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Thank you for purchasing the Korg TRITON Extreme music workstation/sampler. To ensure trouble-free enjoyment, please read this manual carefully and use the instrument as directed. About this manual The owner’s manuals and how to use them The TRITON Extreme come with the following owner’s manuals.
Table of Contents About this manual .......................................ii Introduction................................................ 1 Main features...................................................................... 1 Front and rear panel.......................................................... 3 Names and functions of objects in the LCD screen ...... 8 Overview of the TRITON Extreme’s modes................ 10 About polyphony ............................................................
Use sampled Wave files to create an audio CD and play it: Media, Make Audio CD, Play Audio CD .......... 123 Editing a Wave file: Media, Edit WAVE.................... 125 Viewing information about media: Media, Media Info................................................................... 125 Handling CompactFlash and Microdrive media...... 125 Restoring the factory settings ...................127 Restoring the factory settings ...................................... 127 Loading the EXB-MOSS data............
Filter/synthesis section: • Either a 24 dB/oct Resonant Low Pass or a 12 dB/oct Low Pass & High Pass type filter can be used. A wide variety of filter effects can be achieved, from active sounds with aggressive resonance to subtle tones using a high pass filter. • A broad range of editing parameters gives you precise control over every aspect of the sound.
Sequencer A sophisticated 16-track MIDI sequencer is built in. • The TRITON Extreme combines dual arpeggiators, RPPR, time slice, in-track sampling, and many other functions, giving you an integrated music production environment with even more potential than an external sequencer would provide. MIDI exclusive message recording/playback is also supported. • The Cue List function lets you play up to 99 songs in the order you specify.
Introduction Front and rear panel Front panel 8 4 5 6 9 12 Sequencer Combination Program 16 17 1 2 3 3. Ribbon controller Various program parameters and effect parameters will determine what is controlled by the ribbon controller. Slide your finger to the left or right on this ribbon controller to vary the effect (☞p.21). 4. [VOLUME] slider This adjusts the volume that is output from the AUDIO OUTPUT (MAIN) L/MONO, R jacks and the headphone jack. 5.
6. Mode keys Use these keys to enter the desired mode. When you press a key, the key will light, and you will enter the mode whose key you pressed (☞p.10). [COMBI] key Combination mode will be selected. [PROG] key Program mode will be selected. [SEQ] key Sequencer mode will be selected. [SAMPLING] key Sampling mode will be selected. [S.PLAY] key Song Play mode will be selected. [GLOBAL] key Global mode will be selected. [MEDIA] key Numeric keys [0] – [9], [ENTER] key, [–] key [.
14. ARPEGGIATOR Introduction Each time you press the [G] key when selecting a program, the bank selection will step to the next GM(2) bank or GM drum bank in the following order: G, g(1), g(2)– g(8), g(9), g(d), G, g(1) etc ... These knobs control the performance of the arpeggiator in realtime (☞QS p.11). The F bank can be only be selected in Program mode, and only if the EXB-MOSS option is installed. 13.
17. Sample memory (RAM) slot cover You can open this cover and install SIMM boards to expand the sample memory (RAM). A maximum of three 32 Mbyte SIMM boards can be installed as sample memory (RAM). (☞PG p.321) 18. Headphone jack A set of headphones can be connected here (stereo 1/4" jack). This allows stereo monitoring of the same signal as the OUTPUT L/MONO and R jacks. Rear panel 1. AC power supply connector Connect the included power supply cable here.
You can connect an external USB device to this connector. Use this connector to connect storage media such as a hard disk, MO, or CD-RW drive. (☞PG p.325) USB B connector (for connecting to a computer) You can connect your computer to this connector. This lets you use your computer to access data on the TRITON Extreme’s CompactFlash (Microdrive) card. This connection also lets you send and receive MIDI data between the TRITON Extreme and your computer. (☞PG p.
Names and functions of objects in the LCD screen * Popup menu Pin The TRITON Extreme uses Korg’s TouchView graphical user interface. By touching objects displayed in the LCD screen, you can select pages, set parameter values, rename programs and combinations, write data, and perform many other operations. References in the TRITON Extreme’s owner’s manual to the “... button” or “... tab” refer to objects displayed on the LCD screen. References to the “[...] key,” “[...] knob,” “[...] dial,” or “[...
* Page jump menu Introduction f: Check box Each time you press a check box, a check mark will be added or removed. When checked, the parameter will function; when unchecked, the parameter will not function. g: Radio buttons Press a radio button to select one value from two or more choices. h: Tab Text edit button Sequencer Combination Toggle buttons This type of button will change its function or switch on/ off each time it is pressed.
The following multisamples are available for the oscillator. Overview of the TRITON Extreme’s modes The TRITON Extreme has a large number of functions that let you play and edit programs and combinations, record and play sequence data, record and play back samples, and manage data on media. The largest unit used to organize these functions is called a mode. The TRITON Extreme has seven modes.
Global mode • Use the 16-track MIDI sequencer to record and play songs. • Make settings that affect the entire TRITON Extreme, such as master tune and global MIDI channel. • Record onto the sixteen MIDI tracks individually or all sixteen tracks at once. Exclusive messages can also be recorded and edited. • Create user drum kits (144 kits), user arpeggio patterns (507 patterns), and user scales (16 one-octave scales and 1 all-note scale). • Perform sampling/resampling.
Number of voices in each mode About polyphony Tone generators and oscillators Each oscillator in the TRITON Extreme is sounded by one of two Tone Generators. Each tone generator is connected to the various PCM memories as shown in the diagram below.
Basic operation 3 In the LCD screen, press the desired page. You will jump to the selected page, and it will appear in the display. As an example here, press P1: Edit-Basic. COMBI PROG SEQ SAMPLING S.PLAY GLOBAL MEDIA COMPARE Program Combination mode Program mode Sequencer mode Sampling mode Song Play mode Global mode Media mode • As a reminder, the page that was selected before you pressed the [MENU] key will have its top right corner bent over.
VALUE controllers [VALUE] slider Use this when you wish to make major changes in the value. In Program mode and Combination mode, this slider can also be used as a control source for alternate modulation or dynamic modulation. (This is active in Program or Combination P0: Play when the “Program Select” or “Combination Select” (the large characters in the upper part of the LCD) is selected). [ ][ ] keys Use these when you wish to make small changes in the value.
Setup Setup Connections Program Connections must be made with the power turned off. Please be aware that careless operation may damage your speaker system or cause malfunctions. 3. Analog audio input connections CD player, analog record player, etc. Sequencer Combination If a passive type guitar (a guitar without an internal preamp) is connected, it will not be possible to sample at an appropriate level due to the impedance mismatch. Such instruments must be connected via a preamp or effect unit.
1. Connecting the power cable 3. Analog audio input connections 1 Turn off the power of the TRITON Extreme. You can input external analog audio sources, and sample them or process them with the internal effects and output them from the OUTPUT jacks. 2 Plug the included power cable into the AC power supply connector located on the back of the TRITON Extreme. 3 Connect the other end of the power cable to an AC outlet.
The TRITON Extreme’s CF card slot does not support hot-plugging. You must turn off the power before inserting or removing CF card slot media. Turning off the TRITON Extreme to insert media into the CF slot will cause your unsaved sequence and sample data to be lost; so we suggest you always insert your media before you turn the TRITON Extreme on, in case you want to save any of the data you create.
