Korg Electronic Keyboard Triton Studio User Manual

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3–6: F i lt e r2 M o d.

Keyboard tracking and controller settings

to modulate the filter 2 cutoff frequency

....................................................................21

Table of Contents

3–7: F i lt e r2 LFO Mod. Filter 2 LFO settings to modulate the filter

2 cutoff frequency ....................................21

3–8: F i lt e r2 EG

Filter 2 EG settings ...................................21

1. P rogr a m m ode. . . . . . . . . . . . . 1

P r ogram P4: E d i t–A m p .................................. 2 1

Make amp settings for oscillators 1 and 2.

4–1: Amp1 Level/Pan Oscillator 1 volume and pan settings ....21

4–2: Amp1 Mod.

Keyboard tracking and controller settings

to modulate amp 1...................................22

4–3: Amp1 EG

Amp 1 EG settings ...................................23

4–4: Amp2 Level/Pan Oscillator 2 volume and pan settings ....24

4–5: Amp2 Mod.

Keyboard tracking and controller settings

to modulate amp 2...................................24

4–6: Amp2 EG

Amp 2 EG settings ...................................24

P r ogram P0: P l a y ......................................... 1

P r ogram P5: E d i t–C o mmon LFO ....................... 2 5

Make settings for the general purpose LFOs used to cycli-

cally modulate the pitch, ﬁlter, and amp of oscillators 1

and 2.

Select and play programs.

0–1: Pe r f. E d i t

Select and play programs; use the

Performance Editor for simple editing ... 1

OSC1 LFO1 (for oscillator 1) settings ....25

OSC1 LFO2 (for oscillator 1) settings ....26

OSC2 LFO1 (for oscillator 2) settings ....26

OSC2 LFO2 (for oscillator 2) settings ....26

0–2: Arpeggio

0–3: Samp l ing

Arpeggio pattern selection and settings .3

Perform sampling; make settings for

audio inputs etc.......................................... 4

P r ogram P1: E d i t–B as i c.................................. 7

Make basic oscillator settings and scale settings etc.

P r ogram P7: E d i t–A r pegg i a to r ......................... 2 6

1–1: Program Basic

1–2: OSC Bas i c

Oscillator settings for Single/ Double/

Drums, Poly/ Mono, scale etc................... 7

Make settings for the arpeggiator.

7–1: Arpeg. Setup

7–2: Scan Zone

Select an arpeggio pattern and make

settings.......................................................26

Specify the multisample for oscillators 1

and 2............................................................ 9

Specify the note and velocity ranges that

will operate the arpeggiator ...................28

1–3: Ve l o. Zone

1–4: Controller

Velocity zone settings ............................. 11

[SW1] and [SW2] key functions;

REALTIME CONTROLS [1]–[4] knob B-

mode functions ........................................ 12

P r ogram P8: E d i t–Insert E f fec t ......................... 2 8

Specify the oscillator output bus, and make insert effect

settings.

P r ogram P2: E d i t–P i tch ................................. 1 2

8–1: Routing

Specify the oscillator output bus and set

the send levels to the master effects ......28

Make pitch-related settings for oscillators 1 and 2.

2–1: OSC1 P .M o d

2–2: OSC2 P .M o d

2–3: P i tch E G

Specify oscillator 1 pitch modulation via

key position or controllers...................... 12

8–2: Insert FX

Select insert effects and turn them on/ off,

and make chain settings..........................29

Specify oscillator 2 pitch modulation via

key position or controllers...................... 14

Parameter settings for IFX1 ....................30

Parameter settings for IFX2 ....................30

Parameter settings for IFX3 ....................30

Parameter settings for IFX4 ....................30

Parameter settings for IFX5 ....................30

Pitch EG settings ...................................... 14

P r ogram P3: E d i t–F i lt e r ................................. 1 6

Make ﬁlter settings for oscillators 1 and 2.

3–1: F i lt e r1

Filter 1 (for oscillator 1) type, cutoff

frequency, and resonance settings ........ 16

P r ogram P9: E d i t–Master E f fect ....................... 3 1

Make master effect and master EQ settings.

3–2: F i lt e r1 M o d.

Keyboard tracking and controller settings

to modulate the filter 1 cutoff frequency

.................................................................... 17

9–1: Mas t e r FX

Select master effects and turn them on/

off, and make chain settings ...................31

9–2: MFX 1

Parameter settings for MFX1..................32

Parameter settings for MFX2..................32

Parameter settings for master EQ ..........32

3–3: F i lt e r1 LFO Mod. Filter 1 LFO settings to modulate the filter

9–3: MFX 2

1 cutoff frequency .................................... 18

9–4: Master EQ

3–4: F i lt e r1 EG

3–5: F i lt e r2

Filter 1 EG settings................................... 19

Filter 2 (for oscillator 2) type, cutoff

frequency, and resonance settings ........ 21

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C o mb i n at i o n P7: E d i t–A r p ...............................4 4

2. C o mbination mode. . . . . . . . . 33

Make settings for arpeggiators A and B.

7–1: Se t up

Assign arpeggiators to each timbre .......44

7–2: Arpegg. A

Select an arpeggio pattern and make

settings for arpeggiator A .......................45

7–3: Arpegg. B

7–4: Scan Zone

Select an arpeggio pattern and make

settings for arpeggiator B ........................45

Specify the ranges of notes and velocities

that will operate the arpeggiator ............45

C o mb i n at i o n P8: E d i t–Insert FX........................46

Specify the output bus for each timbre, and make insert

effect settings.

8–1: Routing

Specify the output bus and master effect

send levels for each timbre......................46

C o mb i n at i o n P0: P l a y ................................... 3 3

Select and play combinations.

8–2: Insert FX

Select insert effects, turn them on/ off, and

make chain settings..................................47

0–1: Prog. Se l e ct

0–2: M i xer

Select a program for each timbre ...........33

Specify pan and level...............................35

Parameter settings for IFX1.....................47

Parameter settings for IFX2.....................47

Parameter settings for IFX3.....................47

Parameter settings for IFX4.....................47

Parameter settings for IFX5.....................47

0–3: Arpegg. A

Select an arpeggio pattern and make

settings for arpeggiator A .......................36

0–4: Arpegg. B

0–5: Samp l ing

Select an arpeggio pattern and make

settings for arpeggiator B........................36

Perform sampling; make audio input

settings etc.................................................36

C o mb i n at i o n P9: E d i t–Master FX ......................4 8

C o mb i n at i o n P1: E d i t–P r ogram/Mixer................ 37

Select the program for each timbre, and specify pan and

level.

Make settings for the master effects and master EQ.

9–1: Mas t e r FX

Select the master effects, turn them on/

off, and make chain settings ...................48

1–1: Program/Mixer

Specify program, pan, and level of each

timbre ........................................................37

9–2: MFX 1

Parameter settings for MFX1 ..................48

Parameter settings for MFX2 ..................48

Parameter settings for master EQ ..........48

9–3: MFX 2

9–4: Mas t e r EQ

C o mb i n at i o n P2: E d i t–T r k P aram ..................... 3 8

Set various parameters for each timbre.

2–1: MIDI Channel

2–2: OSC

Specify MIDI channel and status for each

timbre ........................................................38

Make settings such as mono/ poly and

portamento for each timbre ....................38

2–3: P i tch

Make pitch-related settings such as

transpose and bend range for each timbre

....................................................................39

2–4: O t her

Make delay and scale settings for each

timbre ........................................................40

C o mb i n at i o n P3: E d i t–MI D I F i lt e r ..................... 4 0

Specify MIDI message reception ﬁltering for each timbre.

Program changes, aftertouch etc............40

Joystick, ribbon controller.......................41

Realtime control knobs............................41

SW1/ 2, foot controller etc.......................41

About the Jump pages

The LCD screens shown here are the Jump pages for each

mode.

C o mb i n at i o n P4: E d i t–Z one/C t r l ....................... 4 2

The Jump page is a page menu that lets you access the var-

ious pages within each mode.

Specify the key range and controllers for each timbre.

4–1: Key Z

Specify the key zone sounded by each

timbre ........................................................42

Here’s how to access the Jump page, and select the desired

page.

4–2 :V el Z

Specify the range of velocities sounded by

each timbre................................................42

•

Press the [MENU] key to access the Jump page. In the

LCD screen, press the page that you want to select, or

press the numeric key [0]–[9] corresponding to the

number of the desired page. (ꢀBG p.16)

Alternatively, you can hold down the [MENU] key and

press the numeric key [0]–[9] corresponding to the

number of the desired page.

4–3: MOSS Se t up

4–4: Controller

Displayed if the EXB-MOSS option is

installed; set EXB-MOSS parameters.....43

•

Specify the function of the [SW1] and

[SW2] keys, and B-mode functions of the

REALTIME CONTROLS [1]–[4] knobs .43

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Sequencer P4: Zone/C t r l ................................ 6 6

3. S equencer mode . . . . . . . . . . 49

Specify the note range and controllers for each track.

4–1: Key Z 1–8

Specify the range of keys sounded by each

track ...........................................................66

4–2: Key Z 9–16

4–3 :V el Z 1–8

....................................................................6 6

Specify the range of velocities sounded by

each track ..................................................67

4–4 :V el Z 9–16

4–5: MOSS 1–8

....................................................................6 7

Displayed if the EXB-MOSS option is

installed; set EXB-MOSS parameters.....67

4–6: MOSS 9–16

4–7: Controller

....................................................................6 7

Specify the function of the [SW1] and

[SW2] keys, and B-mode functions of the

REALTIME CONTROLS [1]–[4] knobs .67

Sequencer P0: P l a y/Rec ................................ 4 9

Make settings for playing/ recording a song, and select the

program etc. used for each track.

Sequencer P5: Track E d i t............................... 6 8

0–1: Prog. 1–8

Program selection, mute, and solo settings

Perform track editing and step recording.

for each track ............................................ 49

5–1 :T r ack Edit

Track editing operations such as Copy or

.................................................................... 49

Pan and volume settings for each track 55

.................................................................... 55

Loop track settings for each track.......... 55

.................................................................... 55

Delete, and step recording ......................68

5–2 :T r ack Name

Edit the name of each track ....................75

Sequencer P6: Pattern/RPPR .......................... 7 6

Record and edit patterns, and make RPPR settings.

6–1: Pa t t e rn Edit

Record a pattern, and perform pattern

editing such as Copy or Delete ..............76

Settings for sampling and audio input etc.

.................................................................... 56

6–2: Pa t t e rn Name

6–3: RPPR Se t up

Edit the name of a pattern.......................78

0–8: P r eference

Select the realtime recording method, and

you can make metronome settings........ 57

RPPR settings............................................79

Sequencer P1: C u e L i s t ................................. 5 9

Sequencer P7: Arpegg i a tor............................. 8 1

Create and play a cue list for playing a succession of songs.

Make settings for arpeggiators A and B.

1–1: Cue L i st

Create and play back a cue list............... 59

7–1: Se t up 1–8

7–2: Se t up 9–16

7–3: Arpegg. A

Assign an arpeggiator to each track ......81

....................................................................8 1

Sequencer P2: Trk Param ............................... 6 2

Select an arpeggio pattern and make

settings for arpeggiator A .......................82

Set various parameters for each timbre.

2–1: MIDI Ch 1–8

MIDI channel and status settings for each

track ........................................................... 62

7–4: Arpegg. B

7–5: Scan Zone

Select an arpeggio pattern and make

settings for arpeggiator B........................82

2–2: MIDI Ch 9–16

2–3: OSC 1–8

.................................................................... 62

Specify the range of notes and velocities

that will operate the arpeggiator ...........82

Mono/ poly and portamento settings etc.

for each track ............................................ 63

Sequencer P8: Insert E f fect ............................ 8 3

Specify the bus for the output of each track, and make

insert effect settings.

2–4: OSC 9–16

2–5: P i tch 1–8

.................................................................... 63

Pitch-related settings (transpose, pitch

bend range etc.) for each track ............... 63

8–1: Routing 1–8

Specify the bus and master effect send

levels for the output of each track .........83

2–6: P i tch 9–16

2–7: O t her 1–8

2–8: O t her 9–16

.................................................................... 63

Delay and scale settings for each track .64

.................................................................... 64

8–2: Routing 9–16

8–3: Insert FX

....................................................................8 3

Select insert effects and turn them on/ off,

and make chain settings..........................84

Sequencer P3: MIDI F i lt e r .............................. 6 5

8–8: IFX 5

Parameter settings for IFX1 ....................85

Parameter settings for IFX2 ....................85

Parameter settings for IFX3 ....................85

Parameter settings for IFX4 ....................85

Parameter settings for IFX5 ....................85

Specify MIDI message reception ﬁltering for each track.

Program changes, aftertouch etc. .......... 65

.................................................................... 65

Joystick, ribbon controller ...................... 65

.................................................................... 65

Realtime control knobs ........................... 65

.................................................................... 65

SW1/ 2, foot controller etc. ..................... 66

.................................................................... 66

Sequencer P9: Master E f fec t ........................... 8 5

Make master effect and master EQ settings.

9–1: Mas t e r FX

Select master effects and turn them on/

off, and make chain settings ...................85

9–2: MFX 1

Parameter settings for MFX1..................86

Parameter settings for MFX2..................86

Parameter settings for master EQ ..........86

9–3: MFX 2

9–4: Mas t e r EQ

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8–5: IFX 3

8–6: IFX 4

8–7: IFX 5

Parameter settings for IFX3...................122

Parameter settings for IFX4...................122

Parameter settings for IFX5...................122

4. S a m pling mode . . . . . . . . . . . 87

5. S ong Pl a y m ode . . . . . . . . . 123

Samp l i n g P0: Record i n g ............................... 8 8

Make sample recording settings such as input level, and

basic settings for multisamples and samples.

0–1: Recording

Basic settings such as selecting a

multisample and sample, and adjusting

the final input level..................................88

0–2: Input/Setup

Audio input settings, and recording setup

....................................................................96

Song P l a y P0: Prog/M i x ............................... 1 23

Select SMF data and play it back.

0–3: P r eference

Settings for creating indexes...................98

Select the program for each track .........123

..................................................................123

Set pan and volume for each track.......125

..................................................................125

0–4: Memo r y S t a t us

View the amount of remaining sample

memory (RAM), and the remaining

number of multisamples and samples ..99

Settings for consecutive playback of SMF

data, and metronome settings ..............125

Samp l i n g P1: Samp l e E d i t ............................ 1 00

Edit sample data (waveform data), and perform editing

operations such as Copy and Rate Convert.

Song P l a y P1: Track ................................... 1 26

1–1: Samp l e E d i t

Edit sample data (waveform data) ......100

Specify the status and scale for each track.

1–1: S t a t us 1–8

1–2: S t a t us 9–16

1–3: MOSS 1–8

Status and scale settings ........................126

Samp l i n g P2: Loop E d i t................................ 1 07

Specify the region of the sample that will be played, make

loop playback settings, and perform editing operations

such as Time Slice and Time Stretch.

..................................................................126

Displayed if the EXB-MOSS option is

installed; set EXB-MOSS parameters ...126

2–1: Loop Edit

Loop playback settings and editing.....107

1–4: MOSS 9–16

..................................................................126

Samp l i n g P3: Mu l ti s amp l e............................ 1 17

Edit a multisample. Assign samples, and specify zones

and original keys.

Song P l a y P2: C o ntroller S etup ...................... 1 27

Make controller settings.

2–1: Controller Setup Specify the function of the [SW1] and [SW2]

keys, and B-mode functions of the

3–1: Mu l tisample

3–2: P r eference

Edit multisamples ..................................117

Settings for creating indexes.................119

REALTIME CONTROLS [1]–[4] knobs ...127

Samp l i n g P4: C o ntroller S etup ....................... 1 19

Song P l a y P3: Se l e ct D i rectory/Jukebox............ 128

Select the directory that contains the SMF you want to

play. If “Jukebox” is checked, you can create a jukebox list.

Make controller settings.

