1–1: Basic 6.1 5.1 4.1 3.1 2.1 1.1 If you want the settings you make in Global mode to be backed up when the power is turned off, you must write them into memory. To write your settings, use the Utility “Write Global Setting,” “Write Drum Kits,” or “Write Arpeggio Patterns.
RPN fine tune messages will be received on the MIDI channel for each timbre (in Combination mode) or track (in Sequencer mode). (☞“Detune,” “Transpose”: COMBI 3.1–3a, SEQ 3.1–5(6)a.) Velocity Curve [1…8] This specifies the way in which the volume and/or tone will change in response to how hard the keyboard is struck (velocity). When “Convert Position” (2.
MFX2 Off [Off, On] On (checked): MFX2 will be disabled. Off (unchecked): The Master Effect Setup page (7.2–1) “MFX2 On/Off” settings of Program, Combination, and Sequencer modes will be valid. Load Preload/Demo Data This command loads the preloaded data and demo song data into internal memory. (☞VNL) GLOBAL [Off, On] On (checked): MFX1 will be disabled. Off (unchecked): The Master Effect Setup page (7.2–1) “MFX1 On/Off” settings of Program, Combination, and Sequencer mode will be valid.
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 Writing Internal Memory”), and all PCG data and demo song data will be loaded. Change all bank references 2 Press down a single key for which the aftertouch effect depth does not correctly, and then release it. 3 Press the F8 (“Done”) key.
LCD Contrast [0…62] [Off, On] 1 Press the [EXIT] key three times, and then press the [GLOBAL] key. 2 Hold down the [EXIT] key, and press the [REC/WRITE] key. On (checked): Internal drum kit memory will be protected, and the following write operations cannot be performed. • Writing a drum kit • Receiving drum kit data via MIDI data dump • Loading drum kit data from SmartMedia Off (unchecked): Data can be written to internal drum kit memory. Arp. UsrPat (Arp.
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 connected, the pedal switch polarity will be (↓), so select “(–) KORG Standard” for this setting. If you have connected a damper pedal with a positive (↑) polarity, select “(+)” for this setting. (↓ is open-type, ↑ is closed-type.) If the polarity does not match, operating the damper pedal will not produce the correct result.
MIDI OUT MIDI IN Here you can make MIDI-related settings that affect this instrument. Another TRITON Le EVEN ODD This setting has no effect on the MIDI data that is received. MIDI Clock 2.1–1c 2.1–1a: MIDI Setup [1…16] Sets the global MIDI channel. The global MIDI channel is used in the following cases. • When transmitting and receiving performance data in Program mode (PROG 1.1: Play) and Sampling mode (if the EXB-SMPL option is installed).
PostMIDI: Velocity Curve, After Touch Curve, and Transpose will be applied to data before it enters the tone generator. This means that the Velocity Curve, After Touch Curve, and Transpose settings will affect the data that is sent to the internal tone generator when you play this instrument’s keyboard, when the internal sequencer is played back, or when data is received from MIDI IN.
[Off, On] On (checked): System exclusive data will be transmitted and received. Check this setting when you wish to use a connected computer etc. to edit this instrument, or vice versa. Off (unchecked): System exclusive data will neither be transmitted nor received. Normally you will leave this unchecked. However, system exclusive data will be transmitted and received while the page menu commands (““Dump Program”–”Dump All”) of this page are displayed.
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 instrument to write each received portion into memory before the next portion of data arrives, so that it will be impossible to receive all of the data correctly. Reception Do not touch this instrument’s switches or turn off the power while data is being received.
Key Select 3.1–1b: UTILITY [C–1...G9] This indicates the location of the key displayed in “Tune.” You can use the cursor keys [ ], [ ] to move in one-octave steps. GLOBAL ■ “Tune” Indicates that there are keys to the right. Indicates that there are keys to the left. For details on how to select the desired utility function, refer to “PROG 1.1–1c: UTILITY.” 6.1 5.1 4.1 3.1 2.1 1.1 ☞ “Write Global Setting” (1.
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 “Write Global Setting” to access the Write Global Setting dialog box, or press the [REC/WRITE] key to display the Update Global settings dialog box and press the [F8] (“OK”) key to write the edited settings. 5.1–1: High (High Sample) Here you can select a drum kit, assign High and Low drumsamples to each key, and set parameters for the High and Low drumsamples. 5.
Trans (Transpose) Adjusts the pitch in one-cent steps. –99 is a semitone lower, and +99 is a semitone higher. Data in AKAI S1000/S3000 formats, AIFF format, or WAVE format can also be loaded in Media mode as samples, and used as drum samples. Drumsample [0000: name...] Indicates the High drumsample. The sample selected here will be sounded by velocities above the “Vel. SW L→H” value. (☞For details on each drumsample, refer to VNL.
Rename Drum Kit Drumsample This command renames the selected drum kit. You can input a name of up to sixteen characters. (☞BG p.43) Selects the Low drumsample. This will be sounded by velocities lower than the value set for “Vel. SW L→H” (5.1–1a). (☞For details on each drumsample, refer to VNL.) The drumsample can be selected using the utility menu command “Select by Category” (☞5.1–1d). Copy Drum Kit This command copies the settings of another drum kit to the currently-edited drum kit.
Pan [Rndm, L001...C064...R127] Specifies the panning for each key. With a setting of Rndm (Random), the panning of the drumsample will change randomly for each note-on. BUS (Bus Select) [L/R, IFX, 1, 2, 1/2, Off] Specifies the bus to which each key will be sent. For example you can send snare-type sounds to IFX to apply the insert effect, and send the other sounds to L/R without applying the insert effect. S1 (Send1 (to MFX1)) S2 (Send2 (to MFX2)) [000...127] [000...
6.1–1b: Lgth, Reso, Oct, Sort, 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 return to the beginning. This parameter is not valid for preset patterns P000–004. Reso (Resolution) Oct (Octave) Sort Latch K.Sync (Key Sync.) Kbd (Keyboard) [ , , , , , ] [1, 2, 3, 4] [Off, On] [Off, On] [Off, On] [Off, On] ☞ PROG 6.1: Ed–Arp. “Setup(Arpeg.
For details on how to select the desired utility function, refer to “PROG 1.1–1c: UTILITY.” Write Arpeggio Patterns 6.1–2: Edit Here you can input Tones 0–11 for each step 01 to 48. “Step” can be a maximum of 48 steps, and Tone corresponds to up to twelve notes for the (up to) twelve keys pressed simultaneously. If “Sort” (6.1–1b) is checked, the notes that were pressed will correspond in ascending order of pitch to Tones 0, 1, etc. If “Sort” (6.