Turning the power on/off Before you turn on the power, make sure that the desired connections have been made as described in “Connections” (☞p.15). 1. Turning the power on 1 Press the rear panel [POWER] switch to turn on the power. The LCD screen will display the name of your model, and the software version. (The following graphic shows the factory-set LCD screen. The version number is subject to change without notice.
Playing and editing programs (Program Mode) Program mode page structure Each of the rewritable banks A–E and H–N contain 128 programs (total 1,536). There are also non-rewritable bank G (GM2 capital programs), banks g(1)–g(9) (variation programs), and bank g(d) (drums). When shipped, banks A– D and H–N contain preloaded programs. Program banks P2: Edit-Pitch Settings related to the pitch, including the pitch EG. P3: Edit-Filter Settings related to the filter (tone), including the filter EG.
Playing a program P0: Play Here you can select and play programs. You can use the Performance Editor to make simple edits, and also make settings for the arpeggiator, external audio input, and sampling. Selecting by bank You can select programs from a list organized by program bank. 1 Press the “Program Select” popup button. A tabbed “Bank/Program Select” popup menu will appear. Selecting a program There are three ways to select a program. For the procedure, refer to the appropriate page.
] keys to change the value of 4 To cancel the 10’s HOLD function, press [./10’s display. HOLD] to erase the Using a footswitch to select programs You can assign the Program Up/Down function to an on/ off type foot switch (such as the optional PS-1) connected to the rear panel ASSIGNABLE SWITCH jack, and use it to switch combinations. (☞p.90) Program Sequencer Combination Sampling You can use the Lock function of [SW1] or [SW2] keys to hold the effect in the current position of the joystick.
You can specify the way in which the [SW1] and [SW2] keys will operate: either Toggle, when the assigned function will be switched between on and off each time the key is pressed, or Momentary, when the assigned function will be active on only as long as you hold down the switch. In Program mode, the function of the [SW1] and [SW2] keys can be checked in the P0: Play, Performance Edit page. When you write a program or combination, the on/ off status of the [SW1] and [SW2] keys is saved.
Assignable Foot Switch If an optional foot switch such as the Korg PS-1 is connected to the rear panel ASSIGNABLE SWITCH jack, an assigned function can be switched on/off using the foot switch. The function of the foot switch is assigned in Global P2: Controller “Foot Switch Assign” (☞p.90). The P1: Edit-Basic–P5: Edit Common LFO parameters are shared by oscillators 1 and 2, and can be copied using the page menu command “Copy Oscillator.
Oscillator settings P1: Edit-Basic Basic settings for the oscillator are made in the P1: EditBasic page. The TRITON Extreme provides two oscillators, and for each oscillator you can select a basic waveform (“multisample”) and set the pitch. The multisamples provided by the TRITON Extreme include waveforms for musical instruments such as pianos, as well as special waveforms unique to synthesizers.
3 Adjust the “Lvl” (Level) for High and Low multisamples to set their volume balance. If you do not wish to use this function, set the “Velocity M.Sample SW Lo→ Hi” value to 001. Only the High multisample will sound. Velocity Zone page Rev (Reverse) check box If this is checked, the multisample will be played backward. This can produce interesting results when used on sound-effects, etc. Normally you will not check this. In the Program Basic page, set “Oscillator Mode” to Drums.
Pitch settings P2: Edit-Pitch Here you can specify how the pitch of the multisample assigned to each oscillator will change. Pitch EG and LFO settings allow the pitch to varied over time. The OSC1 P.Mod page is valid when “Oscillator Mode” is set to Single or Drums. “Intensity (AMS Intensity)” specifies the depth of vibrato that will be applied by the LFO when an AMS (Alternate Modulation Source) is used.
The filter allows you to diminish or emphasize specified frequency areas of the multisample selected for the oscillator. The tone of the sound will depend significantly on the filter settings. TRITON Extreme provides Filter 1 for OSC1 and Filter 2 for OSC2. For each of these filters, you can select from two types (Low Pass Resonance or Low Pass & High Pass). Filter 2 can be used if “Oscillator Mode” is set to Double.
Filter EG Adjusts the effect produced by the filter EG, whose settings are made in the EG page. Amplifier settings • Use the “Velocity to A” and “Velocity to B” settings to specify the effect of velocity on the filter EG. • Use the “Intensity to A” and “Intensity to B” settings to specify the depth of the filter EG. • “Into A (AMS Int. to A)” and “Into B (AMS Int. to B)” adjust the effect that AMS will have on the filter EG depth.
Amp1 Mod. page Piano Organ Program Strings • When “Ramp Low” has a positive (+) value, the volume will increase as you play lower on the keyboard. With a negative (–) value, the volume will decrease as you play lower on the keyboard. • When “Ramp High” has a positive (+) value, the volume will increase as you play higher on the keyboard. With a negative (–) value, the volume will decrease as you play higher on the keyboard.
Arpeggiator settings P7: Edit-Arpeggiator Here you can make arpeggiator settings (☞p.94). Insert Effect settings P8: Edit-Insert Effect Here you can select insert effects and make settings for them. You can also specify the oscillator routing (the signal sent to the insert effects, master effects, and independent outputs) (☞p.104).
Playing and editing combinations (Combination Mode) Combination mode page structure P3: Edit-MIDI Filter P4: Edit-Zone/Ctrl Combination banks Bank Combi. No. P5: P6: P7: EditArpeggiator Explanation A...D, H...M 000...127 Preloaded combinations E 000...127 User (initial) combinations EXB-MOSS combinations N 000...127 User (initial) combinations P8: Edit-Insert FX ☞ For details on the factory-set combinations, refer to “VNL.” P0: Play is where you select and play combinations.
Playing a combination P0: Play Here you can select and play combinations. You can select the program for each timbre 1–8 and set its status, pan, and level. You can also make settings for the arpeggiator, external audio input, and sampling. Selecting a combination You can select a combination in any of the following three ways.
Program Original programs using sample waveforms/multisamples you sampled on the TRITON Extreme (or loaded into memory via Media mode) can also be used in a combination. Sequencer Combination If a program being edited in Program mode is used in a combination, it will sound according to the settings being edited. If you wish to save an edited combination in internal memory, you must write it. (☞p.114) You can write combinations to the 1,536 combination memory areas (internal memory) of banks A–E and H–N.
Layer Layer refers to settings which cause two or more programs to sound simultaneously when a note is played. Program A Program B Layer: Two or more programs sound simultaneously. Timbre 1–8 program, pan and volume P1: Edit-Program/Mixer Here you can assign programs to each timbre 1–8, and set the pan and volume for each one. These settings can also be made in the Program Select and Mixer pages of P0: Play.
Settings for status, MIDI channel, and pitch parameters P2: Edit-Trk Param OSC page Program MIDI Ch page Force OSC Mode OSC Select MIDI Channel Normally you will set this to PRG. If you want to override the portamento setting specified in the program assigned to the timbre to be forced off, set this parameter to Off. Conversely, if you want to force the portamento to be on, or to change the portamento time, set this to a value of 001–127 to specify the portamento time.