4–1: Controller Setup Specify the function of the [SW1] and [SW2]

keys, and B-mode functions of the

3–1: Se l e ct D i r e ctory Select the directory that contains the SMF

REALTIME CONTROLS [1]–[4] knobs...119

you want to play.....................................128

3–1: Jukebox

Create a jukebox list ...............................128

Samp l i n g P5: Aud i o C D ................................ 1 20

Play back an audio CD, and rip samples from an audio

CD.

Song P l a y P7: Arpegg i a to r ............................ 1 29

Make settings for arpeggiators A and B.

5–1: Audio CD

Play back an audio CD and rip ............120

7–1: Se t up 1–8

7–2: Se t up 9–16

7–3: Arpegg. A

Assign an arpeggiator to each track.....129

..................................................................129

Samp l i n g P8: Insert E f fect ............................ 1 22

Specify the bus for the sample output, and make insert

effect settings.

Select an arpeggio pattern and make

settings for arpeggiator A .....................130

7–4: Arpegg. B

7–5: Scan Zone

Select an arpeggio pattern and make

settings for arpeggiator B ......................130

8–1: Routing

Specify the bus for the sample

output ......................................................122

Specify the range of notes and velocities

that will operate the arpeggiator ..........130

8–2: Insert FX

Select insert effects, turn them on/ off, and

make chain settings................................122

8–3: IFX 1

8–4: IFX 2

Parameter settings for IFX1 ..................122

Parameter settings for IFX2 ..................122

vii

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Song P l a y P8: Insert E f fect ........................... 1 31

Specify the bus for the output of each track, and make

insert effect settings.

6. Global mode . . . . . . . . . . . . 135

8–1: Routing 1–8

Specify the bus and the master effect send

levels for the output of each

track ......................................................... 131

8–2: Routing 9–16

8–3: Insert FX

.................................................................. 131

Select insert effects, turn them on/ off, and

make chain settings ............................... 132

Parameter settings for IFX1 .................. 132

Parameter settings for IFX2 .................. 132

Parameter settings for IFX3 .................. 132

Parameter settings for IFX4 .................. 132

Parameter settings for IFX5 .................. 132

G l o bal P0: Bas i c S etup .................................1 35

Make basic settings that affect the entire TRITON STUDIO,

and make AUDIO INPUT settings for other than Sampling

mode. If the EXB-mLAN option is installed, make settings

for mLAN input/ output.

Song P l a y P9: Master E f fec t .......................... 1 33

Make settings for the master effects and master EQ.

9–1: Mas t e r FX

Select the master effects, turn them on/

off, and make chain settings................. 133

0–1: Bas i c

Master tune, key transpose, effect global

switch, and auto arpeggiator on/ off

settings.....................................................135

9–2: MFX1

Parameter settings for MFX1................ 133

Parameter settings for MFX2................ 133

Parameter settings for master EQ ........ 133

9–3: MFX2

0–2: S ystem Preference Bank map, system lock, and memory

protect settings .......................................137

9–4: Mas t e r EQ

0–3: Input/Sampling Audio input settings for other than

Sampling mode ......................................139

0–4: mLAN Output

0–5: mLAN Input

Audio and MIDI output settings to an

external mLAN device (EXB-mLAN

option) .....................................................140

Audio and MIDI input settings from an

external mLAN device (EXB-mLAN

option) .....................................................141

G l o bal P1: MIDI .........................................1 42

Make MIDI settings for the entire TRITON STUDIO.

1–1: MIDI

Settings such as global MIDI channel,

MIDI clock, and MIDI filter ..................142

G l o bal P2: C o ntrolle r ...................................1 46

Make settings for the damper pedal and assignable foot

switch/ pedal.

2–1: Controller

Damper pedal and assignable foot

switch/ pedal settings............................146

G l o bal P3: User Sca l e..................................1 46

Create user octave scales and user all note scales.

3–1: User Sca l e

Create user scales ...................................146

G l o bal P4: C a tegory Name ............................1 47

Assign names to categories.

4–1: Program Cat.

4–2: Comb Ca t .

Specify program category names.........147

Specify combination category names ..147

G l o bal P5: Drum K i t ....................................1 48

Edit or create drum kits.

5–1: Samp l e S e t up

5–2 :V o ice/M i xer

Assign a drum sample to each key ......148

Specify the bus and pan etc. for each key

..................................................................150

G l o bal P6: User Arpegg i o ..............................1 51

Edit or create user arpeggio patterns.

6–1: Pa t t e rn Setup

6–2: Pa t t e rn Edit

Specify the operation of the arpeggio

pattern .....................................................151

Input tones for each step .......................153

viii

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7. D isk mode . . . . . . . . . . . . . . 155

8. E f fect Guid e . . . . . . . . . . . . . 177

F i l e s, directories, and icon s ...........................................................1 55

O v erv i e w ................................................. 1 77

1. Effects in each mode .....................................................................177

2. Dynamic modulation (Dmod) .........................................................177

3. Effect I/O........................................................................................177

0–1: Load

0–2: Save

0–3: U t ility

Load the selected file or directory into

internal memory.....................................156

Save data from internal memory to

various media .........................................165

Rename, copy, delete, or format the

selected disk or file ................................169

Insert E f fects (I F X 1, 2, 3, 4, 5 )...................... 1 78

1. In/Ou t .............................................................................................178

2. Routing...........................................................................................179

3. Mixer ..............................................................................................181

4. Controlling the Insert Effects via MIDI............................................182

0–4: Make Aud i o C D Create an audio CD ...............................172

0–5: P l a y Audio CD

0–6: Med i a Info

Play an audio CD ...................................174

View information about the selected

media .......................................................175

Master E f fects (MFX1, 2) ............................. 1 82

1. In/Ou t .............................................................................................182

2. Routing...........................................................................................183

3. Mixer ..............................................................................................184

4. Controlling the Master Effects via MIDI..........................................185

Master E Q ............................................... 1 85

Ma i n O u tput ............................................. 1 85

Ind i v i d ual O u tputs...................................... 1 85

E f fect/Mixer Block Diagram........................... 186

Program.............................................................................................186

Combination.......................................................................................186

Sampling............................................................................................186

F i lt e r/D ynam i c.......................................... 1 87

Filter and dynamics control effects

000: No Effect ....................................................................................187

001: St. Amp Simulation (Stereo Amp Simulation) ............................187

002: Stereo Compresso r ....................................................................187

003: Stereo Limiter.............................................................................187

004: Multiband Limiter........................................................................188

005: Stereo Gate................................................................................189

006: OD/Hi.Gain W a h (Overdrive/Hi.Gain W a h) ................................189

007: St. Parametric 4EQ (Stereo Parametric 4-Band EQ ).................190

008: St. Graphic 7EQ (Stereo Graphic 7 Band EQ )...........................191

009: St .W a h/Auto W a h (Stereo W a h/Auto W a h)................................191

010: St. Random Filter (Stereo Random Filter)..................................192

011: St. Exciter/Enhncr (Stereo Exciter/Enhancer )............................193

012: St. Sub Oscillator (Stereo Sub Oscillator )..................................193

013 :T a lking Modulato r .......................................................................194

014: Stereo Decimato r .......................................................................195

015: St. Analog Record (Stereo Analog Record )...............................195

P i tch/P hase Mod. ...................................... 1 96

Pitch/ phase modulation effects

016: Stereo Chorus............................................................................196

017: St. Harmonic Chorus (Stereo Harmonic Chorus) ......................196

018: Multitap Cho/Delay (Multitap Chorus/Delay )..............................197

019: Ensembl e ...................................................................................197

020: Stereo Flange r ...........................................................................198

021: St. Random Flanger (Stereo Random Flanger ).........................198

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022: St. Env. Flanger (Stereo Envelope Flanger ).............................. 199

023: Stereo Phaser ........................................................................... 199

024: St. Random Phaser (Stereo Random Phaser ).......................... 200

025: St. Env. Phaser (Stereo Envelope Phaser )................................ 200

026: St. Biphase Mod. (Stereo Biphase Modulation)......................... 201

027: Stereo Vibrato ........................................................................... 201

028: St. Auto Fade Mod. (Stereo Auto Fade Modulation ).................. 202

029: 2Voice Resonato r ...................................................................... 202

030: Doppler...................................................................................... 203

031: Scratc h ...................................................................................... 204

067: Comp – Cho/Flng (Compressor – Chorus/Flanger)...................2 21

068: Comp – Phaser (Compressor – Phaser )...................................2 22

069: Comp – Mt. Delay (Compressor – Multitap Delay) ....................2 22

070: Limiter – P4EQ (Limiter – Parametric 4-Band EQ )....................2 23

071: Limiter – Cho/Flng (Limiter – Chorus/Flanger )..........................2 23

072: Limiter – Phaser ........................................................................2 24

073: Limiter – Mt. Delay (Limiter – Multitap Delay )............................2 24

074: Exciter – Comp (Exciter – Compressor )....................................2 25

075: Exciter – Limite r .........................................................................2 25

076: Exciter – Cho/Flng (Exciter – Chorus/Flanger)..........................2 25

077: Exciter – Phase r ........................................................................2 26

078: Exciter – Mt. Delay (Exciter – Multitap Delay)............................2 26

079: OD/HG – Amp Sim (Overdrive/Hi.Gain – Amp Simulation ).......2 27

080: OD/HG – Cho/Flng (Overdrive/Hi.Gain – Chorus/Flanger) .......2 27

081: OD/HG – Phaser (Overdrive/Hi.Gain – Phaser )........................2 28

082: OD/HG – Mt. Delay (Overdrive/Hi.Gain – Multitap Delay) .........2 28

083 :W a h – Amp Sim (W a h/Auto W a h – Amp Simulation).................2 29

084: Decimator – Amp (Decimator – Amp Simulation )......................2 29

085: Decimator – Comp (Decimator – Compressor) .........................2 29

086: Amp Sim – T r emolo (Amp Simulation – T r emolo) ......................2 30

087: Cho/Flng – Mt. Dly (Chorus/Flanger – Multitap Delay )..............2 30

088: Phaser – Cho/Flng (Phaser – Chorus/Flanger ).........................2 31

089: Reverb – Gate ...........................................................................2 31

Mod ./P .S h i ft ............................................ 2 05

Other modulation and pitch shift effects

032: Stereo T r emol o .......................................................................... 205

033: St. Env .T r emolo (Stereo Envelope T r emolo) ............................. 205

034: Stereo Auto Pa n ........................................................................ 206

035: St. Phaser + T r m l (Stereo Phaser + T r emolo )............................ 206

036: St. Ring Modulator (Stereo Ring Modulator) ............................. 207

037: Detune....................................................................................... 208

038: Pitch Shifte r ............................................................................... 208

039: Pitch Shift Mod. (Pitch Shift Modulation )................................... 209

040: Rotary Speake r ......................................................................... 209

ER /D e l a y ................................................. 2 10

Early reflection and delay effects

Doub l e S i z e ..............................................2 32

Double-size effects

041: Early Reﬂection s ....................................................................... 210

042: Auto Reverse............................................................................. 211

043: L/C/R Dela y ............................................................................... 211

044: Stereo/Cross Dela y ................................................................... 212

045: St. Multitap Delay (Stereo Multitap Delay)................................. 212

046: St. Modulation Delay (Stereo Modulation Delay)....................... 213

047: St. Dynamic Delay (Stereo Dynamic Delay ).............................. 213

048: St. Auto Panning Dly (Stereo Auto Panning Delay )................... 214

049: L/C/R BPM Dela y ...................................................................... 214

050: St. BPM Delay (Stereo BPM Delay) .......................................... 215

051: Sequence Dela y ........................................................................ 215

090: Piano Body/Damper (Piano Body/Damper Simulation ).............2 32

091: St. Mltband Limiter (Stereo Multiband Limiter) ..........................2 32

092: OD/HyperGain W a h (Overdrive/Hyper Gain W a h).....................2 32

093 :V ocode r ......................................................................................2 33

094: Multitap Cho/Delay (Multitap Chorus/Delay)..............................2 34

095: St. Pitch Shifter (Stereo Pitch Shifter)........................................2 34

096: Rotary Speaker OD (Rotary Speaker Overdrive) ......................2 35

097: Early Reﬂections........................................................................2 36

098: L/C/R Long Delay ......................................................................2 36

099: St/Cross Long Dly (Stereo/Cross Long Delay )..........................2 36

100: LCR BPM Long Dly (L/C/R BPM Long Delay )...........................2 37

101: St. BPM Long Delay (Stereo BPM Long Delay).........................2 37

102: Hold Dela y .................................................................................2 38

Reverb ................................................... 2 16

Reverb effects

052: Reverb Hal l ................................................................................ 216

053: Reverb SmoothHall ................................................................... 216

054: Reverb Wet Plate....................................................................... 216

055: Reverb Dry Plat e ....................................................................... 216

056: Reverb Room ............................................................................ 217

057: Reverb BrightRoom................................................................... 217

Master E Q ................................................2 39

Master EQ .........................................................................................2 39

Mono – Mono C h a i n ................................... 2 17

Effects that combine two mono effects connected in series

058: P4EQ – Exciter (Parametric 4-Band EQ – Exciter )................... 217

059: P4EQ – W a h (Parametric 4-Band EQ – W a h/Auto W a h)........... 218

060: P4EQ – Cho/Flng (Parametric 4-Band EQ – Chorus/Flanger).. 218

061: P4EQ – Phaser (Parametric 4-Band EQ – Phaser) .................. 219

062: P4EQ – Mt. Delay (P arametric 4-Band EQ – Multitap Delay )..... 219

063: Comp – Wah (Compressor – W a h/Auto W a h )........................... 220

064: Comp – Amp Sim (Compressor – Amp Simulation ).................. 220

065: Comp – OD/HiGain (Compressor – Overdrive/Hi.Gain )............ 220

066: Comp – Param4EQ (Compressor – Parametric 4-Band EQ )..... 221

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Replacing the calendar battery..........................................................297

C o nnect i n g external S C SI dev i c e s ................... 2 98

Packet wr i ti n g support on the TRIT O N STUD I O.... 299

EXB -D I opt i o n ........................................... 3 00

Index ..................................................... 302

9. Appendices . . . . . . . . . . . . . 241

A l ternate Modulation Source (AMS )................. 2 41

About Alternate Modulation...............................................................2 41

About Alternate Modulation Sources.................................................2 41

AMS (Alternate Modulation Source) Lis t ...........................................2 42

Alternate Modulation settings............................................................2 44

The effect of alternate modulation on various parameters, and example

applications .......................................................................................2 44

Dynam i c M odu l a tion S ource (Dmod )................ 2 46

Dynamic Modulation Source Lis t .......................................................2 47

About the BPM/MIDI SYNC functio n .................................................2 48

SW1 /2 A ss i g n ........................................... 2 49

SW1, SW2 Assign List ......................................................................2 49

Knob 1 ...4 B -A ss i g n.................................... 2 50

Realtime Control Knobs B–Assign List..............................................2 50

Foot Switch Assign..................................... 251

Foot Switch Assign List .....................................................................2 51

Foot Pedal Ass i g n ...................................... 2 52

Foot Pedal Assign Lis t .......................................................................2 52

MIDI transmission when the TRITON STUDIO’s

contro l l e rs are operated............................... 253

TRITON STUDIO operations when control changes are

transmitted/received................................... 255

MIDI app l i c at i o ns ....................................... 2 58

I About MIDI....................................................................................258

I Connecting MIDI devices/computers (MIDI connectors)...............258

I Messages transmitted and received by the TRITON STUDIO......259

TRITON STUDIO MIDI IMPLEMENTATION........... 269

Var i o us messages ...................................... 2 72

Data compat i b i lity...................................... 2 79

D i s k mode i n formation ................................ 2 83

Chunks that are supported................................................................2 83

About KORG format ﬁle s ...................................................................2 84

O p tion boards/Memory/C a l e ndar battery ........... 2 86

Please note when installing an option board/memory.......................2 86

Cautions when installing the calendar battery...................................2 86

About option boards/memory/calendar batter y .................................2 87

Checking after installation .................................................................2 87

Installing an EXB-PCM......................................................................2 88

Installing a DRAM SIMM ...................................................................2 90

Installing the EXB-MOS S ..................................................................2 91

Installing the EXB-D I .........................................................................2 92

Installing the EXB-mLAN...................................................................2 93

Installing the CDR W -1 .......................................................................2 94

* Company names, product names, and names of formats

etc. are the trademarks or registered trademarks of their

respective owners.