Flam [–99...+99] Specifies how the note timing will be skewed when two or more Tones are specified in the same step. 00: All Tones will sound simultaneously. +01–+99: The timing of the notes will be skewed in the order of the Tone number. (When “Sort” is ON, from low note to high note. When “Sort” is OFF, in the order in which keys were pressed.) –01– –99: The timing of the notes will be skewed in the opposite direction as “+.
6. Media mode For the types of SmartMedia that can be used, refer to BG p.96. About the EXB-SMPL option If the EXB-SMPL option (sold separately) and the included 72-pin SIMM memory module (16 Mbyte sample data RAM) are installed, you will be able to save/load multisample and sample data created in Sampling mode (☞p.144, 149), or load/export AIFF files or WAVE files that were created on your computer (☞p.146, 150).
If sample data RAM is not installed, .KMP, .KSF, .KSC, .AIF, .WAV, 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 structure. Since .PCG and .SNG files can be opened to divide their contents, they are displayed as directory icons. (☞p.139) MEDIA PAGE MENU In Media mode you can press the [F1]–[F4] keys located below the tab to select the desired page.
Hide unknown file 1) Load .PCG: 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.” With this setting, undefined files will not be displayed in the directory window. However, this is effective only if the current directory is a DOS directory. All data in the .PCG file will be loaded. This command loads into internal memory the file or directory that was selected in the “directory window” (1.1–1b).
2) Load Programs: selected icon All program data from a .PCG file will be loaded. 7) Load a Combination: selected icon The combination you select will be loaded into the loading destination combination number you specify. 1 To load the data, press the [F8] (“OK”) key. To 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.
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. 2 If you checked “Load ********.KSC too,” set “.KSC Allocation” to specify how the multisamples and samples in the .KSC file will be loaded. ☞ “1) Load .PCG: 2” 3 To load the data, press the [F8] (“OK”) key. To cancel without loading, press the [F7] (“Cancel”) key.
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 “To” to select the loading destination song. 2 To load the data, press the [F8] (“OK”) key. To cancel without loading, press the [F7] (“Cancel”) key. The program bank and program numbers loaded into the song will follow the “Bank Map (GLOBAL 1.1–2a) setting. If “Bank Map” is KORG, bank A will be selected for bank select 00.00 (MSB.LSB).
Loading multiple files 22) Load .KSC: You can use wild cards to simultaneously load two or more .KMP, .KSF, .AIF, .WAV., AKAI Program, or AKAI Sample files from a directory. The .KMP files and .KSF files listed in the .KSC file will be loaded as multisamples and samples respectively. selected icon You can use Utility 23) Load .KMP, 24) Load .KSF, 25) Load .AIF, 26) Load .WAV, 27) Load AKAI Sample File, 28) Load AKAI Program File. PIANO.WAV, SFX_A_00.WAV, SFX_A_01.WAV, SFX_B_00.WAV, SFX_B_01.
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 data will be loaded into the numbers that follow the last sample number currently existing in sample data RAM (i.e., that were previously sampled or loaded) (Append load). You can load multiple files within the directory. (☞p.145) 26) Load .WAV: The .KSF files used by the .
If the end (11th and 12th characters) of the sample name is “-L” and “-R,” the “-L” and “-R” will automatically be moved to the end of the TRITON Le’s sample name (15th and 16th characters). When you load two files whose sample names are identical except for ending in “-L” and “-R,” and assign them to a stereo multisample in Sampling mode, they will be recognized as a stereo sample.
If the data does not fit on the media when saving 1.1–2: Save Here you can save various data from internal memory to media such as SmartMedia. Use the [F5] (“UP”) key and [F6] (“OPEN”) key to move to the desired directory (i.e., change the current directory), and then select the Utility menu command [F8]. When you execute a Save operation, the data will be saved in the same level of the media hierarchy as the files that are displayed.
When you save, files will be created in the current directory. If the data you save extends across two or more 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 created. The files listed in NEWFILE.KSC will be saved in this directory. Save SEQ (Songs and Cue Lists) This command saves all songs and cue lists from internal memory as a .SNG file.
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 sample name + the sample number. [Examples] 0000: NewSample_0000 → NEWS0000.KSF 0001: C#3-EGuitar → C#3-0001.KSF If you wish to export the data in AIFF (.AIF) or WAVE (.WAV) format, select the Utility “Export Smpl AIF/ WAV.
1 Select “Export Smpl AIF/WAV” to access the following dialog box. 1.1–3: Utility Here you can rename, copy, or delete the selected media or file, create a new directory, and set the date and time. After selecting a media or file, select the Utility menu [F8]. 1.1–1a 2 In “Format,” select either AIFF or WAVE as the file format for export. 3 Press the [F5] (“Name”) key to move to the text dialog box, and specify the filename (☞BG p.43). 4 In “To,” specify the content that will be exported.
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, ... Create Directory This command creates a new directory within the current directory. 1 Select “Create Directory” to access the following dialog box. When wildcards are used, only files will be subject to copying. Directories will not be copied.
4 Press the [F5] (“Name”) key to move to the text dialog box, and specify the “Volume Label” (☞BG p.43). When the dialog box appears, “Volume Label” will show the volume label that had been specified before formatting. If a media that has no volume label or a non-DOS media is inserted, this will indicate “NEW VOLUME.” 5 Specify the initialization format. Normally you should use Quick Format to initialize the media, and use Full Format if an error message of “Media not Formatted” appears.
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7. Effect Guide Overview The effects section of TRITON Le consists of a single channel Insert Effect, two-channel Master Effects, a single-channel Master EQ (stereo, three-band EQ) and a Mixer section that controls the effect routings. The insert effect and master effects can be chosen from 89 types of full-digital effect, grouped into the categories listed below.
The following table shows the parameters related to the level settings: Insert Effect (IFX) Program mode Input Output OSC1/2 High, Low Level (PROG 2.1) Filter1/2 Trim (PROG 4.1, 4.2) Amp1/2 Level (PROG 5.1, 5.2) OSC1/2 Send1/2 (PROG 7.1) Effect Trim parameter *1 (PROG 7.1, 7.2) Effect W/D parameter (PROG 7.1, 7.2) Rtn1/2 (Return1, 2) (PROG 7.2) Combination mode Input Effect Trim parameter Output Output (COMBI 7.1, 7.2) Effect W/D parameter (COMBI 7.1, 7.
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 Off. If “BUS Select” is set to IFX, use “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))”(PROG 7.1–2) for the post-IFX signal (☞“3. Mixer”). The following illustration is an example in Combination mode. “BUS Select” settings have been made to send the output of timbre 1 to IFX and the other timbres to L/R.