● Adjusting the BPM of multisamples or samples created in Sampling mode If a timbre’s program uses multisamples or samples that you created in Sampling mode (or loaded in Media mode) at a specific BPM value, you can use the page menu command “Detune BPM Adjust” to call up a new BPM value. This changes the BPM by adjusting the playback pitch. (☞PG p.
Set timbre 1 to a “Top Velocity” of 127 and a “Bottom Velocity” of 64. Set timbre 2 to a “Top Velocity” of 63 and a “Bottom Velocity” of 1. Program You can also enter these values by holding down the [ENTER] key and playing a note on the keyboard. Key Zone Slope Timbre 1 Brass Timbre 2 Strings 127 64 63 1 Velocity switch As an example, we will explain how to create a combination like the one shown above.
Auto Song Setup function This function automatically applies the settings of the current combination to a new song. If inspiration for a phrase or song strikes you while you’re playing a combination, you can use this function to start recording immediately. Hold down the [ENTER] key and press the SEQUENCER [REC/WRITE] key. The “Setup to Record” dialog box will open and ask “Are you sure?”. Press “OK”. You will automatically enter Sequencer mode, and will be in the recordready state.
Producing songs (Sequencer mode) • • Various methods of recording are supported, including realtime recording in which your performance on the keyboard and controllers (including MIDI control events, MIDI exclusive messages) is recorded just as you play, and step recording in which the timing, length, and velocity of each note can be specified in the LCD as you input the pitches from the keyboard.
The structure of Sequencer mode Sequencer mode is structured as follows. ** Musical data (MIDI RPN data) can be used to change the starting settings during playback. For details on control changes and RPN, refer to PG p.285, 293. Of the above parameters, those that can be edited during realtime recording can be recorded as exclusive data. Songs A song consists of MIDI tracks 1–16, a master track, song parameters such as the song name, effect, arpeggiator and RPPR parameters, and 100 user patterns.
Track settings Explanation P0: Play/REC Play/record songs, and make associated settings. Select the program for each track. Pan and level settings. Settings for sampling. P1: Cue List Play, create, and make settings for cue lists. P2: Trk Param Parameter settings for each track of a song. MIDI, OSC, Pitch, etc. P3: MIDI Filter MIDI message transmission/reception filter settings for each track of a song. P4: Zone/Ctrl Key Zone and Velocity Zone settings for each track of a song.
If you are using the TRITON Extreme’s Sequencer mode as a 16-track multi-timbral tone generator, set this parameter to INT or BTH. (☞”Status” PG p.72) In general, you should set “MIDI Channel” to different channels 1–16 for each track. Tracks that are sent to the same MIDI channel will sound simultaneously when either is recorded or played.
2 Set the “Recording Mode” to Over Write. Recording methods This section describes the ways in which you can record on the TRITON Extreme. Recording a track Realtime recording on a MIDI track This is a method of recording in which your playing on the keyboard and your operations of controllers such as the joystick are recorded in realtime. This method of recording is normally used one track at a time, and is called single track recording.
3 In “Location,” specify a location several measures earlier than the point at which you wish to begin recording. 4 Press the SEQUENCER [START/STOP] key. Playback will begin. 5 At the point at which you wish to begin recording, press the SEQUENCER [REC/WRITE] key. Recording will begin. Play the keyboard and operate controllers such as the joystick to record your performance. • Loop All Tracks This method lets you continue recording as you add musical data. The specified region can be recorded repeatedly.
1 Make sure that the TRITON Extreme’s MIDI IN and the external sequencer’s MIDI OUT are connected by a MIDI cable. If they are not connected, turn off the power, make the connection, and then turn the power back on again. (☞PG p.288) 2 Set the MIDI Clock (Global P1: MIDI page “MIDI Clock”) to External MIDI, so that TRITON Extreme will synchronize to the MIDI clock of the external sequencer. Make sure that “Receive Ext. Realtime Commands” is checked.
Recording exclusive events Exclusive messages received from an external MIDI device or the parameter changes produced when you edit a track parameter or effect parameter can be realtimerecorded on any track. You can adjust the realtime controllers, the arpeggiator, make changes to the program volume/pan/mute settings, and adjust the tone – all in realtime.
This command works by inserting MIDI parameter change system exclusive messages directly into a sequencer track. Because this requires a number of messages to be read and processed, it can take a little time for the effect to change. You may find it necessary to “anticipate” where you want the effect change to take place and insert the change slightly earlier. Also, notes that are already sounding as the transition takes place may not play smoothly.
B If you press the [COMPARE] key (the key will light) and play back, you will hear the state of the track prior to executing “Put Effect Setting to Track.” Use the [COMPARE] key when you want to make a before-and-after comparison of the track. C In the Sequencer P5: Track Edit page, set “Track Select” to Track03. Then choose the page menu command “Event Edit” to access the event edit screen. (In the Set Event Filters dialog box, check the “Exclusive” setting.
When realtime-recording a pattern, a pattern of the specified number of measures will playback repeatedly, allowing you to continue adding musical data to it. Program 1 Create a new song, and as described in “Preparations for recording,” set the track to the program that will be used by the pattern. (☞p.41) Sampling Sequencer Combination 2 Access the Sequencer P6: Pattern/RPPR, Pattern Edit page. Song Play 3 Use “Track Select” to select the track that you will use to record the pattern.
9 If you want to delete specific data while you continue pattern recording, you can press the SEQUENCER [REC/WRITE] key or check the “Remove Data” check box. For details refer to step 6 of “Loop All Tracks” (☞p.44). 0 Press the SEQUENCER [START/STOP] key to stop recording. If you made a mistake or decide to re-record, press the SEQUENCER [START/STOP] key to stop recording, and press the [COMPARE] key. Then begin the pattern recording procedure again as in step 8.
Decide on the number of measures, input the number in “Set Length,” and press the OK button. 3. Setting the number of measures in the song Here’s how to specify the number of measures in the song. By default, this is set to 64 measures. If you realtimerecord for more measures than this, the song length will be the amount of measures you have recorded. 1 Select song S000: INTRO. Program 2 Select the Sequencer P5: Track Edit, Track Edit page.
4 Mute tracks. Press the [EXIT] key to select P0: Play/REC, and access the Program T01–08/T09–16 page. Mute all tracks other than tracks 3 and 4. When you play back, you will hear only the electric piano and guitar performances. Turn on the Replace radio button, and set “Shift Note” to +003. (☞PG p.84) Press the OK button. The pitch of track 2 will be raised three semitones. 5 As described in steps 1–4, set song S001: VERSE to 008 (8 measures), making it an eight measure song.
A cue list allows you to play multiple songs in succession. For example you can create a separate song for each portion (introduction, melody A, melody B, chorus, and ending) of a composition, and use the cue list to specify the order of each portion and the number of times that it will be repeated to complete the song. If you want to change the structure of the song, the cue list lets you do so in an efficient way.
playback is started or when switching from song to song. Although it will not be possible to change effect types within the cue list, you can use dynamic modulation or MIDI control changes such as Effect Control to control the effects within the cue list, for example applying reverb more deeply on certain songs, or raising the LFO speed for a specific song. We recommend this method if you will be using a cue list to construct the song.