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xii

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1. Program mode

Program Select

Program P0: Play

(INT-A...INT-F, EXB-A...EXB-G) 0...127,

(G, g(1)...g(9), g(d)) 1...128]

In this mode you can select and play programs.

Here you can select a speciﬁc program. When this parameter

is selected, you can select programs using the [ ] [

keys, numeric keys [0]–[9], or [VALUE] dial.

When you press the popup button, the “Bank/ Program

Select” menu will appear. This displays programs by bank,

and allows you to select a program.

]

All MIDI data in Program P0: Play is transmitted and

received on the Global MIDI Channel “MIDI Channel”

(Global P1: 1–1a).

You can receive MIDI program changes from a con-

nected external MIDI device, or use a foot switch to

select programs. (“Foot SW Assign” Global P2: 2–1a,

“Foot S w i tch Assign List ” ꢀ p .251)

0–1: Perf. Edit (Performance Edit)

0–1

0–1a

Bank/ Program Select menu:

0–1b

0–1c

1Press the popup button at the left of “Program Select” to

access the Bank/ Program Select menu.

2Press one of the tabs at left or right to select a speciﬁc

bank.

ꢀ

0–1a: Bank, Program Select, Category, 10’s Hold,

Bank (Bank Select)

[INT-A...INT-F, G, g(1)...g(9), g(d), EXB-A...EXB-G]

If you select the GM bank, the Variation button will be

enabled.

Each time you press the Variation button, the bank will

cycle in the order of G → g(1) → g(2) → ... → g(8) → g(9)

→ G.

This is the program bank display.

Use the BANK [INT-A]–[EXB-G] keys to select the bank.

Bank G will advance to the next G (or g) bank each time you

press the [INT-G] key, as shown.

G→g(1)→g(2)→g(3)→g(4)→g(5)→g(6)→g(7)→g(8)→g(9)→

g(d)→G

3Select a program from the list. You can press the list to

make a selection, or use the [ ] [ ] keys.

4Press the OK button to execute, or press the Cancel but-

ton to cancel your selection.

Bank INT-F can be selected if you have installed the

EXB-MOSS option. When installed, the 128 special

EXB-MOSS programs will be available.

Category

[00...15]

The TRITON STUDIO provides rewritable banks INT-A–

INT-E and EXB-A–EXB-G, each containing 128 programs

(total 1,536). As non-rewritable program areas, it provides

banks G (basic programs for GM2), banks g(1)–g(9) (varia-

tion programs), and bank g(d) (drums). ꢀA list of the fac-

tory-set programs is provided in the separate booklet

“VNL.”

Selects the program category.

All programs are classiﬁed into one of sixteen categories.

You can select the desired category, and then choose pro-

grams from that category. Press the popup button, and the

“Category/ Program Select” menu will appear.

Category/ Program Select menu:

INT-A...INT-D

INT-E

for preloaded programs

User programs, such as programs that use multi-

samples created in Sampling mode.

INT-F

for EXB-MOSS programs

GM2 basic program

g(1)–g(9)

g(d)

GM2 variation programs*

GM2 drums program

EXB-A...EXB-G for user programs, and EXB-PCM series programs

1Press the (category) popup button above “Program

Select” to access the Category/ Program Select menu.

2Press one of the tabs at left or right to select the desired

category.

3Select a program from the list. You can press the list to

make a selection, or use the [ ] [ ] keys.

4Press the OK button to execute, or press the Cancel but-

ton to cancel your selection.

* For banks with no variation sounds, the GM basic sounds

will be recalled. (An * will be added at the beginning of

the program name.)

The category setting of each program can be speciﬁed in the

“Write Program” (0–1A) dialog box.

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10’s Hold

Pitch Stretch

[–12...+00...+12]

This simultaneously adjusts the Transpose and Tune of the

oscillator. This lets you produce a variety of tonal changes

and variations without loosing the character of the original

sound.

At the +00 setting, the value of the program parameters will

be unchanged.

An adjustment of +01 will lower the Transpose value by 1,

and simultaneously raise the Tune value by 100.

An adjustment of –01 will raise the Transpose value by 1,

and simultaneously lower the Tune value by 100.

However, it is not possible for the Transpose value to exceed

the range of ±12, nor the Tune value to exceed the range of

±1200.

1Press the [./10’s HOLD] key to display

The 10’s place of the program number will be held

(ﬁxed).

2Now you can press any numeric key [0]–[9] to input the

1’s place of the program number with a single keystroke.

3You can use the [ ] [ ] keys to change the value of the

10’s place.

4To cancel, press the [./ 10’s HOLD] key to turn off the

display.

ꢀ (Tempo)

[040...240, EXT]

This sets the tempo of the arpeggiator. The tempo can also

be adjusted by the ARPEGGIATOR [TEMPO] knob.

A display of EXT indicates that the “MIDI Clock” (Global

P1: 1–1a) setting has been set to External MIDI or External

mLAN, and that the arpeggiator will synchronize to MIDI

Clock messages received from an external MIDI device.

This Performance Editor function cannot be used with

bank INT-F.

OSC Balance

[–10...0...+10]

This adjusts the level balance between oscillators 1 and 2.

At the +00 setting, the value of the program parameters will

be unchanged.

0–1b: Program Information

Positive (+) settings will lower the oscillator 2 level.

With an adjustment of +10, the oscillator 2 level will be 0.

The oscillator 1 level will not change.

Negative (–) settings will lower the oscillator 1 level.

With an adjustment of –10, the oscillator 1 level will be 0.

The oscillator 2 level will not change.

This displays the functions that are assigned to the [SW1]

and [SW2] keys and to the B mode of REALTIME CON-

TROL knobs [1], [2], [3], [4], and the names of the effects that

are selected for the insertion effects and the master effects.

0–1c: Performance Editor

For programs whose “Oscillator Mode” (1–1a) setting

is Single, oscillator 2 will not sound. Only the level of

oscillator 1 will change. For a Drums program, this per-

formance editor will have no effect.

The Performance Editor lets you edit major program param-

eters without moving to the Program P1–P9 Edit pages.

This allows you to adjust multiple program parameters

within the currently selected program simultaneously, so

you can make broad adjustments quickly and easily.

You can use the Performance Editor when you wish to

adjust the depth of effects while you are playing, or to make

the initial rough settings to begin the process of creating a

new sound.

Amp Level

[–10...0...+10]

This adjusts the amp level.

With an adjustment of +00, the value of the program param-

eters will be unchanged.

Positive (+) settings will increase the amp level above the

value that was set.

With an adjustment of +10, the amp level will be 127 (maxi-

mum).

If you wish to keep the results of your editing, you must

write (save) the program (ꢀBG p.56).

Editing done using the Performance Editor will occur

within the range of the corresponding parameter. If

after using the Performance Editor to modify a value,

you move to another page or mode and then return, the

sound will remain in its edited state but the value

shown in the LCD screen by the Performance Editor

will be +00. You may do further editing from this state

if you wish.

Negative (–) settings will lower the amp level below the

value that was set.

With an adjustment of –10, the amp level will be 0.

Attack Time

[–10...0...+10]

This adjusts the attack times of the ﬁlter EG and amp EG.

With an adjustment of +00, the value of the program param-

eters will be unchanged.

Since editing done using the Performance Editor is not

as detailed as conventional editing, the balance

between parameters may be lost. If this occurs, use P1–

P9 Edit page to make ﬁne adjustments.

Positive (+) settings will lengthen the attack times beyond

the values that were set.

With an adjustment of +10, the attack times will be 90.

Negative (–) settings will shorten the attack times.

With an adjustment of –10, the attack times will be 0.

If the “Enable Exclusive” (Global P1: 1–1b) setting is

checked, MIDI exclusive parameter changes will be

transmitted whenever you operate the Performance

Editor. If these messages are received by a TRITON

STUDIO whose “Enable Exclusive” setting is checked,

the Performance Editor corresponding to that message

will be modiﬁed.

When you modify “Attack Time,” the EG Start Level,

Attack Level, Start Level Modulation, and Attack Time

Modulation of the amp EG will also be adjusted simul-

taneously, to allow the maximum effect to be obtained.

Decay Time

[–10...0...+10]

This adjusts the Decay Time and Slope Time of the ﬁlter EG

and amp EG.

Octave

[–03...+00...+03]

With an adjustment of +00, the value of the program param-

eters 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.

An adjustment of +01 will raise the pitch one octave.

An adjustment of –01 will lower the pitch one octave.

However, this setting cannot adjust the pitch higher than 4'

(feet) or lower than 32' (feet).

Negative (–) settings will shorten the Decay Time and Slope

Time. With an adjustment of –10, the times will be 0.

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With the factory settings, the program categories have

been given the names of instruments etc., but you can use

“Program Cat.” (Global P4: 4–1) to modify these category

names. The category selected here can be used to ﬁnd

this program when selecting a program in Program,

Combination, Sequencer, or Song Play modes.

IFX Balance

[–10...0...+10]

This adjusts the “Wet/ Dry” setting of insert effects 1–5 as a

whole.

With an adjustment of +00, the value of the program param-

eters will be unchanged.

Positive (+) settings will raise the Wet levels above the pro-

gram setting, and lower the Dry levels. With an adjustment

of +10, the setting will be “Wet.”

Negative (–) settings will lower the Wet levels below the

program setting, and raise the Dry levels. With an adjust-

ment of –10, the setting will be “Dry.”

4Press “To Program” to specify the writing destination.

You can also use the BANK [INT-A]–[EXB-G] keys to

select a bank.

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 INT-A–INT-E or EXB-A–

EXB-G.

MFX Balance

[–10...0...+10]

This adjusts the master effect “Return 1” and “Return 2” (9–

1b) settings as a whole.

With an adjustment of +00, the value of the program param-

eters will be unchanged.

5To execute the Write Program operation, press the OK

button. To cancel, press the Cancel button.

Positive (+) settings will raise the return levels above the

program setting.

With an adjustment of +10, the setting will be 127 (maxi-

mum).

Negative (–) settings will lower the return levels below the

program setting.

You can also press the SEQUENCER [REC/ WRITE] to

write a program in the same way as “Write Program.”

Press the SEQUENCER [REC/ WRITE] key to access the

dialog box, and write the program. In this case, the set-

tings will be written to the currently selected program.

With an adjustment of –10, the setting will be 0.

Octave

Octave of OSC 1/2

0–2: Arpeggio

Pitch Stretch Transpose and Tune of OSC 1/2

Arpeggiator parameters are edited in P7: Edit-Arpeggiator,

but major parameters can be edited here as well. When you

are playing in Program P0: Play, you can edit the arpeggia-

tor in realtime, such as changing the arpeggio pattern etc.

To write (save) the results of your editing, use “Write Pro-

gram” or “Update Program.” You can also use the [TEMPO],

[GATE], and [VELOCITY] knobs to edit the arpeggio in real-

time (ꢀBG p.29, 30).

OSC Balance High Multisample, Low Multisample Level of OSC 1/2

Amp Level

Amp1 Level, Amp2 Level

Attack Time

Amp EG Attack Time, Start Level, Attack Level, Level

Modulation St, Time Modulation At of Amp 1/2, and

Filter EG Attack Time of Filter 1/2

Decay Time

IFX Balance

AmpEG Decay Time, Slope Time of Amp 1/2; Filter

EG Decay Time and Slope Time of Filter 1/2

Wet/Dry balance of the IFX1/2/3/4/5 effects

0–1

MFX Balance Master Effect Return 1, 2

0–1a

For the INT-F bank programs that can be used when

the EXB-MOSS option is installed, different program

parameters will be adjusted.

(ꢀEXB-MOSS owner’s manual)

0–2a

M 0–1: Page Menu Command

0–1A

0–1A: Write Program

0–2a: Arpeggiator

This command writes the edited program into the internal

memory.

Pat (Pattern) [P000...P004, U000(I-A/ B)...U506(User)]

If you wish to save a program, be sure to write it into mem-

ory. An edited program cannot be recovered if you do not

write it before turning off the power or selecting another

program.

Octave

[1, 2, 3, 4]

[ꢁ ꢂ , ꢁ , ꢃ ꢂ , ꢃ , ꢀ ꢂ , ꢀ ]

[Off, On]

Reso (Resolution)

Sort

Latch

[Off, On]

1Select “Write Program” to access the dialog box.

Key Sync.

Keyboard

[Off, On]

Make settings for the program arpeggiator (ꢀP7: Edit-

Arpeggiator).

These parameters can also be set from P7: Edit-Arpeg-

giator.

2The upper line shows the bank and program name.

If you wish to modify the program name, press the text

edit button to move to the text edit dialog box, and input

the desired program name.

3In “Category,” specify the category of the program that

you are writing.

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This lets you sample an external audio signal sent to buses 1,

2, 1/2 (speciﬁed by “Input” 0–3a), or the sounds sent to the

INDIVIDUAL 1, 2, 1/2 buses from a performance played on

the TRITON STUDIO from its keyboard or via MIDI input.

0–3: Sampling

Here you can adjust the settings for the analog/ digital audio

signal input (AUDIO INPUT, S/ P DIF, EXB-mLAN), and the

settings related to sampling in Program mode.

You can sample either an external audio signal, or a perfor-

mance played on the TRITON STUDIO.

Normally when you want to sample a performance in Pro-

gram mode, you will select L/R.

When sampling in Program mode, you can listen to the per-

formance of the TRITON STUDIO’s arpeggiator etc. while

only sampling the external audio signal via the AUDIO

INPUT jacks or S/ P DIF jacks; or you can resample while

you play a program using the TRITON STUDIO’s ﬁlters,

effects, and arpeggiator. You can also mix a performance on

the TRITON STUDIO with an external audio signal, and

sample the result. (ꢀBG p.45)

Send

Insert Effects

Return

PROGRAM

Master Effects

AUDIO OUTPUT

L/MONO, R

OSC / Filter / Amp

Master EQ

ARPEGGIATOR

Source BUS

= L/R

SAMPLING

Select L/R if you want to mix a Program mode performance

(e.g., drum patterns played by the arpeggiator) with exter-

nal audio from AUDIO INPUT (or S/ P DIF or EXB-mLAN),

and sample them together. In this case, set Input “BUS (IFX/

Indiv.) Select” (0–3a) to L/R so that the external audio signal

will be sent to the L/ R bus.

“Resampling” refers to the process of sampling an

external audio signal, processing this sampled wave

data in the digital domain using effects etc., playing it,

and then once again sampling the resulting perfor-

mance.

Send

Insert Effects

Return

PROGRAM

Master Effects

0–3

AUDIO OUTPUT

L/MONO, R

OSC / Filter / Amp

Master EQ

0–3a

ARPEGGIATOR

Source BUS

= L/R

SAMPLING

0–3b

"BUS(IFX/Indiv.) Select"

= L/R

AUDIO INPUT 1,2

(IFX1-5)

0–3c

Select Indiv.1/2 if you want to monitor your playing in Pro-

gram mode while sampling only an external audio signal

from AUDIO INPUT (or S/ P DIF or EXB-mLAN). In this

case, set Input “BUS (IFX/Indiv.) Select” (0–3a) to 1, 2, or 1/2

so that the external audio signal will be sent to the INDIVID-

UAL 1, 2, or 1/ 2 buses.