2–3. Sampling mode (if the separately sold EXBSMPL option is installed) You can sample sound while applying the Insert Effects to the signal input from AUDIO INPUTs 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 Off. You cannot select 1, 2, or 1/2 (output to OUTPUTs 1, 2). 3. Mixer For each mode, use 7.
3–2. BUS Select 4–3. Sequencer mode 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 are 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.162 “Individual Outputs”). Select “Off” so that no signals will be output to L/MONO, R, 1 or 2. In this case, the signals are routed from the Master Effects to AUDIO OUTPUT (MAIN).
2. Routing Two 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 Effect in any mode, the Master Effects send levels are determined by the “Send Level 1/2 (MFX2)” parameters specified independently for the oscillators (Program), timbres (Combination), tracks (Sequencer).
3. Mixer The send levels determine the input levels of oscillators (Program), timbres (Combination), tracks (Sequencer) that are routed to the Master Effects. The 7.2: Ed–MasterFX (or Master FX) in all modes enable you to set the output levels and Master EQ gain values, and connect the Master Effects in series (chain). (1) 3–1.
4. Controlling the Master Effects via MIDI Master EQ The Master EQ (stereo, three-band EQ) is located right before AUDIO OUTPUT (MAIN) L/MONO, R. Low and High EQs are of the shelving type, and Mid EQ is a peaking type equalizer. You can control the Low Gain and High Gain parameters using the Dynamic Modulation function. The Master EQ (stereo, three-band EQ) is applied to the signal input from the L/R bus. For more information on the parameters, p.209.
Combination, Sequencer mode Effect / Mixer Block Diagram in Combination / Sequencer Mode COMBI/SEQ 7.1: Insert Effect Pan COMBI/SEQ 7.2: Master Effect IFX / Indiv.
Filter/Dynamic Level (Output Level) Sets the output level of the compressor d Filter and dynamics control effects ☞, 0...100 (Source) Off...Tempo Selects the modulation source for the compressor output level (Amount) –100...+100 Sets the modulation amount of the compressor output level 00: No Effect e Select this option when you do not wish to use any effects. The Insert Effect section outputs unprocessed signals and the Master Effect section mutes the output.
a Envelope (Envelope Select) L/R Mix, L Only, R Only, L/R Individually Selects from linking both channels, controlling only from left channel, only from the right channel, or controlling each channel individually Limiter - Attack / Release Threshold ☞ b Ratio Sets the signal compression ratio c Threshold Sets the level above which the compressor is applied 1.0:1...50.0:1, Inf:1 ☞ –40...0dB ☞ d Attack Sets the attack time 1...100 e Release Sets the release time 1...
W/D (Wet/Dly) Dry, 1:99...99:1, Wet Sets the balance between the effect and dry sounds i (Source) Selects the modulation source of the effect balance Off...Tempo (Amount) Sets the modulation amount of the effect balance –100...+100 c: Threshold, d: Attack, e: Release This parameter sets the signal level below which Gate is applied when “Envelope” is set to L/R Mix, L Only, or R Only. The Attack and Release parameters set the Gate attack time and release time.
e (Source) Selects the modulation source for the output level (Amount) Sets the modulation amount of the output level f Lo (Low Cutoff ) Sets the center frequency for Low EQ (shelving type) G (Gain) Sets the gain of Low EQ ☞, 0...50 07: St.Para.4EQ (Stereo Parametric 4-Band EQ) Off...Tempo –50...+50 20...1.0kHz This is a stereo 4-band parametric equalizer. You can select peaking type or shelving type for Band 1 and 4. The gain of Band 2 can be controlled by dynamic modulation.
d: B2 Dyn.G Src, d: (Amount), f: G You can control the gain of Band 2 using the modulation source. 09: St.Wah/AutoW (Stereo Wah/Auto Wah) Parametric 4EQ - Band2 Dynamic Gain Control D -mod +15dB This stereo wah effect allows you to create sounds from vintage wah pedal simulation to auto-wah simulation, and much broader range settings. Band2 Cutoff +6dB +6dB 0dB 0dB Band2 Cutoff –9dB Band2 Gain[dB]= +6.0 Band2 Dynamic Gain Amt[dB]= +9.
a: FreqBottm, a: FreqTop The sweep width and direction of the wah filter are determined by the “FreqBottm” and “FreqTop” settings. Sweep Mode=D-mod Frequency Top=75 Wah Higher Bottom=60 (Stereo Random Filter) This stereo band pass filter uses a step-shape waveform and random LFO for modulation. You can create a special effect from filter oscillation. Wah Woo Stereo In - Stereo Out Top=30 Woo Bottom=25 Higher Frequency 10: St.
When “LFO Wave” is set to Random, the “Step” parameter uses a random LFO cycle. Enh Dep (Enhancer Depth) 0...100 Sets the determines to what degree the Enhancer effect is applied Random Filter LFO LFO Frequency e LFO Step Freq (Source) Selects the modulation source of the Enhancer width Off...Tempo (Amount) Sets the modulation amount of the Enhancer width –100...
e Envelope Pre LPF 1...100 Sets the upper limit of the frequency range for which very low harmonics are added ☞ f Envelope Sens (Envelope Sensitivity) 0...100 Sets the sensitivity with which very low harmonics are added g Envelope Shape Sets the oscillator’s volume envelope curve BPM/MIDI Sync Off, On Switches between using the frequency of the LFO speed and using the tempo and notes ☞ Fx:09, g (Source) Selects the modulation source of the effect balance Off...
14: St.Decimator 15: St.AnalogRecd (Stereo Decimator) (Stereo Analog Record) This effect creates a rough sound like a cheap sampler by lowering the sampling frequency and data bit length. You can also simulate noise unique to a sampler (aliasing). This effect simulates the noise caused by scratches and dust on analog records. It also reproduces some of the modulation caused by a warped turntable.
e: L Dly, e: R Dly Pitch/Phase Mod. Setting the left and right delay time individually allows you to control the stereo image. Pitch/phase modulation effects 17: St.HarmnicCho 16: St.Chorus (Stereo Harmonic Chorus) (Stereo Chorus) This effect adds thickness and warmth to the sound by modulating the delay time of the input signal. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other. This effect applies chorus only to higher frequencies.
g: Feedback Sets the feedback amount of the chorus block. Increasing the feedback will allow you to use the effect as a flanger. 18: MltTap ChoDly 19: Ensemble This Ensemble effect has three chorus blocks that use LFO to create subtle shimmering, and gives three dimensional depth and spread to the sound, because the signal is output from the left, right, and center.