Creating and recording RPPR (Realtime Pattern Play/Record) Choose “Pattern Select,” and press the [ select P122: HipHop 2/HipHop. ] key to By using “Revert” in this way, you can work efficiently when the patterns to be assigned have consecutive or nearby numbers, or use the same track. This section explains how to assign a pattern to RPPR, and how to play and record. (☞QS p.3 “Performing with the RPPR function”) Program Creating RPPR data 3 Select the Sequencer P6: Pattern/RPPR, RPPR Setup page.
RPPR playback Realtime-recording an RPPR performance Let’s use the RPPR you created to perform in the Sequencer P0: Play/REC page. An RPPR performance can be recorded in realtime. If you are using only one track (Track01: Drums) as in “Creating and recording RPPR” (☞p.55), set “Track Select” to Track01: Drums, and use single track recording in which only one track will be recorded. 1 Select Sequencer P0: Play/REC. 2 Check the “RPPR” check box. The RPPR function will be turned on.
Set “Gate” and “Velocity” to Step. Do not check “Key Sync.” Press the ARPEGGIATOR [ON/OFF] key. (The key will light.) 3 In the Sequencer P0: Play/REC, Preference page, check the “Multi REC” check box. 8 When you are finished performing, press the SEQUENCER [START/STOP] key. Recording will end, and the sequencer will return to the location at which recording began.
Recording the sound of a combination or program Here’s how you can easily copy the settings of a combination or program, and then record. There are two ways to do this. While playing in Program or Combination mode, you can use the Auto Song Setup function to automatically set up a song using the current settings of the program or combination. Or, you can use the page menu command in Sequencer mode to copy the settings of a program or combination create the sequencer setup.
In order to use the “Auto adjust Arp setting for Multi REC” function, the combination to be copied must have been written to memory with the ARPEGGIATOR [ON/OFF] key turned on. Press the OK button to execute the copy. Notice that when you execute this command, the “PLAY/REC/MUTE” setting of each track will be set automatically. In the Sequencer P0: Play/REC, Preference page, the “Multi REC” check box will be checked.
The Compare function About MIDI When you perform realtime recording, step recording, or track editing, this function allows you to make beforeand-after comparisons. Track status “status” If you continue editing when the [COMPARE] key is lit, the key will go dark. This now becomes the musical data that will be selected when the [COMPARE] key is dark. Any previous unsaved edits will be lost.
Sampling (Open Sampling System) Program Sequencer Combination Sampling Song Play Global Media, etc Effect Sampling in Program, Combination, and Sequencer modes • A performance in Program, Combination, or Sequencer modes can be resampled internally, with all audio remaining in digital form. This lets you resample a performance that uses the TRITON Extreme’s filters, effects, arpeggiator, and sequencer etc. • External audio sources from the various input jacks can be sampled.
Editing in Sampling mode • In Sampling mode, the sample data you sampled or loaded from various media (including WAVE and AIFF formats) can be assigned to an index (zone) to create a multisample. • The waveform can be viewed in the LCD screen, and edited by a variety of waveform editing commands that include rate convert (down-sampling) and reverse playback. • Start, loop start, and end addresses can be specified in units of a single sample.
tive pitch ranges to avoid any unnatural sounds during playback. The data that is recorded (sampled) into internal memory or loaded from a file is referred to as a sample or sample file. Samples consist of the actual waveform data, and parameters that specify how the data will be played back, such as Start, Loop Start, and End Address. Samples can be used in multisamples and drum kits. The TRITON Extreme can hold a maximum of 4,000 samples in its internal memory.
These settings can be made in the following pages. Preparations for sampling The multisample and sample data in the sample memory (RAM) is not backed up when the power is turned off. If you wish to keep this data, you must save it onto a media before turning off the power. When the power is first turned on, memory will not contain any multisample or sample data. You must first load previously-saved data before you can playback or edit any sample data (☞p.121). 1.
4 For Input1 and Input2, set “BUS (IFX/Indiv.) Select” to specify the destination to which the external audio signal you selected in “Input” will be sent. L/R: Send to the L/R bus. IFX1–IFX5: Send to the corresponding insert effect. 1, 2, 3(Tube), 4(Tube), 1/2, 3/4(Tube): Send to the jINDIVIDUAL 1–4, 1/2, or 3/4 bus(es). The output volume will not change at this time, but your adjustment will affect the data that will be sampled.
2 Use “Trigger” to specify how sampling will begin. The available trigger methods will differ depending on the mode. • Program mode Sampling mode: Sampling START SW, Note On, Threshold Program, Combination modes: Sampling START SW, Note On Sequencer mode: Sampling START SW, Note On, Threshold, Sequencer START SW Here we will describe the Sampling START SW and Note On that can be used in all modes. For details on trigger methods suitable for various purposes, refer to the various examples of sampling on p.
If you select MEDIA, you can also select the writingdestination drive. In all modes, this is specified by the page menu command “Select Directory.” Media Select When the power is turned on, “Recording Level” and “Auto +12 dB On” will default to the following settings. Program, Combination, Sequencer modes “Recording Level”: –12.0 (dB), “Auto +12 dB On”: on Sampling mode “Recording Level”: +0.
Sampling only the stereo input sound from the AUDIO INPUT 1 and 2 jacks while you listen to the sound of the TRITON Extreme (arpeggiator etc.) “Input”: Analog Input1 “BUS Select”: 1/2, “Pan”: L000 Input2 “BUS Select”: 1/2, “Pan”: R127 “Source BUS”: Indiv.1/2 “Recording Level”: 0.0 “Auto +12dB On”: Off (unchecked) ☞PG p.6, 64 In this case, the sound that is input to AUDIO INPUT 1 and 2 will be output only to AUDIO OUTPUT (INDIVIDUAL) 1 and 2.
Creating multisample indexes and sampling Here’s how to create indexes for a multisample, and how to assign a sample to each index. Immediately after the power is turned on, “Position” will be Right (to selected index), “Zone Range” will be 12 Keys, and “Original Key Position” will be Bottom, so that indexes will be created as shown below. 1 Select the P0: Recording, Recording page. Index 2 Select “MS (Multisample Select),” and create a multisample.
Applying an insert effect to a sample and resampling it The process of applying an insert effect etc. to a sampled sound and then sampling it once again is called “resampling.” 1 In the P0: Recording, Recording page, assign the sample that you want to resample to “Sample Select.” When the power is first turned on, the assigned sample will be set to “Orig.Key” C2. 2 Press the page menu button, and choose “Auto Sampling Setup” from the menu. A dialog box will appear.
7 In the P8: Insert Effect, Insert FX page, set “IFX1” to 052: Reverb Hall, and turn “IFX On/Off” ON. Ripping Data from an audio CD in a CD-ROM or CD-R/RW drive connected to the USB A connector can be loaded into the TRITON Extreme as sample data. You can do this in either of two ways; you can play back the audio CD and capture the sound via the AUDIO INPUT, or you can load (“rip”) it directly as digital data. In “Sample Select,” assign the sample that you will resample, and set “Resample” to Manual.
If the edit cell is located at “Range Start” or “Range End,” this region will play back. When you finish making settings, press the SEQUENCER [START/STOP] key to stop playback of the audio CD. 7 Verify the region that will be ripped. Select either “Region Start” or “Region End” (the display will be highlighted), and press the SEQUENCER [START/STOP] key. The CD will play from “Range Start” to “Range End” and then stop.