0–3a: Input (COMBI, PROG, SEQ, S.PLAY, DISK)

Input

[Analog, S/ P DIF, mLAN]

Send

Insert Effects

Return

PROGRAM

Master Effects

AUDIO OUTPUT

L/MONO, R

OSC / Filter / Amp

Master EQ

Input1:

ARPEGGIATOR

Input2:

SAMPLING

Source BUS

= Indiv.1/2

Level

[0...127]

Pan

[L000...C064...R127]

"BUS(IFX/Indiv.) Select"

= 1, 2, 1/2

AUDIO OUTPUT

INDIV.1, 2

AUDIO INPUT 1,2

BUS(IFX/ Indiv.) Select

(IFX1-5)

[L/ R, IFX1…5, 1, 2, 3, 4, 1/ 2, 3/ 4, Off]

Send1(MFX1), Send2(MFX2)

[000...127]

Trigger

[Sampling START SW, Note On]

Here you can specify the input source analog/ digital audio

device, and set the input level, pan, bus, and master effect

sends.

This speciﬁes how sampling will begin.

Sampling START SW: The TRITON STUDIO will enter

sampling-standby mode when you press the SAMPLING

[REC] key. Sampling will begin when you press the SAM-

PLING [START/ STOP] key.

Note On: The TRITON STUDIO will enter sampling-

standby mode when you press the SAMPLING [REC] key

and then press the SAMPLING [START/ STOP] key. Sam-

pling will begin when you play the keyboard.

These Input settings are valid in Combination, Program,

Sequencer, Song Play, and Disk modes. (ꢀGlobal P0: 0–

3a)

0–3b: Sampling Setup

Source BUS

[L/ R, Indiv.1/ 2]

Sampling will also begin if a MIDI note-on is received.

Selects the source that you want to sample. The sound being

sent to the bus selected here will be sampled.

To stop sampling in either case, press the SAMPLING

[START/ STOP] key once again. Alternatively, sampling will

stop automatically when the speciﬁed “Sample Time” is

reached.

L/R: The sound sent to the L/R bus will be sampled.

This lets you sample an external audio signal sent to the L/R

bus (speciﬁed by “Input” 0–3a), or the sounds sent to the L/

R bus from a performance played on the TRITON STUDIO

from its keyboard or via MIDI input.

For details on the procedure, refer to p.97.

Indiv. 1/2: The sound sent to the INDIVIDUAL 1, 2, 1/2

buses will be sampled.

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Metronome Precount

[Off, 4, 8, 3, 6]

Sample Time

[min sec]

This speciﬁes whether the metronome will sound a count-

down when you begin sampling with the “Trigger” setting

Sampling START SW.

This can be set only if “Trigger” is set to Sampling START

SW.

Off: When you press the SAMPLING [START/ STOP] key

from recording-standby mode, sampling will begin immedi-

ately.

4, 8, 3, 6: When you press the SAMPLING [START/ STOP]

key from recording-standby mode, the speciﬁed number of

beats will be counted at the “ꢀ (Tempo)” (0–1a) tempo before

sampling will begin. If this is set to 4, sampling will begin on

the count of 0 after a count-down of 4–3–2–1–0.

Speciﬁes the length of time that you want to sample. This

can be set in units of minutes and 0.001 second.

This parameter indicates amount of remaining memory in

the selected memory bank (the available sampling time). If

you sample in this state ([REC]→[START]→[STOP]), this

display will change automatically to indicate the remaining

time.

If you have enough free space in sample memory (RAM), it

is a good idea to set “Sample Time” generously, and then

after recording the sample, use the page menu command

“Truncate” (Sampling P1: 1–1A, P2: 2–1A) to delete the

unneeded portion, making the sample as compact as possi-

ble. You can also stop recording by pressing the SAMPLING

[START/ STOP] key manually after the desired portion has

been sampled. (Sampling methods ꢀBG p.45)

The output destination and level of the metronome

sound are speciﬁed by the page menu command “Met-

ronome Setup” (0–3A). If “BUS (Output) Select” is set

to L/R, the metronome will stop sounding the instant

sampling begins.

If the writing-destination (“Save to”) is RAM, the maximum

value will be calculated from the amount remaining in the

selected Bank. (ꢀSampling P0: 0–1c “Bank (RAM Bank)”)

If the writing-destination (“Save to”) is DISK, the maxi-

mum value will be calculated from the remaining capacity

of the disk speciﬁed by “Select Directory.” A maximum of 80

minutes can be sampled in one sample ﬁle for either mono

or stereo (monaural: approximately 440 MB, stereo: approxi-

mately 879 MB).

Save to

[RAM, DISK]

Speciﬁes the destination to which the data will be written

during sampling.

RAM: Sample into sample memory (RAM).

If you sample into sample memory (RAM), you will be able

to immediately hear the sample in Program mode or Sam-

pling mode.

Settings for the writing destination RAM Bank and Sample

No., and settings for automatically converting the sample to

a program, are made by the page menu command “Select

Bank & Smpl No.” (0–3C).

If the writing-destination (“Save to”) is RAM, leaving

“Auto Optimize RAM” (Global P0: 0–3b) unchecked

will allow wasted space to increase, decreasing the

available sample memory (RAM). In this case, execute

the page menu command “Optimize RAM” to elimi-

nate the wasted space.

The remaining amount of RAM can be checked in Sam-

pling mode P0: Recording, Memory Status.

If the sample is written into RAM, it will be lost when

the power is turned off, so you will need to save the

sample if you want to keep it.

The various Sampling Setup settings apply to the entire

Program mode, not just to an individual program.

DISK: Samples to the internal hard drive or to an external

hard drive connected to the SCSI connector.

A WAVE ﬁle will be created when you sample.

0–3c: Recording Level [dB]

To listen to the sampled result, you can either load the sam-

ple into sample memory (RAM) in Disk mode, or use the

page menu command “Select Directory” (0–3D) etc. to select

the ﬁle and then press the SAMPLING [START/ STOP] key.

Use the page menu command “Select Directory” to specify

the writing-destination drive, directory, and ﬁlename.

ADC OVERLOAD !!

The “ADC OVERLOAD !!” indication will appear if the sig-

nal level from AUDIO INPUT 1, 2 is too high. In this case,

adjust the [LEVEL] knob or the output level of the external

audio source. (ꢀSampling P0: 0–1d “Recording Level [dB]”)

A single sample (WAVE ﬁle) loaded from hard disk into

sample memory (RAM) may not exceed 16 MB for

mono or 32 MB for stereo (however, sample memory

must be expanded to 32 MB or more).

Recording Level

[–inf, –72.0...0.0...+18.0 dB]

Adjusts the signal level at the ﬁnal stage of sampling

(ꢀSampling P0: 0–1d). Sample at the highest level that does

not make the level meter indicate CLIP.

It is not possible to sample directly to CD-R/ RW. Also,

we do not recommend sampling to a removable disk.

Adjusting the “Recording Level” will not change the

sound that is output, but will affect the data that is

being sampled. This means that the sampled sound

may be distorted even if the sound you hear is not dis-

torted.

Mode (Sample Mode)

[L-Mono, R-Mono, Stereo]

Selects the channel(s) that will be sampled, to specify

whether the sample created will be mono or stereo.

The sound being sent to the internal L and/ or R bus or the

internal Indiv.1 and/ or 2 bus selected by the “Source BUS”

(0–3b) setting will be sampled.

L-Mono: The internal L channel or internal Indiv.1 channel

(as speciﬁed by “Source BUS”) will be sampled in mono.

R-Mono: The internal R channel or internal Indiv.2 channel

(as speciﬁed by “Source BUS”) will be sampled in mono.

Stereo: The internal L and R channels or internal Indiv.1

and 2 channels (as speciﬁed by “Source BUS”) will be sam-

pled in stereo. This will create a stereo sample. (ꢀSampling

P0: 0–1c)

This setting defaults to –12 dB when you turn on the power.

At a setting of –12 dB, CLIP will not appear even if you play

the program at its maximum level.

The “+12 dB” (Sampling P2: 2–1c) setting is applied to

samples that you recorded into sample memory (RAM)

when “Save to” (0–3b) is set to RAM. When “+12 dB” is

on, the playback level will increase by approximately

+12 dB.

If you check the “Auto +12 dB On” check box in the

page menu command “Select Bank & Smpl No.” (0–

3C), the “+12 dB” setting will automatically be turned

on during sampling.

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The “Auto +12 dB On” setting will not affect samples

that you recorded to the internal hard disk etc. when

“Save to” (0–3b) is set to DISK. You can use “WAVE

File Play Level” (Global P0: 0-2a) to set the playback

level.

M 0–3: Page Menu Command

2In “Bank,” specify the sample memory (RAM) bank to

which the sampled data will be written.

0–1A

0–3A

0–3B

0–3C

0–1A

0–3A

0–3B

0–3D

3In “Sample No.,” specify the writing-destination sample

number. By default, this will be the lowest-numbered

vacant sample number. If you select “----:----No Assign----”

or a sample number that already contains data, the data

will automatically be sampled into the lowest vacant

sample number. If you are sampling in stereo, specify

“Sample No.(L)” and “Sample No.(R).”

0–3A: Metronome Setup

Speciﬁes the output destination and volume of the metro-

nome that is sounded when you use “Trigger” Sampling

START SW to begin sampling.

4Set “Auto +12 dB On.”

On (checked): “+12 dB” (Sampling P2: 2–1c) will auto-

matically be turned on for samples you record. Samples

for which “+12 dB” is on will play back approximately

+12 dB louder than if this setting were off.

1Select “Metronome Setup” to access the dialog box.

When you resample a performance in Program, Combi-

nation, or Sequencer modes, you should normally set

“Recording Level” to about –12.0 (dB) so that the record-

ing level will be as high as possible without clipping.

When you resample, the sound will be recorded at the

optimum level for sampled data, but the playback level

at playback will not be as loud as it was during the resa-

mpling process (if “+12 dB” (Sampling P2: 2–1c) is off). In

such cases, you can check the “Auto +12 dB On” check

box when you resample, so that “+12 dB” (Sampling P2:

2–1c) will automatically be on, making the sample play

back at the same level as when it was resampled.

In these modes, the power-on defaults are “Recording

Level” set to –12.0 (dB) and “Auto +12 dB On” turned on.

If you resample a performance in one of these modes

with these settings, the sample will play back at the same

level at which it was resampled.

2In “BUS (Output) Select,” specify the output destination

of the metronome sound. If you select L/R, the metro-

nome will stop as soon as sampling begins.

3Set “Level” to specify the volume of the metronome.

4Press the OK button to apply the settings you made, or

press the Cancel button to return to the state prior to

accessing this dialog box.

The metronome is valid only if “Trigger” is set to Sam-

pling START SW.

0–3B: Optimize RAM

This command optimizes the sample memory (RAM).

When you execute this command, unused memory areas

will be reorganized, allowing the full amount of remaining

to be used.

If you run out of memory, try executing “Optimize RAM.”

The remaining amount of RAM can be checked in Sampling

mode P0: Recording, Memory Status.

If you want to monitor your performance in Program,

Combination, or Sequencer mode while sampling only

the external audio signal from AUDIO INPUT etc. (the

“Source BUS” Indiv.1/2 setting: 0–3b), we recommend

that you set “Recording Level” to about +0.0 (dB) and

turn off “Auto +12 dB On” when you resample.

1Select “Optimize RAM” to access the dialog box.

The “Auto +12 dB On” setting is made independently

for Program, Combination, Sequencer, and Sampling

modes.

2Press the OK button to execute the command, or press

5“Convert to” speciﬁes whether the sample will automati-

cally be converted into a program as soon as it has been

sampled. This is convenient when you want to hear the

sound immediately after sampling.

the Cancel button to cancel without executing.

If “Auto Optimize RAM” (Global P0: 0–3b) is checked,

RAM will be optimized automatically.

If you check the “Program” check box, the sample will

automatically be converted into a program.

0–3C: Select Bank & Smpl No.

At the right, set “Program” and “MS” to specify the pro-

gram number and multisample number for the con-

verted program.

Set “Orig. Key” (Sampling P0: 0–1b) to specify the loca-

tion of the original key. The multisample will create an

“Index” (Sampling P0: 0–1a) with this key as the “Top

Key” (Sampling P0: 0–1b). The “Orig. Key” will incre-

ment by one after sampling, and the next higher note will

be assigned the next time you sample.

Speciﬁes the RAM bank and sample number into which the

sampled data will be written. You can also specify whether

the sample will automatically be converted to a program

after sampling. “Select Bank & Smpl No.” can be selected if

you have selected RAM as the “Save to” destination.

1Select the “Select Bank & Smpl No.” to access the dialog

box.

6Press the OK button to apply the settings you made, or

press the Cancel button to return to the state prior to

accessing this dialog box.

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0–3D: Select Directory

Program P1: Edit–Basic

This lets you select the disk (internal hard disk, etc.) and

directory on which the WAVE ﬁle created by sampling will

be saved, and specify a ﬁlename.

You will also choose this “Select Directory” command when

you want to listen to a WAVE ﬁle that was saved on disk.

“Select Directory” can be selected when “Save to” is set to

DISK.

Here you can make basic settings for the program, such as

oscillator mode and scale type.

1–1: Program Basic

Specifying the save destination for a WAVE ﬁle

1–1

1Select the “Select Directory” to access the dialog box.

1–1a

1–1b

1–1c

Drive select

2Use the popup button located at the left of “Drive select”

to select the writing-destination drive for sampling.

3Use the Open button and Up button to move to the

desired directory.

1–1a: Oscillator Mode

4In “Name,” specify a name for the WAVE ﬁle that will be

written during sampling.

Oscillator Mode

[Single, Double, Drums]

Speciﬁes the Program’s oscillator assignment; whether it

will use one or two oscillators, or a drum kit.

If you check “Take No.,” the ﬁle will be saved with a

two-digit “Take No.” added to the end of the ﬁlename.

This number will automatically increment each time you

sample. This is convenient when you are sampling

repeatedly, since each sample will be saved with its own

ﬁlename.

If “Take No.” is not checked, you can input up to eight

characters in “Name.” If “Take No.” is checked, you can

input up to six characters.

Single: The program will use one oscillator (Oscillator 1,

Filter 1, Ampliﬁer 1). In this case the program will normally

have a maximum of 60-note polyphony.

Double: The program will use two oscillators (Oscillator 1/

2, Filter 1/ 2, Ampliﬁer 1/ 2). In this case the program will

normally have a maximum of 30-note polyphony.

Drums: The program will use one oscillator (as when Single

is selected), but Oscillator 1 will be assigned a drum kit

instead of a multisample. In this case the program will nor-

mally have a maximum of 60-note polyphony.

5Press the Done button to complete the settings.

Playing back a WAVE ﬁle

1Select the “Select Directory” to access the dialog box.

2Use “Drive Select” and the Open and Up buttons to

select the drive and directory, and select the WAVE ﬁle

(44.1 kHz or 48 kHz) that you want to play.

3Press the SAMPLING [START/ STOP] key.

The selected WAVE ﬁle will be played.

If a program draws one multisample from the ROM

bank, and a second from either the Piano bank or one of

the installed EXB boards, then in this case, a Single pro-

gram can have a maximum of 120-note polyphony, a

Double program a maximum of 60-note polyphony,

and a Drums program a maximum of 120-note polyph-

ony. (ꢀBG p.15)

4Press the SAMPLING [START/ STOP] key once again to

stop playback.

If the WAVE ﬁle is mono, the same sound will be output

to L/ R.

1–1b: Voice Assign Mode

While the WAVE ﬁle is playing back, sound cannot be

produced by playing the keyboard or receiving note

data at MIDI IN. Also, the arpeggiator will stop.

Mode (Voice Assign Mode)

[Poly, Mono]

Poly: The program will play polyphonically, allowing you

play chords.

Mono: The program will play monophonically, producing

only one note at a time.

Single Trigger

[Off, On]

This is available when the “Mode (Voice Assign Mode)”

setting is set to Poly.

On (checked): When the same note is played repeatedly, the

previous note will be silenced before the next note is

sounded, so that the notes do not overlap.

Legato

[Off, On]

This is available when the “Mode (Voice Assign Mode)”

setting is set to Mono.

On (checked): Legato is on. When multiple note-on’s occur,

the ﬁrst note-on will retrigger the sound, and the second and

subsequent note-on’s will not retrigger.