20: St.Flanger both “Feedback” and “W/D”, and if you set a negative value for both “Feedback” and “W/D”. (Stereo Flanger) h: High Damp This effect gives a significant swell and movement of pitch to the sound. It is more effective when applied to a sound with a lot of harmonics. This is a stereo flanger. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other. This parameter sets the amount of damping of the feedback in the high range.
22: St.Env.Flanger 23: St.Phaser (Stereo Envelope Flanger) (Stereo Phaser) This Flanger uses an envelope generator for modulation. You will obtain the same pattern of flanging each time you play. You can also control the Flanger directly using the modulation source. Stereo In - Stereo Out This effect creates a swell by shifting the phase. It is very effective on electric piano sounds. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.
24: St.Rndm Phasr 25: St.Env.Phaser (Stereo Random Phaser) (Stereo Envelope Phaser) This is a stereo phaser. The effect uses a step-shape waveform and random LFO for modulation, creating a unique phasing effect. This stereo phaser uses an envelope generator for modulation. You will obtain the same pattern of phasing each time you play. You can also control the Phaser directly using the modulation source.
26: St.BiphaseMod 27: St.Vibrato (Stereo Biphase Modulation) (Stereo Vibrato) This stereo chorus effect adds two different LFOs together. You 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. This effect causes the pitch of the input signal to shimmer. Using the AutoFade allows you to increase or decrease the shimmering speed.
“LFO Freq Mod”=AUTOFADE, “(Amount)”=+3.00 The effect is off when a value for the dynamic modulation source specified for the “AUTOFADE Src” parameter is smaller than 64, and the effect is on when the value is 64 or higher. The AutoFade function is triggered when the value changes from 63 or smaller to 64 or higher. AUTOFADE W/D Mod (Wet/Dry Mod) D-mod, AUTOFADE Switches between D-mod and AUTOFADE for the effect balance modulation ☞ Fx:27 W/D (Wet/Dly) –Wet...–1:99, Dry, 1:99...
W/D (Wet/Dly) Dry, 1:99...99:1, Wet Sets the balance between the effect and dry sounds j (Source) Selects the modulation source of the effect balance Off...Tempo (Amount) Sets the modulation amount of the effect balance –100...+100 BPM/MIDI Sync Off, On Switches between using the frequency of the LFO speed and using the tempo and notes ☞ Fx:09, d Times Sets the number of notes that specify the LFO speed 1...16 ☞ Fx:09 Pitch Dep (Pitch Depth) Sets the pitch variation of the moving sound e f ☞, 0.
31: Scratch f: Direct Mix This effect is applied by recording the input signal and moving the modulation source. It simulates the sound of scratches you can make using a turntable. With Always On, a dry sound is usually output. With Always Off, dry sounds are not output. With Cross Fade, a dry sound is usually output, and it is muted only when scratching. Set W/D to Wet to use this parameter effectively.
b: LFO Phase Mod./P.Shift This parameter determines the difference between the left and right LFO phases. A higher value will simulate the auto-pan effect in which the sound is panned between left and right. Other modulation and pitch shift effects 33: St.Env.Tremlo 32: St.Tremolo (Stereo Envelope Tremolo) (Stereo Tremolo) This effect modulates the volume level of the input signal.
34: St.Auto Pan Stereo Auto Pan - LFO Phase LFO Phase = 90 degrees LFO Phase = 0 degrees (Stereo Auto Pan) L-In L-In This Auto Pan effect pans sound between left and right. It is stereo, and shifting the left and right LFO phases from each other will simulate the sound of the left and right channels crossing over each other by turns, or chasing each other.
T Dep (Tremolo Depth) Sets the tremolo modulation depth 0...100 (Source) Off...Tempo Selects the modulation source for the tremolo modulation depth h lfoF (LFO Frequency) 0.02...20.00Hz Sets the LFO speed of the oscillator frequency modulation ☞ Fx:09, e (Amount) –100...+100 Sets the modulation amount of the tremolo modulation depth (Amount) Sets the modulation amount of LFO speed W/D (Wet/Dly) Dry, 1:99...
37: Detune a Using this effect, you can obtain a detune effect that offsets the pitch of the effect sound slightly from the pitch of the input signal. Compared to the chorus effect, a more natural sound thickness will be created. b Left Wet / Dry Input Level c High Damp Detune Delay Feedback Input Level Wet / Dry Sft (Pitch Shift) Sets the pitch difference from the input signal (Source) Selects the modulation source of pitch shift amount Off...
39: PitchShft Mod 40: Rotary SP (Pitch Shift Modulation) (Rotary Speaker) This effect modulates the detuned pitch shift amount using an LFO, adding a clear spread and width to the sound by panning the effect sound and dry sound to the left and right. This is especially effective when the effect sound and dry sound output from stereo speakers are mixed.
When “(Sw)” = Mmnt (Moment), the speaker is rotating. It stops only when you press the pedal or operate the joystick. Rotation will occur when the value of the modulation source is less than 64, and will stop when the value is 64 or greater. b: (Sw) This parameter sets how the rotation speed (slow and fast) is switched via the modulation source. When “(Sw)” = Tggl (Toggle), the speed is switched between slow and fast each time you press the pedal or operate the joystick.
42: Auto Reverse This effect records the input signal and automatically plays it in reverse (the effect is similar to a tape reverse sound). Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry + (L/C/R Delay) Right Wet / Dry D-mod Input 43: LCR Delay Direct Mix Auto Reverse Rec/Reverse Play Control D-mod only when its level exceeds the Threshold level. When recording is completed, reverse playback starts immediately.
44: St/Cross Dly 45: St.MltTap Dly (Stereo/Cross Delay) (Stereo Multitap Delay) This is a stereo delay, and can by used as a cross-feedback delay effect in which the delay sounds cross over between the left and right by changing the feedback routing. The left and right Multitap Delays have two taps respectively. Changing the routing of feedback and tap output allows you to create various patterns of complex effect sounds.
46: St.Mod. Delay e: LFO Sync, e: Src, f: L Phase, f: R Phase (Stereo Modulation Delay) This stereo delay uses an LFO to sweep the delay time. The pitch also varies. You will obtain a delay sound with swell and shimmering. You can also control the delay time using a modulation source. The LFO can be reset via a modulation source. The “Src” parameter sets the modulation source that resets the LFO.
a: Pol, b: Threshold, b: Offset, c: Attack, d: Release The “Offset” parameter specifies the value for the “Ctrl Target” parameter (that is set to None), expressed as the ratio relative to the parameter value (the “W/D” value with “Ctrl Target”=Out, or the “Feedback” value with “Ctrl Target”=FB).