Program Sequencer Combination Loop On: Start→End→LoopS→End→ (LoopS→End is repeated) Loop Off: Start→End Sampling 9 Execute sampling. Press the SAMPLING [REC] key. Press the SEQUENCER [START/STOP] key to start playback of the audio CD track. At a point slightly earlier than where you want to sample, press the SAMPLING [START/STOP] key to begin sampling. At the point where you want to stop sampling, press the SAMPLING [START/STOP] key to stop sampling.
3 Set the end address so that it coincides with a dotted line of the grid. This will cause the loop interval to be the same length as the BPM value. If the “Use Zero” check box is checked, only those addresses where the waveform data crosses the zero level will be found automatically when searching, and can be set. This lets you easily make address settings where noise is less likely to occur when looping.
4 Choose “REC Audio Input.” “Mode”: Stereo The sound of the internal L/R channels will be sampled in stereo. When you change the Bus setting from Off to L/R or IFX, the volume level of the AUDIO OUT L/MONO and R jacks or the headphone volume may rise abruptly. Please use caution. Program Sequencer Combination 6 Press the OK button to execute the command. Preparations for sampling are now completed.
G Select the page menu command “Grid” to access the dialog box. Check “Grid,” set “Resolution” to , and press the OK button. E Notice that 0000: LOOP1-140BPM-L is selected for “Sample (Sample Select),” and that the sample waveform data is displayed. The selected sample is a stereo sample. The L and R waveforms will be shown in the upper and lower parts of the sample waveform display.
Editing the waveform data of the sample is done in P1: Sample Edit. You can use commands such as cut, copy, and normalize to edit the waveform data. 1 Select the sample that you wish to edit. Use “Sample Select” or “Index” in the P1: Sample Edit page or the P0: Recording, Recording page to select the sample. (☞p.69) If you use “Sample Select” to select the sample, be aware that the index assignment will also change. 2 Select the P1: Sample Edit page.
The Create button has the same function as the Create button in P0: Recording (“Creating multisample indexes and sampling” ☞p.69). Modifying the settings of an index 1 Make the settings described in steps 1–3 of “Editing the indexes.” 2 Set parameters for the selected index. (☞PG p.135) • Changing the “Top Key” will change the upper limit of the zone. Simultaneously, the lower limit of the next-numbered index will also change.
While listening to each divided sample, adjust “Sensitivity” so that each drum strike or other rhythm instrument sound is divided into its own sample. In some cases, it may not be possible to slice the sample cleanly even if you adjust “Sensitivity.” If the attack of the next sound is included in the end of the preceding sample, or if one sample contains two notes, you will need to edit the samples.
The silence between samples may become obtrusive if you play back at a slower tempo, or noise may occur between samples if you play back at a faster tempo. To avoid such problems, you can set Stretch “New BPM” or “Ratio” in step 6 to the tempo at which you want to play back, and execute time stretch to adjust the length of each sample. (☞PG p.130 9) 9 In “Song Select,” choose 001.
4 Connect your guitar to the rear panel AUDIO INPUT 1 jack. Set the AUDIO INPUT [MIC/LINE] switch to the LINE position, and set the [LEVEL] knob to approximately the center position. Guitar 9 Press the SAMPLING [REC] key. Play your guitar, and the level meter will indicate the volume at which the guitar will be sampled. Press the ARPEGGIATOR [ON/OFF] key to turn it on, play the keyboard to start the arpeggio, and play your guitar while adjusting the final volume.
Record an external audio input source while a song plays, and create event data at the same time (In-Track Sampling function) 7 Press the OK button to execute the command. Preparations for In-Track Sampling are now completed. As an example, here’s how the sound of a guitar connected to the AUDIO INPUT 1 jack can be added to a song you created.
0 Begin sampling. Press the SAMPLING [REC] key, and then the SAMPLING [START/STOP] key to enter recording-standby mode. Press the [LOCATE] key to reset the song playback location to the beginning of the song, and press the SEQUENCER [START/STOP] key to play back. If you want to verify the location, press the Prog.9–16 tab to access the Program T09–16 page. Begin playing at the point where you want to record. Sampling will begin when the Threshold “Level” volume is exceeded.
6 Select the page menu command “Select Directory,” and specify the destination to which the WAVE file will be written. 9 Start sampling. Press the SAMPLING [REC] key and then the SAMPLING [START/STOP] key to enter recording-standby mode. Press the SEQUENCER [START/STOP] key to play back the song. Sampling will begin at the same time. 0 When the song finishes playing back, press the SAMPLING [START/STOP] key to stop sampling.
SMF (Standard MIDI File) playback In Song Play mode you can load and play Standard MIDI File (SMF) data directly from media. If you’re playing SMF data, using Song Play mode will provide a higher degree of reproducibility than using Sequencer mode to play the data. P2: Controller Setup Controller settings. P3: Select Directory/ Jukebox Select the directory that contains the desired SMF, and select the playback order of SMF files. Create jukebox lists.
Playing SMF data Direct playback from media 4 Press the “File Select” popup button. From the file list, choose the filename that you wish to play back. File Select When you wish to playback SMF data that is compatible with the GM/GS/XG standards, set “Bank Map” (Global P0: Basic Setup, System Preference page) to GM(2). If you want to play back from media inserted in the TRITON Extreme’s CF card slot, you must turn off the power before inserting the media. 1 Press the [S.PLAY] key to enter Song Play mode.
The TRITON Extreme provides a Jukebox function that can be used to playback SMF data. This function allows you to specify the order in which files in the same directory will be played. Any jukebox list you create will be erased when the power is turned off, and cannot be recovered. If you wish to keep your jukebox list, refer to the section “Saving a Jukebox list,” and save it onto media. Saving a Jukebox list Saving procedure 1 Use the procedure described above to create a jukebox list.
Playing along with SMF data Minus-one play You can enjoy “minus-one” play by playing back SMF data, muting a specific part, and playing that part yourself. 1 Playback the SMF data, identify the track whose part you wish to play, and stop playback (☞p.86). 2 In P0: Prog/Mix, select the Prog. 1–8 tab or Prog. 9–16 tab. 3 Use “Play Track Select” to select the track for the part that you want to play from the keyboard. When you play the keyboard, the program of the selected track will be heard.
Settings for the entire TRITON Extreme (Global mode) How Global mode is structured Basic Setup In Global mode you can make overall settings that apply to the entire TRITON Extreme, such as master tune, key transpose, effect global switch, global MIDI channel, and system clock. In addition, you can create user drum kits, user arpeggio patterns, and scales, make settings for the damper pedal and assignable foot switches/pedals, and specify category names for programs and combinations.
Linking the arpeggiator to programs and combinations You can specify whether the arpeggiator settings written into a program or combination will also be selected when you select a program or combination, or whether the current arpeggiator settings will be retained even if you switch programs or combinations. When shipped from the factory, the former setting is selected. Choose the latter setting if you want to keep the same arpeggio pattern running while you switch only the program or combination.
pitch change speed, volume, the pan following an insert effect, pan, volume, or send levels to the master effects (☞PG p.282). You can use this as a source for alternate modulation or effect dynamic modulation, and use it to control program parameters or effect parameters. In this case, set “Foot Switch Assign” to Foot SW (CC#82), and “Foot Pedal Assign” to Foot Pedal (CC#04). Creating original scales P3: User Scale Creating a scale and assigning it to a program etc.