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When legato is on, multiple note-on message will not retrig-

ger the voice. If one note is already on and another note is

turned on, the oscillator sound, envelope, and LFO will not

be reset, and only the pitch of the oscillator will be updated.

This setting is effective for wind instrument sounds and

analog synth-type sounds.

octave consists of seven notes.

When “Key” is set to C, use the white keys. (The black keys

will sound the equal tempered pitches.)

Stretch: This tuning is used for acoustic pianos.

User All Notes Scale: This is the full-range scale (C–1 – G9)

that was speciﬁed in “User All Notes Scale” (Global P3: 3–

1b).

Off (unchecked): Legato is off. Notes will always be retrig-

gered when note-on occurs.

When legato is off, multiple note-on’s will retrigger the

voice at each note-on. The oscillator sound, envelope, and

LFO will be reset (and retriggered) according to the settings

of the program.

User Octave Scale 00–15: These are the single-octave scales

that were speciﬁed in “User Octave Scale” (Global P3: 3–1a).

Key (Scale Key)

[C…B]

Selects the tonic note of the speciﬁed scale.

This setting is not valid for Equal Temperament, Stretch,

and User All Notes Scale.

If “Legato” is checked, certain multisamples or key-

board locations may produce an incorrect pitch.

Priority

[Low, High, Last]

Random

[0…7]

This parameter is valid when “Mode (Voice Assign Mode)”

is set to Mono.

It speciﬁes which note will be given priority to play when

two or more notes are played simultaneously.

Low: Lowest note will take priority.

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 instru-

ments that have natural instability in pitch, such as tape-

mechanism organs or acoustic instruments.

High: Highest note will take priority.

Last: Last note will take priority.

If a scale other than Equal Temperament is selected, the

combination of the selected scale and the “Key” setting

may skew the tuning of the base key (for example

A=440 Hz). If this occurs, use “Master Tune” (Global

P0: 0–1a) to correct the pitch.

Hold

[On, Off]

On (checked): Hold is On. Even when you take your ﬁnger

off of the key, the note will continue sounding as if it contin-

ued to be held. Unless the Amp1 EG, Amp2 EG (4–3a, 4–6)

“Sustain (Sustain Level)” is set to 0, the sound will continue

playing.

M 1–1: Page Menu Command

This is ideal for playing drum programs, and when you set

“Oscillator Mode” (1–1a) to Drums, you should turn On.

Off (unchecked): Hold is Off. Except for drum programs,

you should normally set Off.

0–1A

1–1A

1–1B

If you turn “Hold” On for a drum program, keys of the

selected drum kit whose “Enable Note Off Receive”

parameter (Global P5: 5–2a) is unchecked will be set to

Hold On. Keys that are checked will be set to Hold Off.

If you select Hold Off, the keys will be set to Hold Off

regardless of their “Enable Note Off Receive” setting.

1–1A: Copy Oscillator

This command is used to copy the settings from one oscilla-

tor to another.

1Select “Copy Oscillator” to access the dialog box.

1–1c: Scale

Type

[Equal Temperament…User Octave Scale15]

Selects the basic scale for the internal tone generator.

Equal Temperament: This is the most widely used scale,

where each semitone step is spaced at equal pitch intervals.

2In “From” specify the oscillator to copy, and in “Pro-

gram” specify the bank and number of the copy source

program. You can use the Bank [INT-A]–[EXB-G] keys to

select the bank.

Pure Major: In this temperament, major chords of the

selected tonic will be perfectly in tune.

3In “To,” specify the copy destination oscillator.

4To execute the Copy Oscillator command, press the OK

button. To cancel, press the Cancel button.

Pure Minor: In this temperament, minor chords of the

selected tonic will be perfectly in tune.

Arabic: This scale includes the quarter-tone scale used in

1–1B: Swap Oscillator

Arabic music.

This command exchanges the settings of oscillators 1 and 2.

Pythagoras: This scale is based on ancient Greek musical

theory, and is especially effective for playing melodies.

1Select “Swap Oscillator” to access the dialog box.

Werkmeister (Werkmeister III): This is an equal tempered

scale that was used since the later Baroque period.

Kirnberger (Kirnberger III): This scale was created in the

18th century, and is used mainly to tune harpsichords.

2To execute the Swap Oscillator command, press the OK

Slendro: This is an Indonesian gamelan scale in which an

octave consists of ﬁve notes.

When “Key” is set to C, use the C, D, F, G and A notes.

(Other keys will sound equal-tempered pitches.)

button. To cancel, press the Cancel button.

This can be selected only if “Oscillator Mode” (1–1a) is

Double.

Pelog: This is an Indonesian gamelan scale in which an

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EXB*: Multisamples from EXB-PCM series option boards

can be selected. “*” will indicate the type of installed option.

The multisample number for “High Multisample” will

depend on which EXB-PCM options have been installed.

1–2: OSC Basic

The multisample(s) (waveform) or drum kit on which the

program will be based can be selected here for oscillator 1

and/ or oscillator 2.

Internal ROM contains 429 (425: ROM + 4: Piano) different

multisamples (preset multisamples) and 153 drum kits. By

selecting a RAM multisample, you can use a multisample

that you created in Sampling mode or that you loaded in

Disk mode. If any of the EXB-PCM series options have been

installed, you will be able to select from among their multi-

samples as well. The following illustration shows a LCD

screen where “Oscillator Mode” (1–1a) has been set to Dou-

ble. If this is set to Single, the OSC2 Multisample (1–2b) will

not appear and cannot be set.

The EXB* display will differ depending on the type of

option board.

If a program that uses a multisample from an EXB-PCM

series board is selected, but the corresponding EXB-

PCM (expansion board) is not installed, the “High MS

Bank” ﬁeld will indicate ROM. In this case, the pro-

gram will not sound. By re-selecting the multisample

bank, you can make the program sound.

Each multisample has an upper limit, and may not pro-

duce sound when played above that limit.

1–2

When you press the “High Multisample” popup button, a

multisample list will appear, allowing you to select a multi-

sample from the list.

1–2a

If ROM is selected as the “High MS Bank,” you can select a

multisample from a tabbed list organized by type of instru-

ment.

1–2b

Category/ ROM Multisample Select menu:

1–2c

The following illustration shows the display when “Oscilla-

tor Mode” (1–1a) has been set to Drums.

1–2

1–2d

S.Offset (High Start Offset)

[Off, On]

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 loca-

tion that is pre-determined for each multisample.

However when a RAM bank is selected, this will depend on

the selected multisample. If you select a multisample that

includes one of the following types of sample, checking this

item will cause playback to start from the Loop Start Address.

1–2a: OSC1 Multisample

•

A sample that was recorded (sampled) in Sampling

mode

Here you can select a multisample.

•

A sample whose Loop Start Address was edited in

Sampling mode after the sample was loaded in Disk

mode

A sample whose Loop Start Address was specified

automatically when it was loaded as an AKAI, AIFF, or

WAVE file in Disk mode

You can select different multisamples for High and Low, and

use velocity to switch between the two multisamples. Start

Offset, Reverse, and Level can be adjusted independently

for the High and Low multisamples.

•

High:

Off (unchecked): The sound will start from the beginning of

the multisample waveform.

High MS Bank

[ROM, RAM, Piano, EXB*...]

High Multisample

Rev (High Reverse)

[Off, On]

[000...424, 000...999, 000...003, 000...]

The multisample will be played in reverse. In the case of

ROM or optional (EXB-PCM series) multisamples that were

originally speciﬁed to loop, or in the case of multisamples

that were set to loop in Sampling mode, the multisample

will be played back in “one-shot” reverse mode. If the multi-

sample was originally set to reverse, it will playback with-

out change.

Speciﬁes the bank and multisample number of the High

multisample. The multisample you select here will sounded

by velocities greater than the value of the “Velocity M.Sam-

ple SW Lo→Hi” (1–2c) parameter “OSC1.” If you do not

wish to use velocity switching, set “OSC1” to a value of 001,

and select only the High multisample.

ROM: Selects a preset multisample. Use “High Multisam-

ple” to select from 000–424.

RAM: Selects a multisample that you created in Sampling

mode or that you loaded in Disk mode. Use “High Multi-

sample” to select from 000–999.

On (checked): The multisample will playback in reverse.

Off (unchecked): The multisample will playback normally.

Piano: You can select preset multisamples such as stereo

piano. Choose from 000–003 for the “High Multisample.”

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The High and Low multisamples selected for oscillator 2 in

“OSC 2 Multisample” (1–2b) will be switched at the veloc-

ity value that you specify here.

Lvl (High Level)

[000…127]

Speciﬁes the level of the multisample.

Depending on the multisample, high settings of this

parameter may cause the sound to distort when a chord

is played. If this occurs, lower the level.

Notes played with a velocity stronger than this value will be

sounded by the High multisample.

The playback level for a RAM multisample is also

affected by the “+12 dB” (Sampling P2: 2–1c) setting for

each sample. If the “+12 dB” setting is on, the playback

will be approximately +12 dB louder. (ꢀ0–3C)

1–2d: Drum Kit

Drum Kit [000(I-A/ B)...143(User), 144(GM)...152(GM)]

Selects a drum kit.

Low:

000(I-A/B)–015(I-A/B) Preloaded drum kits

16(E-A)–31(E-A)

Here you can assign the Low multisample for OSC1.

The multisample you select here will sounded by velocities

less than the value of the “Velocity M.Sample SW Lo→Hi”

(1–2c) parameter “OSC1.”

32(E-B)–47(E-B)

48(E-C)–63(E-C)

User drum kits

EXB-PCM series drum kits

64(E-D)–79(E-D)

Low MS Bank

[ROM, RAM, Piano, EXB*...]

80(E-E)–95(E-E)

96(E-F)–111(E-F)

112(E-G)–127(E-G)

Low Multisample

[000...424, 000...999, 000...003, 000...]

S.Offset (Low Start Offset)

[Off, On]

128(User)–143(User) User drum kits

(some preloaded drum kits)

Rev (Low Reverse)

Lvl (Low Level)

144(GM)–152(GM)

ROM preset drum kits compatible with GM2

[000…127]

ꢀFor details on the “Low” parameters, refer to the explana-

tions for the corresponding “High” parameters.

Octave

[–2[32’], –1[16’], +0[8’], +1[4’]]

Adjusts the pitch in octave units. When using a drum kit, set

Octave

[–2[32’], –1[16’], +0[8’], +1[4’]]

the Octave to 8'.

Adjusts the pitch in octave units. The normal octave of the

multisample is pitched at 8' (feet).

When editing a drum program, you must set this

parameter to 8'. With other settings, the sounds of the

drum kit will be assigned to the wrong notes of the key-

board.

Transpose

[–12…+12]

Adjusts the pitch in semitone steps over a range of ±1

octave.

Transpose

[–12…+12]

This adjusts the location of the instruments in the selected

drum kit. Unless you need to change this, leave it at 0.

Tune

[–1200…+1200]

Adjusts the pitch of the sample in one-cent steps (a semitone

is 100 cents) over a range of ±1 octave.

Tune

[–1200…+1200]

This adjusts the pitch in one-cent units.

The pitch of each drum kit can be adjusted in Global P5:

Drum kit.

Delay

[0ms…5000ms, KeyOff]

Speciﬁes a delay time from note-on until the note will sound.

With a setting of KeyOff, the sound will begin when note-off

occurs. This is used to create sounds such as the “click” that is

heard when a harpsichord note is released. In this case, set the

Amp1 EG, Amp2 EG (4–3a, 4–6) “Sustain” parameter to 0.

Delay (Delay Time)

[0ms…5000ms, KeyOff]

This speciﬁes a delay time from note-on until the sound will

begin.

With a setting of KeyOff, the sound will begin when note-

off occurs. In this case, set the Amp EG (4–3a) parameter

“Sustain” to 0.

1–2b: OSC2 Multisample

This will appear when “Oscillator Mode” (1–1a) is set to

Double.

For details on the settings and function of the parameter,

refer to “1–2a: OSC1 Multisample.”

M 1–2: Page Menu Command

0–1A

1–1A

1–1B

1–2A

1–2c: Velocity M.Sample SW Lo ¡ Hi

(Velocity Multisample Switch Low ¡ High)

OSC1 (OSC1 Velocity Switch)

[1…127]

1–2A: Sample Parameters

The High and Low multisamples selected for oscillator 1 in

“OSC 1 Multisample” (1–2a) will be switched at the veloc-

ity value that you specify here.

Notes played with a velocity stronger than this value will be

sounded by the High multisample.

Speciﬁes the sample for each index of a RAM multisample.

You can adjust the playback level, cutoff, resonance, pitch,

attack, and decay.

This can be selected if “Oscillator Mode” (1–1a) is Sin-

gle or Double, and RAM is selected as the “High MS

Bank” or “Low MS Bank” for OSC1 Multisample or

OSC2 Multisample and “High Multisample” or “Low

Multisample” are selected.

OSC2 (OSC2 Velocity Switch)

[1…127]

This will appear when “Oscillator Mode” (1–1a) is set to

Double.

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These settings are made for the selected multisample. If

another oscillator or program uses that multisample,

that oscillator or program will also be affected by the

changes you make here.

1–3: Velo. Zone (Velocity Zone)

Here you can specify the velocity range at which each oscil-

lator will sound.

The “Velocity M.Sample” SW Lo→Hi” (1–2c) setting in con-

junction with these “OSC 1/ 2 Velocity Zone” settings will

determine the velocity ranges in which the High and Low

multisample or drum kit will sound.

1Select “Sample Parameters” to access the dialog box.

1–3

1–3a

2Index: Specify the index for which you wish to make set-

tings. The number following “/ ” is the total number of

indexes in the selected multisample.

Sample: indicates the sample number and name for the

index.

3For each index, you can make the following settings.

Level: Adjust the volume. Relative to the settings of

“Lvl” (1–2a) and “Amp Level” (4–1a, 4–4), negative (–)

values will decrease the levels, and positive (+) values

will increase the levels. A setting of +99 will double the

volume. This parameter is linked to the “Level” (Sam-

pling P3: 3–1b). The value that was speciﬁed in Sampling

mode will be displayed here.

1–3a: OSC 1/ 2 Velocity Zone

OSC1 Top

[001...127]

Sets the maximum velocity value that will sound oscillator

The volume is also affected by the “+12 dB” (Sampling

P2: 2–1c) setting. If the “+12 dB” setting is on, the play-

back will be approximately +12 dB louder.

OSC1 Bottom

[001...127]

Sets the minimum velocity value that will sound oscillator 1.

Cutoff: Adjusts the ﬁlter cutoff. This adjustment will be

added to the value speciﬁed for “(Filter A) Frequency”

(3–1b, 3–5) of Filter 1 and 2.

OSC2 Top

[001...127]

Sets the maximum velocity value that will sound oscillator

Resonance: Adjusts the resonance level of the ﬁlter. This

adjustment will be added to the value speciﬁed for “(Fil-

ter A) Resonance” (3–1b, 3–5) of Filter 1 and 2.

Pitch: Adjusts the playback pitch in one-cent steps. A set-

ting of +12.00 raises the pitch one octave, and a setting of

–12.00 will lower the pitch one octave. This parameter is

linked with the Sampling P3: Multi Sample parameter

“Pitch” (Sampling P3: 3–1b). The value that was speciﬁed

in Sampling mode will be displayed here.

Attack: Adjusts the attack times of the ﬁlter EG and amp

EG. This adjustment will be added to the “(Time) Attack”

of “Filter 1 EG,” “Filter 2 EG,” “Amp 1 EG,” and “Amp 2

EG” (3–4a, 3–8, 4–3a, 4–6).

OSC2 Bottom

[001...127]

Sets the minimum velocity value that will sound oscillator 2.

It is not possible to set the Bottom Velocity greater than

the Top Velocity, nor the Top Velocity less than the Bot-

tom Velocity.

You can also input a value by playing a note on the key-

board while you hold down the [ENTER] key.