InLvl Mod (Input Level Dmod [%]) Sets the modulation amount of the input level h –100...+100 Src (Source) Selects the modulation source for the input level Off...Tempo ☞ Fx:37 Spread Sets the width of the stereo image of the effect sound i f R> ----, OVER! Display the error message if the right channel delay time exceeds the upper limit ☞ 0...50 ☞ Fx:43 W/D (Wet/Dly) Dry, 1:99...
Src (Source) Selects the modulation source for the input level Off...Tempo ☞ Fx:37 W/D (Wet/Dly) Dry, 1:99...99:1, Wet Sets the balance between the effect and dry sounds i Reverb –100...+100 ☞ Fx:37, (Source) Selects the modulation source of the effect balance Off...Tempo (Amount) Sets the modulation amount of the effect balance –100...
Using the “Pre Delay Thru” parameter, you can mix the dry sound without delay, emphasizing the attack of the sound. Reverb - Hall / Plate Type Level Louder Dry g: ER Level, h: Reverb Level These parameters set the early reflection level and reverb level. Changing these parameter values allows you to simulate the type of walls in the room. That is, a larger “ER Level” simulates a hard wall, and a larger “Reverb Level” simulates a soft wall.
59: P4EQ–Wah Mono → Mono Chain (Parametric 4-Band EQ – Wah/Auto Wah) Effects that combine two mono effects connected in series This effect combines a mono-type four-band parametric equalizer and a wah. You can change the order of the connection. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out 58: P4EQ–Exciter Left (Parametric 4-Band EQ – Exciter) Wah/Auto Wah + This effect combines a mono-type four-band parametric equalizer and an exciter.
60: P4EQ–Cho/Fl 61: P4EQ–Phaser (Parametric 4-Band EQ – Chorus/Flanger) (Parametric 4-Band EQ – Phaser) This effect combines a mono-type four-band parametric equalizer and a chorus/flanger. This effect combines a mono-type four-band parametric equalizer and a phaser.
62: P4EQ–M.Dly 63: Comp–Wah (Parametric 4-Band EQ – Multitap Delay) This effect combines a mono-type four-band parametric equalizer and a multitap delay. (Compressor – Wah/Auto Wah) This effect combines a mono-type compressor and a wah. You can change the order of the connection.
64: Comp–AmpSim Level (Output Level) Sets the overdrive output level (Compressor – Amp Simulation) d This effect combines a mono-type compressor and an amp simulation. You can change the order of the effect connection. Wet / Dry Routing Compressor EQ Trim LEQ e Amp Simulation Wet / Dry Envelope - Control d [CMP] Sensitivity Sets the sensitivity 1...100 ☞ Fx:02 Attack Sets the attack level 1...100 ☞ Fx:02 Level (Output Level) Sets the compressor output level 0...
C/F W/D (Cho/Flng Wet/Dry) Sets the center frequency for Band 3 g 300...10.00kHz Q Sets the bandwidth of Band 3 0.5...10.0 ☞ Fx:06 G (Gain) Sets the gain of Band 3 –18...+18dB B4 (Band4 Cutoff) Sets the center frequency for Band 4 h 500...20.00kHz Q Sets the bandwidth of Band 4 0.5...10.0 ☞ Fx:06 G (Gain) Sets the gain of Band 4 When Wet Inv is selected, the right channel phase of the chorus/ flanger effect sound is inverted. This creates pseudo-stereo effects and adds spread.
69: Comp–M.Dly 70: Limit–P4EQ (Compressor – Multitap Delay) (Limiter – Parametric 4-Band EQ) This effect combines a mono-type compressor and a multitap delay. You can change the order of the effect connection. This effect combines a mono-type limiter and a four-band parametric equalizer. You can change the order of the effect connection.
71: Limit–Cho/Fl 72: Limit–Phaser (Limiter – Chorus/Flanger) (Limiter – Phaser) This effect combines a mono-type limiter and a chorus/ flanger. You can change the order of the effect connection. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry Routing + + Chorus/Flanger Limiter EQ Trim LEQ HEQ Gain Adjust Feedback d LFO: Tri / Sine [LMT] Ratio Sets the signal compression ratio 1.0:1...50.
73: Limit–M.Dly Pre EQ Trim Sets the EQ input level c (Limiter – Multitap Delay) This effect combines a mono-type limiter and a multitap delay. You can change the order of the effect connection. d Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out e Left Wet / Dry Routing Multitap Delay Limiter f Feedback + Limiter Delay (2) Gain Adjust High Damp (1) Mt.Dly Wet / Dry g Right Wet / Dry Envelope - Control a b c d e 1.0:1...50.
76: Exct–Cho/Fl (Exciter – Chorus/Flanger) d This effect combines a mono-type limiter and a chorus/ flanger. e Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Chorus/Flanger Exciter HEQ + Exciter Chorus/Flanger Feedback Normal Output Mode Wet Invert Cho/Flng Wet / Dry f + – Right g a [XCT] Blend (Exciter Blend) Sets the intensity (depth) of the Exciter effect b Emphatic Point Sets the frequency range to be emphasized c Pre EQ Trim Sets the EQ input level –100...
79: OD/HG–AmpSim 80: OD/HG–Cho/Fl (Overdrive/Hi.Gain – Amp Simulation) (Overdrive/Hi.Gain – Chorus/Flanger) This effect combines a mono-type overdrive/high-gain distortion and an amp simulation. You can change the order of the effect connection. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Left Wet / Dry Routing Overdrive / Hi-Gain This effect combines a mono-type overdrive/high-gain distortion and a chorus/flanger.
81: OD/HG–Phaser 82: OD/HG–M.Dly (Overdrive/Hi.Gain – Phaser) (Overdrive/Hi.Gain – Multitap Delay) This effect combines a mono-type overdrive/high-gain distortion and a phaser. You can change the order of the effect connection. This effect combines a mono-type overdrive/high-gain distortion and a multitap delay.
83: Wah–AmpSim (Wah/Auto Wah – Amp Simulation) This effect combines a mono-type wah and an amp simulation. You can change the order of the effect connection.
86: AmpSim–Trml 87: Cho/Fl–M.Dly (Amp Simulation – Tremolo) (Chorus/Flanger – Multitap Delay) This effect combines a mono-type amp simulation and a tremolo. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out This effect combines a mono-type chorus/flanger and a multitap delay.
88: Phasr–Cho/Fl 89: Reverb–Gate (Phaser – Chorus/Flanger) This effect combines a mono-type reverb and a gate. This effect combines a mono-type phaser and a chorus/ flanger.