Drum kit settings P5: Drum Kit What is a drum kit? A drum kit assigns a different drum sample (PCM waveform data for drum sounds) to each note. If you set a program’s oscillator (specified by “Oscillator Mode”) to Drums, the program will use a drum kit instead of a multisample. The TRITON Extreme has 144 drum kit memory areas. When shipped from the factory, some of the 000 (A/B)– 045 (I) and 128 (User)–131 (User) areas contain preloaded drum kits suitable for various musical styles.
8 Set the parameters of the drumsamples that you assigned. Set the parameters for the High Drumsample and Low Drumsample. You can set parameters such as volume level (“Level”), pitch (“Transpose,” “Tune”), and tone (“Cutoff,” “Resonance”). (☞For details on each parameter, refer to PG p.168.) 9 As necessary, repeat steps 4–8 to set drumsample parameters for each note number. If you wish to use the settings of another “KEY,” select the page menu command “Copy Key Setup”.
P000: UP Arpeggiator settings P7: Edit-Arpeggiator UP This chapter describes the procedure for making arpeggiator settings in each mode. Arpeggiator settings for a program P001: DOWN Arpeggiator on/off Pressing the ARPEGGIATOR [ON/OFF] key will turn the arpeggiator on or off. When on, the ARPEGGIATOR [ON/OFF] key will light. When you play the keyboard, an arpeggio will play according to the selected arpeggio pattern. The on/off setting is stored when the program is written.
4 Adjust the settings of the various parameters. “Octave”: Selects the octave range in which the arpeggio will be played. “Latch”: If this is checked, the arpeggio will continue playing even after you take your hand off the keyboard. If this is unchecked, the arpeggio will stop playing when you take your hand off the keyboard. “Resolution”: Specifies the timing value of the arpeggio notes over a range of 3 – . “Gate”: Specifies the length (gate time) of each note in the arpeggio.
Arpeggiator settings in Combination and Sequencer modes 3 Select Combination P7: Edit-Arp., Setup page. In Combination, Sequencer and Song Play modes, the TRITON Extreme provides dual arpeggiator functionality that lets you use two arpeggio patterns simultaneously. The settings in each of these modes are made in the similar way. As an example, the following explanation shows how to make settings in Combination mode. For a detailed explanation and example settings (☞PG p.50, 93, 149).
Combination D062: Old Vox Organ Combination J056: “In The Pocket” Although this is a somewhat sophisticated editing technique, we will describe the settings of one of the preset combinations as an example. Select and play combination J056: “In The Pocket.” Select combination D062: Old Vox Organ, press the ARPEGGIATOR [ON/OFF] key to turn it on, and play. • Arpeggiator A is assigned to T7 and T8, and arpeggiator B is assigned to T5.
Creating an user arpeggio pattern About user arpeggio patterns The patterns that can be selected on the TRITON Extreme’s arpeggiator are called “arpeggio patterns.” There are two types of arpeggio patterns: preset arpeggio patterns and user arpeggio patterns. Preset arpeggio patterns: There are five patterns; UP, DOWN, ALT1, ALT2, and RANDOM. The operation of these patterns is fixed, and cannot be edited.
To input tones, select “Step No.” and then use numeric keys [0]–[9], [–], and [./10’s HOLD] to input tones. The “Tone No.” corresponds to the [0]–[9], [–], and [./10’s HOLD] keys as shown below. Each time you press a [0]–[9], [–], or [./HOLD] key, the corresponding tone will be turned on/off. The horizontal lines of the grid shown in the center of the LCD screen indicate the tones. Tone00–09: [0]–[9] keys Tone10: [–] key Tone11: [./10’s HOLD] key Length: 8 Tone No.
7 Set “Step No.” to 07, and press the [0] key. Set “Pitch Offset” to +00. 8 Set “Step No.” to 08, and press the [0] key. Set “Pitch Offset” to –02. If you set this to Trigger As Played, the tones will be sounded according to the notes you play on the keyboard (☞PG p.171). Chordal pattern 3 Select the Pattern Edit page. 1 Set “Step No.” to 01, and press the [0] key. Set “Gate” to Legato. 2 For “Step No.” 02, do not enter a tone. 3 Set “Step No.” to 03, and press the [1], [2], [3], [4] keys.
Program Sequencer Combination 2 Press the ARPEGGIATOR [ON/OFF] key to turn on the arpeggiator (the key will light). Even if the arpeggiator had been turned off when you moved here, you can use the ARPEGGIATOR [ON/ OFF] key to turn it on. However, if “Arpeggiator Run” A or B are not checked, and if “Arpeggiator Assign,” is set to off, then the arpeggiator will not operate. 3 Select the Global P6: User Arpeggio, Pattern Setup page.
Synchronizing the arpeggiator The note timing of the arpeggiator will differ depending on the state of the arpeggiator “Key Sync.” check box. If this is checked, the arpeggiator will operate at the timing of the first note-on you play from a state in which all keys are released. If this is unchecked, the arpeggiator will operate in synchronization with the internal or external MIDI clock. The paragraphs below explain how synchronization occurs when the “Key Sync.” check box is unchecked.
Effect and Valve Force settings Other modulation and pitch-shift effects such as rotary speaker and pitch shifter 041–051 Early reflection and delay effects 052–057 Reverb effects 058–089 Mono + mono chain effects that internally connect two mono effects in series 090–102 Double-size effects You can select effects 000–089 for IFX1, 2, 3, 4, 5, MFX1, and MFX2. You can select effects 090–102 for IFX2, 3, or 4.
Routing settings and effect settings Insert effects 4 Select the Insert FX page. The insert effects, master effects, and master EQ have the same structure in all modes, but the routing settings will determine how the oscillators of a program or the timbres of a combination or track of a song will be sent to each insert effect or master effect. In the pages that follow, we will explain how you can make routing settings and effect settings in each mode.
Master effects The input levels to the master effects are set by the “Send 1, 2” levels (step 3 or 8). If “Send 1, 2” are zero, the master effects will not apply. “Send 1” corresponds to MFX1, and “Send 2” corresponds to MFX2. 0 In Program P9: Edit-Master Effect, select the Master FX page. Effect settings in Combination, Song, and Song Play modes In Combination, Sequencer, and Song Play modes, you can specify the routing of each timbre/track to the insert effects and master effects.
Insert effects Select an effect for IFX1–IFX5, and set “Pan (CC#8),” “BUS Sel. (BUS Select),” “Send 1” and “Send 2” for the signal that has passed through each insert effect. If the “Chain” check box is checked, the settings that follow the last IFX in the chain will be used. “Send 1” and “Send 2” adjust the amount of master effect that is applied to the signal that has passed through the IFX.
Program, Combination P0: Play, Sampling page Sequencer P0: Play, Sampling page Global P0: Basic Setup, Input/Sampling page Media Play Audio CD page Input-related settings are shared between all of the above modes. For each input source that you select in “Input (COMBI, PROG, SEQ, S.PLAY, MEDIA),” a routing can be specified independently. If desired, you may input simultaneously from all input sources.