M 1–3: Page Menu Command

Decay: Adjusts the decay times of the ﬁlter EG and amp

EG. This adjustment will be added to the “(Time) Decay”

of “Filter 1 EG,” “Filter 2 EG,” “Amp 1 EG,” and “Amp 2

EG” (3–4a, 3–8, 4–3a, 4–6).

ꢀ0–1A: Write Program, 1–1A: Copy Oscillator, 1–1B: Swap

Oscillator

4Press the Done button to execute, and close the dialog

box.

Please be aware that the Compare function is not avail-

able for this command.

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1–4: Controller (Controller Setup)

These settings specify the functions of the [SW1] key, the

[SW2] key, and the B-mode functions of REALTIME CON-

TROL knobs [1]–[4] in Program mode.

Program P2: Edit–Pitch

Here you can make pitch modulation settings for oscillators

1 and 2.

1–4

1–4a

2–1: OSC1 P.Mod (OSC1 Pitch Mod.)

These settings specify how key position (note number) will

affect the pitch of oscillator 1, and select the controllers that

will affect the oscillator 1 pitch and specify the depth of con-

trol. Here you can also specify the amount of pitch change

produced by the Pitch EG and by LFO1 and LFO2. You can

also switch portamento on/ off and specify how it will apply.

1–4b

2–1

2–1a

1–4a: Panel Switch Assign

2–1b

These settings assign functions to the [SW1] and [SW2] keys

(“SW1, SW2 Assign List ” ꢀ p .249).

2–1c

2–1d

SW1 Assign

[Off, ..., After Touch Lock]

Assigns a function to the [SW1] key.

The on/ off status of the switch is saved when the program is

written.

When you change the function, it will be reset to the “off”

state.

2–1a: Pitch

SW1 Mode

[Toggle, Momentary]

Pitch Slope

[–1.0…+2.0]

Speciﬁes how the on/ off state of the [SW1] key will change

when it is pressed.

Normally you will leave this at +1.0.

Positive (+) values will cause the pitch to rise as you play

higher on the keyboard, and negative (–) values will cause

the pitch to fall as you play higher on the keyboard.

With a value of 0, there will be no change in pitch, and the

C4 pitch will sound regardless of the key you play.

Toggle: On/ off will alternate each time the [SW1] key is

pressed.

Momentary: The function will be on only as long as the

[SW1] key remains pressed.

How the Pitch Slope and pitch are related

SW2 Assign

SW2 Mode

[Off, ..., After Touch Lock]

[Toggle, Momentary]

Pitch

Assigns a function to the [SW2] key.

The functions that can be assigned to [SW2] key are the

same as for [SW1] key, except that SW2 Mod.:CC#81 is

available instead of SW1 Mod.:CC#80.

2oct

1oct

–1

1–4b: Realtime Control Knobs B–Assign

C4 C5

Key

Here you can assign functions (mainly various types of con-

trol change) to the B-mode of the REALTIME CONTROL

knobs [1]–[4] (“Realtime Control Knobs B –Assign List ”

ꢀ p .250).

The functions you set here will take effect when you operate

the REALTIME CONTROL knobs [1]–[4] in B-mode.

Ribbon

[–12…+12]

Speciﬁes in semitone units how greatly the pitch will be

changed when you press the ribbon controller.

With a value of 12, the pitch can be changed a maximum of

one octave.

Positive (+) values will cause the pitch to rise when you

press the ribbon controller to the right of center, and nega-

tive (–) values will cause the pitch to fall.

For example with a setting of +12, pressing the far right edge

of the ribbon controller will raise the pitch one octave. With

a setting of –12, pressing the far right edge of the ribbon con-

troller will lower the pitch one octave.

Knob 1–B (Knob 1–B Assign)

Knob 2–B (Knob 2–B Assign)

Knob 3–B (Knob 3–B Assign)

Knob 4–B (Knob 4–B Assign)

[Off, ..., MIDI CC#95]

At the center of the ribbon controller, the original pitch will

remain, so you can use this in conjunction with pressing the

ribbon at its right edge to simulate the “hammering-on”

techniques used by guitarists.

M 1–4: Page Menu Command

ꢀ0 –1A: Write Program, 1 –1A: Copy Oscillator, 1 –1B: S w ap

Oscillator

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JS (+X)

[–60…+12]

2–1c: Portamento

Speciﬁes in semitone units how the pitch will change when

the joystick is moved all the way to the right. A setting of 12

produces 1 octave of change.

For example if you set this to +12 and move the joystick all

the way to the right, the pitch will rise one octave above the

original pitch.

This turns the portamento effect (smooth change in pitch

from one note to the next) on/ off, and speciﬁes how it will be

applied.

If [SW1] key or [SW2] key are set to Porta.SW:CC#65, turning

[SW1] key or [SW2] key on/ off will apply portamento (“AMS

List” ꢀ p .242, “SW1, SW2 Assign List”, Porta.SW:#65).

JS (–X)

[–60…+12]

Portamento will also be switched when CC#65 (Porta-

mento SW) is received.

Speciﬁes in semitone units how the pitch will change when

the joystick is moved all the way to the left. A setting of 12

produces 1 octave of change.

For example if you set this to –60 and move the joystick all

the way to the left, the pitch will fall ﬁve octaves below the

original pitch. This can be used to simulate the downward

swoops that a guitarist produces using the tremolo arm.

Enable (Porta. Enable)

[Off, On]

On (checked): Portamento will be applied.

Off (unchecked): Portamento will not be applied.

Fingered (Porta. Fingered)

[Off, On]

This parameter is available when “Enable (Porta. Enable)” is

checked.

AMS (Pitch AMS)

[Off, (FEG, AEG, EXT)]

Selects the source that will modulate the pitch of oscillator 1

(“AMS List” ꢀ p .242).

On (checked): Portamento will be applied when you con-

tinue holding the previous note as you press the next note

(legato playing).

Intensity (AMS Intensity)

[–12.00…+12.00]

Speciﬁes the depth and direction of the effect produced by

“AMS (Pitch AMS).”

Off (unchecked): Portamento will always be applied,

regardless of how you play.

With a setting of 0, no modulation will be applied. With a

setting of 12.00, the pitch will change up to one octave.

For example if you set “AMS (Pitch AMS)” to After Touch

and apply pressure to the keyboard, the pitch will rise if this

parameter is set to a positive (+) value, or fall if this param-

eter is set to a negative (–) value. The range is a maximum of

one octave (ꢀ p .244).

Time (Porta. Time)

[000...127]

This parameter is available when “Enable (Porta. Enable)” is

checked.

This sets the portamento time. Increasing the value will pro-

duce a slower change in pitch.

2–1d: LFO1/ 2

2–1b: Pitch EG

LFO1:

Intensity

[–12.00…+12.00]

LFO1 Intensity

[–12.00…+12.00]

Speciﬁes the depth and direction of the modulation that the

pitch EG speciﬁed in P2: Edit-Pitch, Pitch EG page will

apply to the pitch.

With a setting of 12.00, the pitch will change a maximum of

±1 octave.

Speciﬁes the depth and direction of the pitch modulation

applied by the OSC 1 LFO1 settings you made in “OSC1

LFO1” (5–1).

With a setting of 12.00, a maximum of ±1 octave of pitch

modulation will be applied. Negative (–) values will invert

the LFO waveform.

AMS (Pitch EG AMS)

[Off, (KT, EXT)]

Selects the source that will control the pitch modulation

applied by the pitch EG (“AMS List” ꢀ p .242).

JS+Y Int. (LFO1 JS+Y Int.)

[–12.00…+12.00]

Speciﬁes the depth and direction of the effect that joystick

movement in the +Y direction (away from yourself) will

have on the pitch modulation applied by the OSC1 LFO1.

As this value is increased, moving the joystick in the +Y

direction will cause the OSC1 LFO1 to produce deeper pitch

modulation. With a setting of 12.00 a maximum of ±1 octave

of pitch modulation will be applied. Negative (–) values

will invert the LFO waveform.

Intensity (AMS Intensity)

[–12.00…+12.00]

Speciﬁes the depth and direction of the effect that “AMS

(Pitch EG AMS)” will have.

For example if you set “AMS (Pitch EG AMS)” to Velocity

and set this value to 12.00, the velocity will control the range

of pitch change produced by the pitch EG in a range of ±1

octave (ꢀ p .244). As you play more softly, the pitch change

will draw closer to the pitch EG levels.

AMS (LFO1 AMS)

[Off, (PEG, FEG, AEG, KT, EXT)]

Pitch change (level)

Selects the source that will control the depth of pitch modu-

lation produced by the OSC1 LFO1 (“AMS List” ꢀ p .242).

Note-on

Note-off

Intensity (AMS Intensity)

[–12.00…+12.00]

Speciﬁes the depth and direction of the effect that “AMS

(LFO1 AMS)” will have.

Strongly played with

a positive (+) value

Softly played

(Intensity setting)

Strongly played with a

negative (–) value

With a setting of 0, modulation will not be applied. With a

setting of 12.00, the OSC1 LFO1 will apply a maximum of ±1

octave of pitch modulation. Negative (–) settings will invert

the LFO waveform.

“Intensity” and “AMS (Pitch EG AMS)” will be added

to determine the depth and direction of the pitch modu-

lation applied by the pitch EG.

For example if “AMS (LFO1 AMS)” is set to After Touch and

you apply pressure to the keyboard, a positive (+) setting of

this parameter will cause the pitch modulation created by OSC1

LFO1 to be applied with the normal phase, and a negative (–)

setting will cause the LFO to be applied with inverted phase.

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The “LFO1 Intensity,” “JS+Y (LFO1 JS+Y Int.)” and “AMS

(LFO1 AMS)” settings will be added to determine the depth

and direction of the pitch modulation applied by OSC1

LFO1 (ꢀ p .244).

Attack (Attack Level)

[–99…+99]

Speciﬁes the amount of pitch change when the attack time

has elapsed.

Release (Release Level)

[–99…+99]

LFO2:

Speciﬁes the amount of pitch change when the release time

has elapsed.

LFO2 Intensity

[–12.00…+12.00]

JS+Y Int. (LFO2 JS+Y Int.)

[–12.00…+12.00]

Time:

AMS (LFO2 AMS)

[Off, (PEG, FEG, AEG, KT, EXT)]

These parameters specify the amount of time over which the

pitch change will occur.

Intensity (AMS Intensity)

Refer to the above “LFO1.”

[–12.00…+12.00]

Attack (Attack Time)

[0…99]

Speciﬁes the time over which the pitch will change from

note-on until it reaches the pitch speciﬁed as the attack level.

M 2–1: Page Menu Command

Decay (Decay Time)

[0…99]

ꢀ0 –1A: Write Program, 1 –1A: Copy Oscillator, 1 –1B: S w ap

Oscillator

Speciﬁes the time over which the pitch will change after

reaching the attack level until it reaches the normal pitch.

Release (Release Time)

[0…99]

2–2: OSC2 P.Mod (OSC2 Pitch Mod.)

Speciﬁes the time over which the pitch will change from note-

off until it reaches the pitch speciﬁed as the release level.

These settings specify how key position (note number) will

affect the pitch, and select the controllers that will affect the

oscillator 2 pitch and specify the depth of control. They also

specify the depth at which the pitch EG will affect the pitch of

oscillator 2, and the depth of pitch change produced by LFO1

and LFO2. Portamento on/ off settings etc. are also found

here.

Time-varying pitch settings (when Pitch EG Intensity = +12.00)

+99 = approximately 1 octave

Note-on

Attack Level

Note-off

0 = pitch when

Time

key is held

(sustained)

Release Level

Start Level

Attack

Time

Decay

Time

For details on the functions of these parameters, refer to the

Release Time

preceding section “2–1: OSC1 P.Mod (OSC1 Pitch Mod.).”

–99 = approximately 1 octave

2–3b: Level Modulation

2–3: Pitch EG

Here you can make settings for the pitch EG, which creates

time-variant changes in the pitch of oscillators 1 and 2.

The depth of pitch change produced by these EG settings on

oscillator 1 (2) is adjusted by “Pitch EG” (2–1b, 2–2).

These settings allow the pitch EG Level parameters to be con-

trolled by alternate modulation.

AMS1 (Level Mod. AMS1)

[Off, (KT, EXT)]

Selects the source that will control the pitch EG Level param-

eters (“AMS List” ꢀ p .242).

2–3

Intensity (AMS1 Intensity)

[–99…+99]

Speciﬁes the depth and direction of the effect applied by

“AMS1 (Level Mod. AMS1).”

2–3a

With a setting of 0, the levels speciﬁed by “Pitch EG” (2–3a)

will be used.

2–3b

2–3c

For example if “AMS1 (Level Mod. AMS1)” is SW1:CC#80,

pressing the [SW1] key to turn it on will change the Level

parameters of the Pitch EG. (Set “Panel Switch Assign” (1–

4a) to SW1 Mod.CC#80.) As the absolute value of “Intensity

(AMS1 Intensity)” is increased, the pitch EG levels will

change more greatly when the [SW1] key is turned on. The

direction of the change is speciﬁed by “St (AMS1 SW Start)”

and “At (AMS1 SW Attack).” When the [SW1] key is turned

off, the pitch EG levels will return to their own settings.

If “AMS1 (Level Mod. AMS1)” is set to Velocity, increasing

the absolute value of “Intensity (AMS1 Intensity)” will pro-

duce increasingly wider change in pitch EG levels for

strongly-played notes. The direction of the change is speci-

ﬁed by “St (AMS1 SW Start)” and “At (AMS1 SW Attack).”

As you play more softly, the pitch change will draw closer to

the pitch EG levels.

2–3a: Pitch EG

These settings specify how the pitch will change over time.

Level:

These parameters specify the amount of pitch change.

The actual amount of pitch change will depend on the

“Pitch EG” (2–1b, 2–2) parameter “Intensity.” For example

with an “Intensity” setting of +12.00, a “Level” setting of

+99 would raise the pitch one octave, and a “Level” setting

of –99 would lower the pitch one octave.

Start (Start Level)

[–99…+99]

Speciﬁes the amount of pitch change at note-on.

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Pitch EG changes (Time) (AMS = Velocity, Intensity = positive (+) value)

Note-on

Pitch EG change (level) (AMS=SW1/Velocity, Intensity= positive (+) value

Note-on

Note-off

A note played softly with “At” A note played strongly with A note played strongly with

A note played softly with

“St” set at 0, “At” set to +,

and SW1 turned on (the

settings of 2–3a: Pitch EG)

A note played strongly with A note played strongly with

set to + and “Dc” set to +

“At” set to + and “Dc” set to + “At” set to – and “Dc” set to –

“St” set to 0, “At” set to +,

“St” set to 0, “At” set to –,

(settings of 2–3a: Pitch EG)

and SW1 turned on

At (AMS SW Attack)

[–, 0, +]

St (AMS1 SW Start)

[–, 0, +]

Speciﬁes the direction in which “AMS (Time Mod. AMS)” will

affect the “Attack (Attack Time).” With positive (+) values of

“Intensity (AMS Intensity),” a setting of + will cause the time

to be lengthened, and a setting of – will cause the time to be

shortened. With a setting of 0 there will be no change.

Speciﬁes the direction of change in “Start (Start Level)”

caused by “AMS1 (Level Mod. AMS1).” If “Intensity

(AMS1 Intensity)” is a positive (+) value, a setting of + will

raise the EG level, and a setting of – will decrease it. With a

setting of 0 there will be no change.

Dc (AMS SW Decay)

[–, 0, +]

At (AMS1 SW Attack)

[–, 0, +]

Speciﬁes the direction in which “AMS (Time Mod. AMS)”

will affect the “Decay (Decay Time).” With positive (+) val-

ues of “Intensity (AMS Intensity),” a setting of + will cause

the time to be lengthened, and a setting of – will cause the

time to be shortened. With a setting of 0 there will be no

change.

Speciﬁes the direction of change in “Attack (Attack Level)”

caused by “AMS1 (Level Mod. AMS1).” If “Intensity (AMS1

Intensity)” is a positive (+) value, a setting of + will raise the

EG level, and a setting of – will decrease it. With a setting of

0 there will be no change.