Master EQ Master EQ Use 7.2: MasterFX MEQ page in Program, Combination modes and 7.2: Master FX MEQ page in Sequencer mode. You cannot use the Master EQ in Sampling mode. You cannot use the Master EQ for the Insert Effect or Master Effects. Low Mid High Left L/Mono LEQ PEQ HEQ LEQ PEQ HEQ Right R Low Gain Mod. High Gain Mod. D-mod Low Gain Mod - Src D-mod High Gain Mod - Src a Low Cutoff Sets the cutoff frequency of Low EQ (shelving type) Gain Sets the gain of Low EQ 20...1.00KHz –18.0...
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8. Appendices About Alternate Modulation Sources Alternate Modulation Source (AMS) There are 42 Alternate Modulation sources (AMS) that can control Alternate Modulation destinations. If you select two or more Alternate Modulation destinations for control by the same AMS, a single source will apply modulation to each of the specified destinations.
AMS (Alternate Modulation Source) List Off do not use Alternate Modulation (PEG) Pitch EG pitch EG (FEG) Filter EG filter EG within the same oscillator (AEG) Amp EG amp EG within the same oscillator (LFO) LFO1 LFO1 within the same oscillator (LFO) LFO2 LFO2 within the same oscillator (KT) Flt KT +/+ (Filter Keyboard Track +/+) filter keyboard tracking within the same oscillator (☞p.
Flt KT +/+ (Filter Keyboard Track +/+) Flt KT +/– (Filter Keyboard Track +/–) Flt KT 0/+ (Filter Keyboard Track 0/+) Flt KT +/0 (Filter Keyboard Track +/0) Amp KT +/+ (Amp Keyboard Track +/+) Amp KT +/– (Amp Keyboard Track +/–) Amp KT 0/+ (Amp Keyboard Track 0/+) Amp KT +/0 (Amp Keyboard Track +/0) +/+: The direction of the effect will be determined by the sign (positive or negative) of the “Ramp Low” or “Ramp High” setting.
Alternate Modulation settings When you operate an AMS (Alternate Modulation Source), the modulation destination will be affected as shown in the table below. The effect of alternate modulation on various parameters, and example applications By using alternate modulation, you can create complex systems of modulation in which EG, LFO, keyboard tracks, and controllers work together. Pitch (PROG 3.
• 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 (B AMS 1/2 Intensity)” parameter to different values, a single controller operation will simultaneously control the cutoff frequencies of the two filters. Filter LFO 1/2 Intensity (PROG 4.1–4a) Resonance (PROG 4.
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, controllers, 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. If you set “Int. (AMS Intensity)” to a positive (+) value, the tremolo effect will deepen as the EG level rises, and lessen as the EG level falls. If “Int.
Dynamic Modulation Source (Dmod) When After Touch is at its maximum, the effect balance will be 60:40. Dynamic Modulation (Example) You can control certain effect parameters using the joystick, REALTIME CONTROLS knobs, etc. “on the fly.” Controlling effects in this way is referred to as Dynamic Modulation. For example, you can use After Touch to speed up the LFO of the chorus and flanger, or you can use the joystick to activate the wah effect.
In Program mode and Sampling mode (if the EXBSMPL option is installed), dynamic modulation of the insert effect and master effects is controlled on the global MIDI channel. (In Sampling mode, only the insert effect can be used.) In Combination mode and Sequencer mode, dynamic modulation of the insert effect and master effects are controlled on the MIDI channel that has been specified as the “Control Channel” for IFX, MFX1, and MFX2 respectively.
About the BPM/MIDI SYNC function BPM/MIDI SYNC can be used for most effects that have an LFO, such as 09:St. Wah/Auto Wah, and for some delaytype effects such as 49:L/C/R BPM Delay. You can apply modulation that is synchronized to the tempo, or specify the delay time in terms of a note value so that the effect will synchronize to the tempo of the arpeggiator or sequencer during a live performance even if you change the tempo.
SW1/2 Assign • In Sampling mode (when the EXB-SMPL option is installed), assign the functions in the 5.2: Controller/ Controls page setting “SW1/2 Assign” (5.2–1b). The following functions can be assigned to the [SW1] or [SW2] keys. This can be set for each program in Program mode, each combination in Combination mode, and each song in Sequencer mode. For Sampling mode, the settings apply to the entire mode. • For a program, combination, or song make the settings in 2.
Knob 1...4 B Assign The following functions can be assigned to the REALTIME 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 5.2: Controller/ Controls page setting “Knob B Assign” (5.2–1a). This can be set for each program in Program mode, each combination in Combination mode, and each song in Sequencer mode.
The A-mode functions of the REALTIME CONTROLS are fixed. Knob1-A: LPF Cutoff (Filter LPF Cutoff: CC#74) Control the low pass filter cutoff frequency of the filter. Simultaneously, CC#74 will be transmitted. Knob2-A: Resonance/HPF (Filter Resonance/HPF Cutoff: CC#71) Control the resonance level or the cutoff frequency of the high pass filter. If the program “Filter Type” is Low Pass Resonance, the resonance level will be controlled.
Foot Pedal Assign You 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” (1.1–3a). If you select a function that includes a CC#, that MIDI control change message will be transmitted each time the pedal is operated. (min: 0, max: 127) Foot Pedal Assign List Off The connected pedal will not function.
MIDI transmission when the TRITON Le‘s controllers are operated The following table shows the relation between the MIDI messages that are transmitted when the TRITON Le’s controllers are operated, and the AMS (alternate modulation source) or DMS (dynamic modulation source) that correspond to each MIDI message. # indicates a fixed function, and * indicates an assignable function. When one of the TRITON Le’s controllers is operated, the corresponding or the assigned control change will be transmitted.
Sequencer mode When one of the TRITON Le’s controllers is operated, its effect will apply to the track 1–16 that is selected by “Track Select” (SEQ 1.1–1c). If the “Status” (SEQ 3.1–1a/2a) of the track selected by “Track Select” is EXT, EX2, or BTH, a control change message will be transmitted on the MIDI channel specified by “MIDI Channel” (SEQ 3.1–1a/2a). If the “Status” is INT or BTH, operating one of the TRITON Le’s controllers will affect only that track.
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TRITON Le controller Joy Stick Realtime Controls A Realtime Controls B Arp-Gate (Realtime Controls C) Arp-Velocity (Realtime Controls C) SW1,2 ARP On/Off Damper Assignable Switch Assignable Pedal Available for AMS Available for DMOD MIDI channel messages Note-off Note-on (note number) * * Note-on (velocity) * * Poly after touch * 0 Bank select (MSB) * 1 Modulation 1 # (+Y) * * * 2 Modulation 2 # (–Y) * * * * * 3 – * 4 Foot controller * 5 Portamento time * * 6 Data en
The following table shows the operations that the TRITON Le will perform when control change messages are received, and the relation between settings and controller movements on this instrument TRITON Le operations when control changes are transmitted/received CC # Control Value Function 0 Bank select (MSB) 0...127 bank select message MSB 1 Modulation 1 0...127 corresponds to joystick movement in the +Y direction (away from yourself) 2 Modulation 2 0...