About dynamic modulation (Dmod) 7 Set “Amt” to +30. Dynamic modulation (Dmod) is a function that lets you use MIDI messages or the TRITON Extreme’s controllers to control specific effect parameters in realtime. BPM/MIDI Sync is another function that controls effect parameters, and is used to synchronize the LFO speed of modulation-type effects or the delay time etc. of delaytype effects to the tempo of the arpeggiator or an external sequencer. For details on each of these functions, refer to PG p.
You can apply Valve Force to the final stage of a program, combination, song, or sample playback to add rich overtones and smooth distortion, or use insert effects and master effects (except for sample playback) in conjunction with Valve Force to create your sound. 4 Specify the input/output destination for Valve Force. If “Placement” = Final: Valve Force will be inserted as the final stage of the L/ R output.
Valve Force settings for Combination, Song, and Song Play modes In Combination, Sequencer, and Song Play modes, you can set “Placement” to Final or Insert (User 3/4 BUS) just as for a program. If you want to apply Valve Force to a specific timbre or track, set “Placement” to Insert (Use 3/4 BUS). The procedure is the same for making settings in Combination, Sequencer, and Song Play modes. As an example here, we will describe the procedure for Combination mode.
Resampling the output of Valve Force If you want to send a multisample through Valve Force and resample the result, refer to the example of applying an insert effect (☞p.70). In step 6 (☞p.70), set “BUS (IFX) Select” to 3(Tube), 4(Tube), or 3/4(Tube), and then resample. Program If you want to route the sound through an insert effect and then into Valve Force, set the post-IFX “BUS Sel.” to 3/4(Tube), 3(Tube), or 4(Tube). Sequencer Combination Use “BUS Sel.” to assign the output of Valve Force.
If “Placement” = Insert (Use 3/4 BUS): If you want to send the external audio source to Valve Force, set “BUS (IFX/Indiv.) Select” to 3/4(Tube), 3(Tube), or 4(Tube). If you want to send the signal through an insert effect and then into Valve Force, set “BUS(IFX/Indiv.) Select” to the insert effect, and set the post-IFX “BUS Sel.” (Insert FX page) to 3/4(Tube), 3(Tube), or 4(Tube). The Valve Force output is assigned by “BUS Sel.”, “Send1,” and “Send2” (Valve Force page). Use “BUS Sel.
Loading and saving data, creating audio CDs, and editing Wave files (Media mode, etc.) If multisamples or samples from the RAM bank are used in the Multisample or Drum Kit of a program, you should be aware that these multisamples or samples cannot be written into memory. This means that if you turn the power of and then on once again, programs or combinations that use such multisamples or samples will not sound as intended.
Writing to internal memory Writing a program or combination The programs or combinations that you create by using the Performance Editor or by editing parameters in the various Edit pages can be saved in the internal memory of the TRITON Extreme. This action is referred to as “writing a program” or “writing a combination.” If you want your edited data to be preserved after the power is turned off, you must write it. There are two ways to write a program or combination.
Assigning a name (Rename) Memory protect You can modify the name of an edited program, combination, song, drum kit, user arpeggio pattern, multisample or sample etc.. You can also modify the category names for programs and combinations. To prevent programs, combinations, songs, user drum kits, and user arpeggio patterns from being overwritten accidentally, the TRITON Extreme provides a Memory Protect setting that prohibits writing to memory. Program Program P0...
Writing global settings, user drum kits, and user arpeggio patterns The settings you edit in Global mode can be written into internal memory. This is done using the operations Write Global Setting, Write User Drum Kits, and Write User Arpeggio Patterns. If you wish to use these edited settings after you turn the power off, be sure to write the data first. There are two ways to write global settings, user drum kits, and user arpeggio patterns.
The Media mode Save page is where you save data to media. Song data and cue lists in the TRITON Extreme’s Sequencer mode, as well as multisamples and samples cannot be written into internal memory. This data will disappear when the power is turned off. If you want to keep this data, save it to the media described below. You can also save other types of data to media.
1 Prepare the media on which you want to save the data. (☞“Setting up media”) If the data does not fit on one volume of media The “No space available on medium” dialog box will appear. 2 Press the [MEDIA] key to enter Media mode. 3 Press the Save tab to access the Save page. 4 Press “Media Select” to select the save-destination media. 5 If the media contains directories, select the directory in which you want to save the data.
File copying, deleting, and formatting (Media, Utility) Program In the Media mode Utility page you can rename, copy, or create new files on media. You can also format or optimize media. In this page you can also transfer data between a computer connected to the USB B connector and media inserted in the TRITON Extreme’s CF card slot. Formatting media Sequencer Combination Here’s how to format media.
7 Specify the initialization format. Quick Format: Normally you should use Quick Format to initialize the media. Select this if the media has already been physically formatted, or if you want to format media that has been UDF-formatted by the TRITON Extreme. Since only the system area of the media need be formatted, this will require less time. Full Format: Select this when formatting media that has not been physically formatted, or media (CD-RW) that has not been UDF-formatted.
Loading data When you load a .PCG file, the data in the TRITON Extreme’s internal memory will be overwritten by the data of the .PCG file (programs, combinations, drum kits, user arpeggio patterns, global settings). If you want to keep the data that is currently in internal memory, use “Save All” to save it before you proceed. Media, Load The types of data that can be loaded from media are shown in the diagram below. (☞For details on each type of data, refer to PG p.
5 Navigate to the directory that contains the file you want to load, and select the .SNG file. Press the Open button to move to a lower level, or press the Up button to move to a higher level. The selected .SNG file will be highlighted. 6 Press the page menu button to access the page menu, and choose “Load Selected.” A dialog box will appear. Loading individual banks from a .PCG file 1 Select the .PCG file containing the data you want to load, and choose the page menu command “Load Selected.
As an example here, we will explain how a combination saved in bank D can be loaded into E000. Make sure that both media are detected by the TRITON Extreme. When writing data to CD-R/RW media, the media containing the Wave files must have free space equal in size to the Wave files you are writing. Before you execute this operation, make sure that the drive containing the Wave files contains enough free space.
To add the file, press the Insert button. You can continue adding files until you press the Exit button. The files will be added to the track list in the order in which you selected them. If you want to add all the WAVE files in the directory, press the Insert All button. When you have finished adding files to the list, press the Exit button to close the dialog box. Notice that the WAVE files have been added to the track list.
Use “Track” to select the track, and press the SEQUENCER [START/STOP] key to begin playback. If you’re using a drive that does not have audio output jacks or a headphone jack, you won’t be able to monitor the sound. Saving a track list that you have completed or partially edited The track list will be lost when the power is turned off. If you want to keep this data, you must save it. 1 In the Save page, select the directory in which you want to save the track list.
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Restoring the factory settings Restoring the factory settings 1 Access the Global mode P0: Basic Setup, Basic page. Press the [GLOBAL] key to enter Global mode. If the Global P0: Basic Setup, Basic page is not shown, press the [EXIT] key and then press the Basic tab. Program Sequencer Combination When you load a .PCG file, the data in the TRITON Extreme’s internal memory will be overwritten by the data of the .PCG file (programs, combinations, drum kits, user arpeggio patterns, global settings).