AMS2 (Level Mod. AMS2)

Intensity (AMS2 Intensity)

St (AMS2 SW Start)

[Off, (KT, EXT)]

[–99…+99]

[–, 0, +]

M 2–3: Page Menu Command

ꢀ0 –1A: Write Program, 1 –1A: Copy Oscillator, 1 –1B: S w ap

Oscillator

At (AMS2 SW Attack)

[–, 0, +]

Refer to the preceding paragraphs “AMS1 (Level Mod.

AMS1)”–“At (AMS1 SW Attack).”

2–3c: Time Modulation

These parameters let you use an alternate modulation

source to control the Time parameters of the pitch EG.

AMS (Time Mod. AMS)

[Off, (KT, EXT)]

Selects the source that will control the Time parameters of

the pitch EG (“AMS List” ꢀ p .242).

Intensity (AMS Intensity)

[–99…+99]

Speciﬁes the depth and direction of the effect that “AMS

(Time Mod. AMS)” will have.

With a setting of 0, the pitch EG times will be just as speci-

ﬁed by the “Pitch EG” (2–3a) settings.

The alternate modulation value at the moment that the EG

reaches each point will determine the actual value of the EG

time that comes next.

For example, the decay time will be determined by the alter-

nate modulation value at the moment that the attack level is

reached.

When this parameter is set to values of 16, 33, 49, 66, 82, or

99, the speciﬁed EG times will speed up as much as 2, 4, 8,

16, 32, or 64 times respectively (or slowed down to 1/ 2, 1/ 4,

1/ 8, 1/ 16, 1/ 32, or 1/ 64 of the original time).

For example if “AMS (Time Mod. AMS)” is set to Velocity,

increasing the absolute value of “Intensity (AMS Intensity)”

will allow strongly-played notes to increase the changes in

pitch EG Time values. The direction of the change is speci-

ﬁed by “At (AMS SW Attack)” and “Dc (AMS SW Decay).”

As you play more softly, the pitch EG times will more

closely approach the actual settings of the pitch EG.

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When the “Filter Type” is Low Pass Resonance, the cutoff

will have a steeper slope.

Program P3: Edit–Filter

Low Pass

Here you can make settings for the ﬁlters that will be used by

oscillators 1 and 2. You can select either a 24 dB/ octave low

pass ﬁlter with resonance, or a series connection of a 12 dB/

octave low pass ﬁlter and a 12 dB/ octave high pass ﬁlter.

When “Oscillator Mode” (1–1a) is set to Single, ﬁlter 1 will

be used, and when it is set to Double, ﬁlters 1 and 2 will be

used.

Level

12dB/oct

24dB/oct

Frequency

Frequency (A Frequency)

[00…99]

When Single is selected, pages relating to ﬁlter 2 cannot be

selected.

Speciﬁes the cutoff frequency of ﬁlter 1A.

Resonance (A Resonance)

[00…99]

This emphasizes the overtone components that lie in the

region of the cutoff frequency speciﬁed by “Frequency (A

Frequency),” producing a more distinctive sound. Increas-

ing this value will produce a stronger effect.

3–1: Filter1

Here you can specify the basic ﬁlter type used by oscillator

1, and set the cutoff frequency and resonance.

Resonance Mod. by AMS

3–1

[Off, (PEG, FEG, AEG, LFO, KT, EXT)]

Selects the source that will control the “Resonance (A Reso-

nance)” level (“AMS List” ꢀ p .242).

3–1a

Intensity (AMS Intensity)

[–99…+99]

Speciﬁes the depth and direction of the effect that “Reso-

nance Mod. by AMS” will have on the resonance level speci-

ﬁed by “Resonance (A Resonance).”

For example if Velocity has been selected, changes in key-

board velocity will affect the resonance.

3–1b

3–1c

With positive (+) values, the resonance will increase as you

play more strongly, and as you play more softly the reso-

nance will approach the level speciﬁed by the “Resonance

(A Resonance)” setting.

3–1a: Filter Type

With negative (–) values, the resonance will decrease as you

play more strongly, and as you play more softly the reso-

nance will approach the level speciﬁed by the “Resonance

(A Resonance)” setting.

Filter Type

[Low Pass Resonance, Low Pass & High Pass]

Selects the type for ﬁlter 1.

The resonance level is determined by adding the “Reso-

nance (A Resonance)” and “Intensity (AMS Intensity)” val-

ues.

Low Pass Resonance: 24 dB/ octave low pass ﬁlter with res-

onance.

The effect of resonance

Low Pass

Level

Low Pass & High Pass: 12 dB/ octave low pass ﬁlter and 12

dB/ octave high pass ﬁlter in series.

Low resonance value

High resonance value

Trim

[00…99]

Adjusts the level at which the audio signal output from

oscillator 1 is input to ﬁlter 1A.

3–1c: Filter B

If the trim value is set too high, the sound may be dis-

torted if Resonance is set to a high value or when you

play a chord.

This parameter will be displayed when “Filter Type” (3–1a)

is set to Low Pass & High Pass.

This ﬁlter cuts the low-frequency range that lies below the

cutoff frequency. By cutting the lower overtones, it lightens

the tone.

High Pass

Level

3–1b: Filter A

This is a ﬁlter that cuts the high-frequency region above the

cutoff frequency.

This is the most common type of ﬁlter, and is used to cut

part of the overtone components, making an originally

bright timbre sound more mellow (darker).

12dB/oct

Frequency

Frequency (B Frequency)

[00…99]

Speciﬁes the cutoff frequency of ﬁlter 1B.

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increase the “Resonance (A Resonance)” (3–1b) will corre-

spond to the keyboard location.

M 3–1: Page Menu Command

If you set “Ramp Low (KBDTrk Ramp Low)” to +43 and

“Ramp High (KBDTrk Ramp High)” to –43, the cutoff fre-

quency will not be affected by keyboard location. Use this

setting when you do not want the cutoff frequency to

change for each note.

ꢀ0 –1A: Write Program, 1 –1A: Copy Oscillator, 1 –1B: S w ap

Oscillator

3–2: Filter1 Mod.

How cutoff frequency is affected by keyboard location and the Ramp

setting

(“Intensity to A” and “Intensity to B” = +50)

Here you can make settings to specify how keyboard track-

ing, controllers, and ﬁlter 1 EG intensity will control the Fil-

ter 1 cutoff frequency “Frequency” (A/ B Frequency) to

modify the tone.

When “Filter Type” (3–1a) is Low Pass Resonance, parame-

ters for ﬁlter B will not be displayed.

Cutoff frequency

High Ramp=+99

High Ramp=+62

High Ramp=0

High Ramp=–43

High Ramp=–99

Low Ramp=+99

Low Ramp=+43

Low Ramp=0

3–2

3–2a

Low Ramp=–62

Key

Low Key High Key

Low Ramp=–99

3–2b

Intensity to A (KBDTrk Int. to A)

[–99…+99]

Speciﬁes the depth and direction of the effect that the key-

board tracking speciﬁed by “Key Low (KBDTrk Key Low),”

“Key High (KBDTrk Key High),” “Ramp Low (KBDTrk

Ramp Low)” and “Ramp High (KBDTrk Ramp High)” will

have on ﬁlter 1A.

3–2c

With positive (+) values, the effect will be in the direction

speciﬁed by keyboard tracking, and with negative (–) val-

ues the effect will be in the opposite direction.

3–2a: Keyboard Track

Intensity to B (KBDTrk Int. to B)

[–99…+99]

These settings specify keyboard tracking for the cutoff fre-

quency of ﬁlter 1.

Speciﬁes the depth and direction of the effect that keyboard

tracking will have on ﬁlter 1B (ꢀ“Intensity to A (KBDTrk

Int. to A)”).

The way in which the cutoff frequency is affected by the

position of the key you play (note number) can be speciﬁed

by the “Key Low (KBDTrk Key Low),” “Key High (KBDTrk

Key High),” “Ramp Low (KBDTrk Ramp Low)” and “Ramp

High (KBDTrk Ramp High)” parameters.

3–2b: Filter EG

Velocity to A

[–99…+99]

Key:

This parameter speciﬁes the depth and direction of the effect

that velocity will have on the time-varying changes created

by the ﬁlter 1 EG (as set by “Filter 1 EG” 3–4) to control the

ﬁlter 1A cutoff frequency.

With positive (+) values, playing more strongly will cause

the ﬁlter 1 EG to produce greater changes in cutoff fre-

quency. With negative (–) values, playing more strongly will

also cause the ﬁlter 1 EG to produce greater changes in cut-

off frequency, but with the polarity of the EG inverted.

Speciﬁes the note number at which keyboard tracking will

begin to be applied, and set the “Intensity to A (KBDTrk Int.

to A)” and “Intensity to B (KBDTrk Int. to B)” parameters to

specify the depth and direction of the change applied to ﬁl-

ter 1 A and B.

For the range of notes between “Key Low (KBDTrk Key

Low)” and “Key High (KBDTrk Key High),” the cutoff fre-

quency will change according to the key position (pitch).

Note numbers can also be entered by holding down the

[ENTER] key while you press a note on the keyboard.

Velocity to B

[–99…+99]

This parameter speciﬁes the depth and direction of the effect

that velocity will have on the time-varying changes created

by the ﬁlter 1 EG to control the ﬁlter 1B cutoff frequency (ꢀ

“Velocity to A”).

Key Low (KBDTrk Key Low)

[C–1…G9]

Keyboard tracking will apply to the range below the speci-

ﬁed note number.

Changes in cutoff frequency

Key High (KBDTrk Key High)

[C–1…G9]

Note-on

Keyboard tracking will apply to the range above the speci-

Note-off

ﬁed note number.

Ramp (Ramp Setting):

Speciﬁes the angle of keyboard tracking.

Softly played

(The setting of 3–2b: Intensity to A)

Strongly played

Setting to +

Strongly played

Setting to –

Ramp Low (KBDTrk Ramp Low)

Ramp High (KBDTrk Ramp High)

[–99…+99]

If “Intensity to A (KBDTrk Int. to A)” and “Intensity to B

(KBDTrk Int. to B)” are set to +50, “Ramp Low (KBDTrk

Ramp Low)” is set to –62 and “Ramp High (KBDTrk Ramp

High)” is set to +62, the angle of the change in cutoff fre-

quency will correspond to the keyboard location (pitch).

This means that the oscillation that occurs when you

Intensity to A

[–99…+99]

Speciﬁes the depth and direction of the effect that the time-

varying changes created by the ﬁlter 1 EG will have on the

ﬁlter 1A cutoff frequency.

With positive (+) settings, the sound will become brighter

when the EG levels set by Filter 1 EG Level and Time parame-

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ters (3–4a) are in the “+” area, and darker when they are in

the “–” area.

With negative (–) settings, the sound will become darker

when the EG levels set by Filter 1 EG “Level” and “Time”

parameters (3–4a) are in the “+” area, and brighter when

they are in the “–” area.

3–3: Filter1 LFO Mod.

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.

3–3

Intensity to B

[–99…+99]

Speciﬁes the depth and direction of the effect that the time-

varying changes created by the ﬁlter 1 EG will have on the

ﬁlter 1B cutoff frequency (ꢀ“Intensity to A”).

3–3a

AMS (Filter EG AMS)

[Off, (EXT)]

3–3b

Selects the source that will control the depth and direction of

the effect that the time-varying changes produced by the ﬁl-

ter 1 EG will have on the cutoff frequency of ﬁlters 1A and

1B (“AMS List” ꢀ p .242).

Int to A (AMS Int. to A)

[–99…+99]

Speciﬁes the depth and direction of the effect that “AMS

(Filter EG AMS)” will have on ﬁlter 1A. For details on how

this will apply (ꢀ“Intensity to A”).

3–3a: LFO 1

Intensity to A (LFO1 Int. to A)

[–99…+99]

Speciﬁes the depth and direction of the modulation that

OSC1 LFO1 (set by “OSC1 LFO1” 5–1) will have on the cut-

off frequency of ﬁlter 1A.

Int to B (AMS Int. to B)

[–99…+99]

Speciﬁes the depth and direction of the effect that “AMS

(Filter EG AMS)” will have on ﬁlter 1B. For details on how

this will apply (ꢀ“Intensity to A”).

Negative (–) settings will invert the phase.

Intensity to B (LFO1 Int. to B)

[–99…+99]

The sum of the settings for “Velocity to A (B),” “Inten-

sity to A (B),” and “Int to A (B) (AMS Int. to A/ B)” will

determine the depth and direction of the effect pro-

duced by the ﬁlter EG.

Speciﬁes the depth and direction of the modulation that

OSC1 LFO1 will have on the cutoff frequency of ﬁlter 1B

(ꢀ“Intensity to A (LFO1 Int. to A)”).

Change in cutoff

3–2c: Filter A/ B Modulation

Filter A:

AMS1 (Filter A AMS1)

[Off, (PEG, AEG, EXT)]

Low setting

High setting

Selects the source that will control modulation of the ﬁlter

1A cutoff frequency (“AMS List” ꢀ p .242).

JS–Y Intensity to A (LFO1 JS–Y Int. to A)

[–99...+99]

The joystick can be moved in the –Y direction (toward your-

self) to control OSC1 LFO1, modulating the cutoff frequency

of ﬁlter 1A.

This parameter speciﬁes the depth and direction of control.

Higher settings of this parameter will cause OSC1 LFO1 to

have a greater effect on ﬁlter 1 when you move the joystick

in the –Y direction (toward yourself).

Intensity (A AMS1 Intensity)

[–99…+99]

Speciﬁes the depth and direction of the effect that “AMS1

(Filter A AMS1)” will have.

When “AMS1 (Filter A AMS1)” is JS X, a positive (+) value

for this parameter will cause the cutoff frequency to rise

when the joystick is moved toward the right, and fall when

the joystick is moved toward the left. With a negative (–)

value for this parameter, the opposite will occur.

This value is added to the setting of the Filter A “Frequency

(A Frequency)” (3–1b).

JS–Y Intensity to B (LFO1 JS–Y Int. to B)

[–99...+99]

The joystick can be moved in the –Y direction (toward your-

self) to control OSC1 LFO1, modulating the cutoff frequency

of ﬁlter 1B.

This parameter speciﬁes the depth and direction of control.

(ꢀ”JS–Y Intensity to A (LFO1 JS–Y Int. to A)”)

AMS2 (Filter A AMS2)

[Off, (PEG, AEG, EXT)]

Intensity (A AMS2 Intensity)

[–99…+99]

Selects “AMS2 (Filter A AMS2),” and specify the depth and

direction of the effect that the selected source will have

(ꢀ“AMS1 (Filter A AMS1),” “Intensity (A AMS1 Inten-

sity)”).

AMS (LFO1 AMS)

[Off, (PEG, FEG, AEG, KT, EXT)]

Selects a source that will control the depth and direction of

cutoff frequency change for both ﬁlters 1A and 1B (“AMS

List” ꢀ p .242).

Filter B:

Intensity to A (LFO1 AMS Int. to A)

[–99…+99]

This will be displayed when “Filter Type” (3–1a) is Low

Pass & High Pass.

Two alternate modulation sources can be used to modulate

the cutoff frequency of ﬁlter 1B (ꢀ“Filter A”).

Speciﬁes the depth and direction of the effect that “AMS

(LFO1 AMS)” will have on ﬁlter 1A.

For example if “AMS (LFO1 AMS)” is After Touch, higher

settings of this parameter will allow greater change to be

applied to OSC1 LFO1 when you apply pressure to the key-

board.

M 3–2: Page Menu Command

ꢀ0 –1A: Write Program, 1 –1A: Copy Oscillator, 1 –1B: S w ap

Oscillator

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Intensity to B (LFO1 AMS Int. to B)

[–99…+99]

Break (Break Point Level)

[–99…+99]

Speciﬁes the depth and direction of the effect that “AMS

(LFO1 AMS)” will have on ﬁlter 1B (ꢀ“Intensity to A (LFO1

AMS Int. to A)”).