Any control change number (CC#00–95) can be assigned as the B-mode function of a REALTIME CONTROLS 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 5.2–1b). However in some cases this will be insufficient when you wish to change banks on an external device. In such cases, you can use CC#00 and CC#32 to specify the banks.
CC#75: Decay time Corresponds to “Filter/Amp EG Decay Time” (PROG 4.1/2: Ed–Filter1/2, EG page, 5.1/2: Ed–Amp1/2, EG page) Corresponds to “Filter/Amp EG Slope Time” (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 Frequency” (PROG 5.3: Ed– LFOs, OSC1/2, LFO1 page). CC#77: LFO1 depth (pitch LFO1 intensity) Corresponds to “Pitch LFO1 Intensity” (PROG 3.1: Ed– Pitch, OSC1LFO page). CC#78: LFO1 delay Corresponds to “LFO1 Delay” (PROG 5.
You can also use a MIDI patch bay to control multiple MIDI devices. MIDI applications ■ About MIDI TRITON Le MIDI OUT MIDI stands for Musical Instrument Digital Interface, and is a world-wide standard for exchanging various types of musical data between electronic musical instruments and computers. When MIDI cables are used to connect two or more MIDI devices, performance data can be exchanged between the devices, even if they were made by different manufacturers.
generator will be internally disconnected). When you play the keyboard of the TRITON Le, the musical data will be transmitted to the external MIDI sequencer or computer, and then echoed back to play the TRITON Le tone generator. In other words, by turning Local Control OFF, you can prevent notes from being sounded in duplicate, as would otherwise occur if a note were sounded by the TRITON Le’s own keyboard and again by the data that was echoed-back.
After touch 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) Channel after touch [Dn, vv] (n: channel, vv: value) • The internal banks that correspond to each bank select number will depend on the “Bank Map” setting (GLOBAL 1.1–2a). With the factory settings, this will be GM. (☞p.
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 direction (away from yourself), Modulation 1 Depth messages will be transmitted. When these messages are received, the same effect will be applied as when the TRITON Le’s joystick is operated. Normally this will apply a vibrato effect (pitch LFO). • In Combination and Sequencer modes, transmission/ reception can be switched on/off for each timbre/track (☞“JS+Y CC#01” COMBI/SEQ 4.
Effect control Effect control 1 (CC#12) [Bn, 0C, vv] Effect control 2 (CC#13) [Bn, 0D, vv] When the above CC# is assigned to the ASSIGNABLE PEDAL or as the B-mode function of a REALTIME CONTROLS knob [1]–[4], operating that controller will transmit Effect Control 1/2 messages, and the specified dynamic modulation will be controlled. When this message is received, the result will be the same as when the controller is operated.
Sostenuto (CC#66) [Bn, 42, vv] If the above CC# is assigned as the function of the ASSIGNABLE SWITCH, operating the switch will transmit this message with vv=127 [7F] for ON, and vv=0 [00] for OFF, and the sostenuto effect will be turned on/off. When this message is received, the result will be the same as when the controller is operated (OFF for vv=63 [3F] or below, and ON for vv=64 [40] or above).
You can use the universal exclusive Fine Tune message to adjust the overall tuning that corresponds to the “Master Tune” (GLOBAL 1.1–1a) parameter. (☞p.237 “About system exclusive messages”) Transposing RPN coarse tune [Bn, 65, 00, 64, 02] This RPN message can be used to adjust the transposition for a program or timbre (in Combination mode), or for a track (in Sequencer mode). The procedure is as follows. 1 [Bn, 65, 00, 64, 02]: Select RPN parameter 02.
Master coarse tuning [F0, 7F, nn, 04, 04, vv, mm, F7] (Normally only the upper byte mm is used. A value of 8192 [mm, vv=40, 00] is center, 6656 [mm, vv=34, 00] is –12 semitones, and 9728 [mm, vv=4C, 00] is +12 semitones.) When this is received, “Key Transpose” (GLOBAL 1.1–1a) parameter will be set. Transmitting sound settings data (Data Dump) Data for programs, combinations, drum kits, user arpeggio patterns, global settings, and sequencer data can be transmitted as MIDI exclusive messages.
Synchronizing the playback of the arpeggiator or sequencer Recording musical data from an external device The choice of whether the TRITON Le will be the master (the controlling device) or the slave (the controlled device) is made by “MIDI Clock” (GLOBAL 2.1–1a). There are two ways in which you can play back an external sequencer and record its playback on this instrument. Connect the MIDI OUT connector of this instrument to the MIDI IN connector of the external MIDI device. (☞p.
from MIDI OUT according to the local control setting (“Local Control On”) as described below. Converting the GS/XG bank/program maps to the GM2 bank/program map Local Control On: Notes from the arpeggiator or RPPR will be transmitted from MIDI OUT. Normally you will use this setting. • When bank select/program change messages used by GS/XG are received, they will automatically be converted to the G, g(d) bank/program map of this instrument.
About standard MIDI files Standard MIDI files (SMF) make it possible for different computer programs or musical instruments made by different manufacturers to exchange time-based MIDI data. Each standard MIDI file contains one song. This instrument supports format 0 (type 0) in which all of the MIDI data is combined into one track, and format 1 (type 1) in which the data is separated by track.
Destination multisample and source multisample are identical Various messages Meaning: The same multisample is selected for the source and destination. Action: Select different multisamples for the source and destination. A Are you sure? Meaning: This message asks you to confirm execution. To execute press the [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key. Destination sample already exists Can’t calibrate Meaning: A sample already exists at the destination (save location).
F I File already exists Illegal file description Meaning: When executing a Create Directory or File Rename operation, a directory or file of the same name already exists on the media. Meaning: When executing the Media mode utility menu command “Copy” without using wild cards, the copy destination contained a file of the same name as the copy source.
Medium write protected Meaning: The SmartMedia or other media to which you attempted to save is write-protected. Action: Turn off write protect on the media and execute the command once again. Memory full Meaning: In Sequencer mode when editing a song, track or pattern, the total data of all songs has used up all of the sequence data memory, and further editing is not possible. Action: Delete other song data etc. to increase the amount of free memory.