Loading the EXB-MOSS data After installing the EXB-MOSS, you will need to load the data for it. The TRITON Extreme contains preload data and demo song data for the EXB-MOSS. There are two ways to do this; you can load all of the TRITON Extreme’s preload data, or you can load the minimum amount of data while erasing as little as possible of the current data. If you load all data, all of the preload data will be erased, but you’ll need to perform only a single load operation.
Setting the function of [SW1] and [SW2] Setting the B-mode functions of REALTIME CONTROLS [1]–[4] You can specify the function of the [SW1] and [SW2] keys (☞PG p.279). The function of the [SW1] and [SW2] keys can be specified independently for each program, each combination, and each song. These functions can also be set independently for the entire mode in Sampling mode and Song Play mode.
Using tap tempo control Shortcuts In Program, Combination, Sequencer, and Song Play modes, you can use the tap tempo function to control the arpeggiator tempo. In Sequencer and Song Play modes you can use this method to control the song tempo. During playback, lightly press the [ENTER] key several times at the desired tempo. The tempo will follow your tapping in realtime. This is a convenient way to match the tempo in realtime to the beat of a different source.
Appendices The power is turned on, but the LCD screen does not display normally, or an error message is displayed. There is no sound when you play the keyboard, and the TRITON Extreme does not function normally. This type of problem may occur if a data writing operation to internal memory was not completed correctly, for example if the power of the TRITON Extreme was turned off while a program or other data was being written.
If there is no sound in Program, Combination, Sequencer, Song Play, and Media modes, check that “Input,” “Level,” and “BUS (IFX/Indiv.) Select” are set correctly in Global P0: Basic Setup, Input/ Sampling page; or in the P0: Sampling pages of Program, Combination, or Sequencer modes; or in the Media mode Play Audio CD page. ☞p.
Are the programs used by the song the same as when the song was created? → When saving the song, it is best to use “Save All” or “Save PCG & SEQ” so that the programs are saved together with the song. Then when loading, load both the .PCG and the .SEQ data. ☞PG p.177, 187 Have you loaded the multisamples and samples used by the program? Does the demo song “S001: WinterVariations” not play correctly? → This song uses the preloaded User Octave Scale 15.
Volume of a recorded sample is too low/too high A sample that you resampled with “Recording Level” set at approximately –12.0 (dB) plays back at a lower volume than the volume at which you resampled it. → Did you turn on the “Auto +12 dB On” setting when you resampled? ☞p.67 → If you resampled with “Auto +12 dB On” turned off, turn on “+12 dB” (Sampling mode Loop Edit page) for that sample. → → → → The playback volume of a sample is different than the volume at which it was resampled or sampled.
CompactFlash or Microdrive in the CF card slot Can’t format the CompactFlash or Microdrive Does the media meet the requirements for use on the TRITON Extreme? ☞p.137 Is the media inserted correctly? Can’t save/load data on the CompactFlash or Microdrive Is the media inserted correctly? Has the media been formatted? External USB device An external USB-connected drive is not recognized Has the drive been formatted? ☞p.119 Is the external device connected correctly? ☞PG p.
→ In the case of a CD-R, it may be possible to make the disc be recognized by executing the page menu command “Convert to ISO9660 Format” (Media, Utility page) to convert the disc to ISO9660 format. However depending on the state in which the disc was saved, it may be converted into ISO9660 level 3 format, and may still not be recognized. ☞PG p.330 Can’t write audio tracks Additional writing is not possible on a CD-R/RW disc that has been finalized.
External USB storage media • HD: hard disk • RM: removable disk (Magneto-Optical) MS-DOS format FAT16 and FAT32 are supported for HD and RM. Capacity recognized: FAT32: up to 2 Tbytes = 2,000 Gbytes FAT16: up to 4 Gbytes • CDR (CD-R/RW) UDF format is supported. UDF format CD-R/RW can be written and read. (Packet writing support ☞PG p.330) CD-DA (audio data) can be recorded/played, and ISO9660 (level 1) format can be loaded.
Specifications and options Specifications System HI (Hyper Integrated) synthesis system Tone generator Polyphony 60 voices (60 oscillators)/Maximum 120 voices (120 oscillators)* in single mode *: ☞p.12 Filters 24 dB/oct LPF with resonance 30 voices (60 oscillators)/Maximum 60 voices (120 oscillators)* in double mode *: ☞p.
TouchView graphical user interface (320 × 240 pixel LCD display) User interface [VOLUME] slider Mode keys [COMBI], [PROG], [SEQ], [SAMPLING], [S.PLAY], [GLOBAL], [MEDIA] Value controllers [VALUE] slider, [VALUE] dial, [ [ENTER]) ][ ] keys, numeric keys ([0]...[9], [–], [./10’s HOLD], [MENU] key, [EXIT] key, [COMPARE] key [PAUSE], [REW], [FF], [LOCATE], [REC/WRITE], [START/STOP] SAMPLING keys [REC], [START/STOP] Output impedance Maximum output level Load impedance 1.
[Music Workstation/Sampler] MIDI Implementation Chart TRITON Extreme Function MIDI implementation chart Basic Channel Default Changed Mode Memorized Messages Altered Note Number: Velocity Date : 2003. 8.
Program/Combination will change 91 CD-R/RW 117, 123, 135 G Compare 14, 23, 34, 60 Global 11, 13, 89, 93, 98, 116 [COMPARE] key 14 GM(2) 86 Connection 15 GM/GS/XG 133 A Controller 21, 37, 50, 60 Grid 74 After Touch 22 Copy 11, 46, 50, 53, 58, 119, 120 Alternate Modulation 30 Create Control Data 45 H Amp Amp EG 29 Amp Level 28 Amp Mod.
Load Demo song 127 EXB-MOSS 128 Factory settings 127 File 121 Jukebox List 87 Template Song 47 Page menu button 9 Routing 93, 104, 105, 106, 107 Page menu command 9 RPPR 55, 79 Create 55 Play 56 Realtime-recording 56 LOCATE 5, 42, 130 Pan AUDIO INPUT 107 Combination 34 Program 26, 28, 29, 104 Sampling 75 Sequencer 41 Lock function 22 Parameter 13 Loop Sample 73, 74 Low Pass & High Pass 27 Pattern Arpeggio pattern 94, 98 Pattern, Sequencer 40, 43, 49, 50, 55, 78 Low pass filter 27 .
W Tab 9, 13 Wah 21, 26, 28, 29 Tap tempo 7, 74, 90, 130 Write 5, 90, 113 Arpeggiator 96, 98 Global settings, User drum kits, User arpeggio patterns 116 Program, Combination 114 SW1, SW2 21 User template song 113 Template song 39, 113 Tempo 5, 29, 33, 42, 53, 60, 74, 78, 94, 96, 108 Text edit button 9, 114 Timbre 34 Time signature 39, 42, 49, 53, 74, 78 Toggle button 9 Tone 22, 23, 27 User arpeggio pattern 99 Program T Z Zero-cross 62, 74 ZOOM button 76 Sequencer Combination Tone Generator 12 Tone,
IMPORTANT NOTICE TO CONSUMERS This product has been manufactured according to strict specifications and voltage requirements that are applicable in the country in which it is intended that this product should be used. If you have purchased this product via the internet, through mail order, and/or via a telephone sale, you must verify that this product is intended to be used in the country in which you reside.