Meaning: There is insufficient multisample memory. (The number of multisamples would exceed the maximum of 1,000.) Action: Delete multisamples to increase the amount of free memory. Not enough relative parameter memor y Meaning: There is insufficient memory for relative parameters. (The number of samples in the multisamples would exceed the maximum of 4,000.) Action: Delete multisamples or indices of multisamples to increase the amount of free memory.
Y Selected file/path is not correct Meaning: When loading a KSF file that was split across multiple media, the order in which you attempted to load the files was incorrect. Action: Load the KSF file in the correct order. To view the file number order in which the KSF files were saved, you can check the Utility “Translation.” (The sample name and number of the first KSF file will be displayed.
The TRITON Le can load (and automatically convert) .PCG/ .SNG files from TRITON keyboard models (TRITON/TRITON-pro/TRITON-proX) 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. The .KSC, .KMP, .KSF, .MID, .EXL, .AIF, and .WAV files of a TRITON keyboard model or TRITON-Rack are completely compatible. These files can be loaded/ saved via external media. Conversion loading of .PCG/.
Drum Kits TRITON keyboard model TRITON-RACK TRITON Le 00-15(A/B) 00-15(I-A/B) 00-15(INT) 16-23(C) 16-23(E-A) 16-23(User) 24-31(C)* 25-31(E-A)* 16-23(User)# 32-39(D)* 32-39(E-B)* 16-23(User)# 40-47(D)* 40-47(E-B)* 16-23(User)# 48-55(User)* 48-55(E-C)* 16-23(User)# 56-63(User)* 56-63(E-C)* 6-23(User)# - 64-79(E-E)* All 32(GM)# - 80-95(E-D)* All 32(GM)# - 96-111(E-F)* All 32(GM)# - 112-127(E-G)* All 32(GM)# - 128-143(E-H)* All 32(GM)# 64-72(GM) 144-152(GM) 24-32(GM) *:
Media mode information When exporting AIFF files Chunks that are supported When loading AIFF files When data is loaded into the TRITON Le, the following four chunks are referenced: Common chunk, Sound Data chunk, Marker chunk, and Instrument chunk. Other chunks are ignored. Restrictions on the parameters in each chunk are described below. Common chunk Only one (mono) or two (stereo) channels are supported. Sample sizes of 1–16 bits are supported.
About KORG format files • Attributes KORG format file structure There are 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. Multisample parameter attributes MSB LSB 1: Not Use 2nd Start 0: Use It NC(0) Korg format file structure PCMGROUP.KSC PIANO.KMP PIANO.KMP Ac. Piano 4 RHODES.KMP SNARE_00.KSF PI0000.
[4 bytes] [4 bytes] [16 bytes] [1 bytes] [3 bytes] [4 bytes] [4 bytes] [4 bytes] ● Sample data chunk Chunk ID (‘SMD1’) [4 bytes] Chunk size (12 + number of sample [4 bytes] databytes) Sampling frequency [4 bytes] The sampling frequencies supported by the TRITON Le is 48000/47619/44100/32000/31746/31250/29400/ 24000/23810/22254/22050/21333/21164/20833/19600/ 16000/15873/15625/14836/14700/14222/14109/13889/ 13067/12000/11905/11127/11025/10667/10582/10417/ 9891/9800/9481/9406/9259/8711/8000/7937/7813/ 7418/73
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Option EXB-SMPL Please read this before you begin installation Memory that can be used with the option board ■ EXB-SMPL sampling upgrade Safety precautions The functionality of the TRITON Le can be expanded in the following ways by installing the EXB-SMPL sampling upgrade. Warnings The upgrade adds audio inputs (AUDIO INPUT), Sampling mode (sampling functionality), and a SCSI connector for external SCSI devices.
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 are not a manufacturer option. Please purchase commercially-available boards that are sold for use in computers. In order to use the maximum of 64 Mbytes, you will need to remove the 16 Mbyte DRAM SIMM that was installed when installing the EXB-SMPL, and use two 32 Mbyte DRAM SIMM modules.
2–1. Detaching cover “A” for the EXB-SMPL 2 Remove the EXB-SMPL from its packing pouch. 1 Use a screwdriver to remove one screw from cover “A.” When the TRITON Le is upturned and the rear panel is toward you, cover “A” is the large one at the right. 3 Note that screws and washers are attached to two corners of the board. 4 Lightly bend the flat cable as shown in the diagram below.
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 board. EXB-SMPL Rear side of DRAM SIMM Screw Washer Press in at a slant Chassis to which the board is attached Catch Rear side of DRAM SIMM Catch Connector Press in all the way Raise to vertical Rear side of DRAM SIMM 9 Reversing the procedure by which you removed cover “A,” re-attach the cover.
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.” After installing an option board/memory, be sure to turn on the power and make sure that the option board/memory that you installed is displayed in the LCD screen.
Index Numerics 00: No Effect ...................45, 156, 159 10’s Hold Combination..............................32 Program .......................................2 A ADC OVER! .............................92, 93 After Touch MIDI Filter Combination ........................41 Sequencer..............................66 AfterTouch Curve .......................122 Convert Position .....................127 AIFF file .............7, 87, 139, 146, 150, 151, 247 AIFF format ..................................
D Data Dump .................................. 236 Decay Time ................ 4, 8, 12, 17, 20 Delete Delete Cue List......................... 59 Delete Measure ........................ 76 Delete Multisample ................. 95 Delete Song............................... 52 Event.......................................... 75 Note, Rest.................................. 75 Sample............................... 94, 100 Deleting a note or rest .................. 75 Detune ......................................
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.....................................8 Send .......................................26 Trim .......................................13 Sampling............................93, 116 Sequencer Level (Chain Level) .............86 Send .......................................
Q Quantize......................................... 79 Reso (Realtime Quantize Resolution)........................... 50 R RAM Bank ..................................... 90 RAM multisample .......................... 6 REALTIME CONTROLS .............. 9, 24, 32, 36, 51, 61, 67, 81, 92, 118, 135, 209, 213, 217, 221, 222, 224, 226, 231, 232, 233, 235, 237 Realtime recording ..................... 224 REC Mode Sampling ............................. 91, 92 Recording Level ............................
V Velocity Arpeggiator Combination ..................44, 45 Program ................................24 Arpeggio ..................................137 Combination..................40, 43, 45 Modify Velocity ........................80 Program ............6, 7, 8, 10, 14, 15, 20, 24 Sequencer.....65, 66, 74, 80, 81, 83 Velocity Cross-fade ..................40 Velocity Curve ........................122 Specified location ..............127 Velocity SW Lo→Hi DrumKit..............................132 Program ......