Speciﬁes the cutoff frequency after the decay time has

elapsed.

Sustain (Sustain Level)

[–99…+99]

Speciﬁes the cutoff frequency that will be maintained from

after the slope time has elapsed until note-off occurs.

3–3b: LFO 2

Adjusts the depth of the cyclic modulation applied by OSC1

LFO2 (set by 5–2) to the cutoff frequency of ﬁlters 1A and 1B

(ꢀLFO 1: 3–3a).

Release (Release Level)

[–99…+99]

Speciﬁes the cutoff frequency that will occur when the

release time has elapsed.

Intensity to A (LFO2 Int. to A)

Intensity to B (LFO2 Int. to B)

[–99…+99]

Time:

[–99…+99]

These parameters specify the time over which each change

will occur.

JS–Y Intensity to A (LFO2 JS–Y Int. to A) [–99…+99]

JS–Y Intensity to B (LFO2 JS–Y Int. to B) [–99…+99]

AMS (LFO2 AMS) [Off, (PEG, FEG, AEG, KT, EXT)]

Attack (Attack Time)

[00…99]

Speciﬁes the time over which the level will change from

Intensity to A (LFO2 AMS Int. to A)

Intensity to B (LFO2 AMS Int. to B)

[–99…+99]

note-on until the attack level is reached.

[–99…+99]

Decay (Decay Time)

[00…99]

Speciﬁes the time over which the level will change from the

M 3–3: Page Menu Command

attack level to the break point level.

ꢀ0 –1A: Write Program, 1 –1A: Copy Oscillator, 1 –1B: S w ap

Slope (Slope Time)

[00…99]

Oscillator

Speciﬁes the time over which the level will change after the

decay time has elapsed until the sustain level is reached.

Release (Release Time)

[00…99]

3–4: Filter1 EG

Here you can make settings for the EG that will produce

time-varying changes in the cutoff frequency of ﬁlters 1A

and 1B.

The depth of the effect that these settings will have on the

ﬁlter 1 cutoff frequency is determined by Filter EG (3–2b).

Speciﬁes the time over which the level will change after

note-on occurs until the release level is reached.

Note-off

Sustain Level

Attack Level

Note-on

Release

Level

Break

Point

Level

Time

The specified

cutoff

3–4

frequency

Start

Level

Attack

Time

Decay Slope

Release

Time

3–4a

3–4b: Level Modulation

3–4b

3–4c

These settings let you use alternate modulation to control

the Level parameters of the ﬁlter 1 EG.

AMS (Level Mod. AMS)

[Off, (KT, EXT)]

Selects the source that will control the Level parameters of

the ﬁlter 1 EG (“AMS List” ꢀ p .242).

3–4a: Filter1 EG

Intensity (AMS Intensity)

[–99…+99]

Speciﬁes the time-varying change produced by the ﬁlter 1

EG.

Speciﬁes the depth and direction of the effect that “AMS

(Level Mod. AMS)” will have.

For example if “AMS (Level Mod. AMS)” is Velocity, and

you set “St (AMS SW Start),” “At (AMS SW Attack)” and

“Br (AMS SW Break)” to + and set “Intensity (AMS Inten-

sity)” to a positive (+) value, the EG levels will rise as you

play more strongly. If “Intensity (AMS Intensity)” is set to a

negative (–) values, the EG levels will fall as you play more

strongly.

Level:

The result will depend on the ﬁlter that was selected in “Fil-

ter Type” (3–1a). For example with the Low Pass Resonance

ﬁlter, positive (+) values of EG Intensity will cause the tone

to be brightened by positive (+) levels, and darkened by

negative (–) levels.

With a setting of 0, the levels speciﬁed by “Filter 1 EG” (3–

4a) will be used.

Start (Start Level)

[–99…+99]

Speciﬁes the cutoff frequency at the time of note-on.

St (AMS SW Start)

[–, 0, +]

Attack (Attack Level)

[–99…+99]

Speciﬁes the direction in which “AMS (Level Mod. AMS)”

will affect “Start (Start Level).” When “Intensity (AMS

Intensity)” has a positive (+) value, a setting of + for this

parameter will allow “AMS (Level Mod. AMS)” to raise the

EG level, and a setting of – will allow “AMS (Level Mod.

AMS)” to lower the EG level. With a setting of 0 there will be

no change.

Speciﬁes the cutoff frequency after the attack time has

elapsed.

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At (AMS SW Attack)

[–, 0, +]

Dc (AMS1 SW Decay)

[–, 0, +]

Speciﬁes the direction in which “AMS (Level Mod. AMS)”

will affect “Attack (Attack Level).” When “Intensity (AMS

Intensity)” has a positive (+) value, a setting of + for this

parameter will allow “AMS (Level Mod. AMS)” to raise the

EG level, and a setting of – will allow “AMS (Level Mod.

AMS)” to lower the EG level. With a setting of 0 there will be

no change.

Speciﬁes the direction in which “AMS1 (Time Mod. AMS1)”

will affect the decay time. With positive (+) values of

“Intensity (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.

Sl (AMS1 SW Slope)

[–, 0, +]

Br (AMS SW Break)

[–, 0, +]

Speciﬁes the direction in which “AMS1 (Time Mod. AMS1)”

will affect the slope time. With positive (+) values of “Inten-

sity (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.

Speciﬁes the direction in which “AMS (Level Mod. AMS)”

will affect “Break (Break Point Level).” When “Intensity

(AMS Intensity)” has a positive (+) value, a setting of + for

this parameter will allow “AMS (Level Mod. AMS)” to raise

the EG level, and a setting of – will allow “AMS (Level Mod.

AMS)” to lower the EG level. With a setting of 0 there will be

no change.

Rl (AMS1 SW Release)

[–, 0, +]

Speciﬁes the direction in which “AMS1 (Time Mod. AMS1)”

will affect the release time. With positive (+) values of

“Intensity (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.

Filter 1 EG changes (level) (AMS = Velocity, Intensity = a positive (+) value)

Note-on

Note-off

Filter 1 EG changes (Time) (AMS = Velocity, Intensity = a positive (+) value)

Softly played note with “St,” Strongly played note with

“At,” and “Br” set to + (setting “St,” “At,” and “Br” set to +

of 3–4a: Filter 1 EG)

Strongly played note with

“St,” “At,” and “Br” set to –

Note-on

Note-off

3–4c: Time Modulation

Softly played note with “At,” Strongly played note with

“Dc,” “Sl” and “Rl” set to + “At,” “Dc,” “Sl” and “Rl” set

(setting of 3–4a: Filter 1 EG) to +

Strongly played note with

“At,” “Dc,” “Sl” and “Rl” set

to –

These settings let you use alternate modulation to control

the Time parameters of the ﬁlter 1 EG.

AMS1:

AMS2:

AMS1 (Time Mod. AMS1)

[Off, (KT, EXT)]

AMS2 (Time Mod. AMS2)

Intensity (AMS2 Intensity)

At (AMS2 SW Attack)

Dc (AMS2 SW Decay)

Sl (AMS2 SW Slope)

Rl (AMS2 SW Release)

[Off, (KT, EXT)]

[–99…+99]

[–, 0, +]

Selects the source that will control the Time parameters of

the ﬁlter 1 EG (“AMS List” ꢀ p .242).

Intensity (AMS1 Intensity)

[–99…+99]

[–, 0, +]

Speciﬁes the depth and direction of the effect that “AMS1

(Time Mod. AMS1)” will have.

[–, 0, +]

For example if “AMS1 (Time Mod. AMS1)” is set to Flt KTr

+/+, the EG Time parameters will be controlled by the Key-

board Track (3–2a) settings. With positive (+) values of this

parameter, positive (+) values of Ramp (Ramp Setting) will

lengthen the EG times, and negative (–) values of Ramp

(Ramp Setting) will shorten the EG times. The direction of

change is speciﬁed by “At (AMS1 SW Attack),” “Dc (AMS1

SW Decay),” “Sl (AMS1 SW Slope),” and “Rl (AMS1 SW

Release).”

With a setting of 0, the times speciﬁed by Filter 1 EG (3–4a)

will be used.

If “AMS1 (Time Mod. AMS1)” is set to Velocity, positive

(+) values of this parameter will cause EG times to lengthen

as you play more strongly, and negative (–) values will

cause EG times to shorten as you play more strongly.

[–, 0, +]

These parameters are the settings for AMS2 to control the

Time parameters of the ﬁlter 1 EG (ꢀAMS1).

M 3–4: Page Menu Command

0–1A

1–1A

1–1B

3–4A

3–4A: Sync Both EGs

When you select the page menu command “Sync Both

EGs,” a check mark will be added at the left of “Sync Both

EGs.” In this state, you can edit the ﬁlter 1 EG and ﬁlter 2 EG

simultaneously. (Editing either EG will change the settings

of both EGs.)

At (AMS1 SW Attack)

[–, 0, +]

Speciﬁes the direction in which “AMS1 (Time Mod. AMS1)”

will affect the attack time. With positive (+) values of

“Intensity (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.

“Sync Both EGs” cannot separately sync the ﬁlter EG

and amp EG. For example if they are synced in 4–3A,

they will also be synced here.

This can be selected only if “Oscillator Mode” (1–1a) is

Double.

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3–5: Filter2

Program P4: Edit–Amp

3–6: Filter2 Mod.

3–7: Filter2 LFO Mod.

3–8: Filter2 EG

Make settings for amp 1 which controls the volume of oscil-

lator 1, and amp 2 which controls the volume of oscillator 2.

Pan settings are also made here.

4–1

Make settings for ﬁlter 2 which controls the sound of oscilla-

tor 2. You can choose either a 24 dB/ octave low pass ﬁlter

with resonance or a 12 dB/ octave low pass ﬁlter and 12 dB/

octave high pass ﬁlter connected in series. Filter 2 can be

used if “Oscillator Mode” (1–1a) is Double. (ꢀ”3–1:

Filter1” – “3–4: Filter1 EG”)

4–1a

4–1b

4–1: Amp1 Level/ Pan

These parameters control the volume and pan of oscillator 1.

4–1a: Amp Level

Amp Level (Amp1 Level)

[0…127]

Sets the volume of oscillator 1.

The volume of a program can be controlled by CC#7

(volume) and #11 (expression). The resulting level is

determined by multiplying the values of CC#7 and #11.

The Global MIDI channel “MIDI Channel” (Global P1:

1–1a) is used for control.

4–1b: Pan

Pan (Amp1 Pan)

[Random, L001…C064…R127]

Sets the pan (stereo location) of oscillator 1.

A setting of L001 places the sound at far left, C064 in the

center, and R127 to far right.

Random: The sound will be heard from a different location

at each note-on.

This can be controlled by CC#10 (panpot). A CC#10

value of 0 or 1 will place the sound at the far left, a

value of 64 will place the sound at the location speciﬁed

by the “Pan” setting for each oscillator, and a value of

127 will place the sound at the far right. This is con-

trolled on the global MIDI channel “MIDI Channel”

(Global P1: 1–1a).

Use DKit Setting

[Off, On]

This option is availble only when “Oscillator Mode” (1–1a)

is set to Drums.

On (checked): The sound will be output at the “Pan” setting

that has been made for each key of the drum kit (Global P5:

5–2b). When “Oscillator Mode” is Drums, you will nor-

mally use this setting.

Off (unchecked): All keys of the Drum Kit will use the “Pan

(Amp 1 Pan)” setting.

AMS (Pan AMS) [Off, (PEG, FEG, AEG, LFO, KT, EXT)]

Selects the source that will modify pan (“AMS List”

ꢀ p .242). This change will be relative to the “Pan (Amp1

Pan)” setting.

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Intensity

[–99…+99]

Ramp High (KBDTrk Ramp High)

[–99…+99]

Speciﬁes the depth of the effect produced by “AMS (Pan

AMS).”

With positive (+) values of this parameter, the volume will

increase as you play notes above the “Key High (KBDTrk

Key High)” note number. With negative (–) values, the vol-

ume will decrease.

For example if “Pan (Amp1 Pan)” is set to C064 and “AMS

(Pan AMS)” is Note Number, positive (+) values of this

parameter will cause the sound to move toward the right as

the note numbers increase beyond the C4 note (i.e., as you

play higher), and toward the left as the note numbers

decrease (i.e., as you play lower). Negative (–) values of this

parameter will have the opposite effect.

Volume change produced by keyboard location and Ramp settings

Volume

Ramp Low=+99

Ramp Low=0

Ramp High=+99

Ramp High=0

M 4–1: Page Menu Command

Ramp Low=–99

Ramp High=–99

ꢀ0 –1A: Write Program, 1 –1A: Copy Oscillator, 1 –1B: S w ap

Oscillator

Key

Key Low Key High

4–2: Amp1 Mod.

4–2b: Amp Modulation

Applies modulation to amp 1 (for oscillator 1), make settings

for keyboard tracking to vary the volume, and set the inten-

sity of velocity and LFO 1/ 2.

These parameters specify how the volume of oscillator 1 will

be affected by velocity.

Velocity Intensity

[–99…+99]

4–2

With positive (+) values, the volume will increase as you

play with more velocity.

4–2a

With negative (–) values, the volume will decrease as you

play with more velocity.

4–2b

Volume change (with positive (+) values of this parameter)

Note-on

Note-off

4–2c

Strongly played

Softly played

4–2a: Keyboard Track

AMS (Amp AMS)

[Off, (PEG, FEG, EXT)]

Selects the source that will control the volume of amp 1

(“AMS List” ꢀ p .242). (EXT) Velocity cannot be selected.

These parameters let you use keyboard tracking to adjust

the volume of oscillator 1. Use the “Key Low,” “Key High”

and “Ramp Low, ” “Ramp High” parameters to specify how

the volume will be affected by the keyboard location that

you play.

Intensity (AMS Intensity)

[–99…+99]

Speciﬁes the depth and direction of the effect that “AMS

(Amp AMS)” will have.

Key:

The actual volume will be determined by multiplying the

value of the changes produced by the amp EG with the val-

ues of Alternate Modulation etc., and if the levels of the amp

EG are low, the modulation applied by Alternate Modula-

tion will also be less.

Speciﬁes the note number at which keyboard tracking will

begin to apply.

The volume will not change between “Key Low (KBDTrk

Key Low)” and “Key High (KBDTrk Key High).”

For example if “AMS (Amp AMS)” is set to After Touch,

positive (+) values of this parameter will cause the volume

to increase when pressure is applied to the keyboard. How-

ever if the EG settings etc. have already raised the volume to

its maximum level, the volume cannot be increased further.

With negative (–) values of this parameter, the volume will

decrease when pressure is applied to the keyboard.

The note number can also be input by holding the

[ENTER] key and playing a note on the keyboard.

Key Low (KBDTrk Key Low)

[C–1…G9]

Keyboard tracking will apply to the range of notes below the

note number you specify here.

Key High (KBDTrk Key High)

[C–1…G9]

Keyboard tracking will apply to the range of notes above the

note number you specify here.

4–2c: LFO 1/ 2

These parameters let you use “OSC1 LFO1” (5–1) and

“OSC1 LFO 2” (5–2) to control the oscillator 1 volume.

Ramp:

Speciﬁes the angle of the keyboard tracking.

LFO1 Intensity

[–99…+99]

Ramp Low (KBDTrk Ramp Low)

[–99…+99]

Speciﬁes the depth and direction of the effect that “OSC1

LFO1” will have on the volume of oscillator 1. Negative (–)

values will invert the LFO waveform.

With positive (+) values of this parameter, the volume will

increase as you play notes below the “Key Low (KBDTrk

Key Low)” note number. With negative (–) values, the vol-

ume will decrease.

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AMS (LFO1 AMS)

[Off, (PEG, FEG, AEG, KT, EXT)]

Time:

Selects a source that will control the depth by which “OSC1

LFO1” will modulate the volume of oscillator 1 (“AMS List”

ꢀ p .242).

Attack (Attack Time)

[00…99]

Speciﬁes the time over which the volume will change after

note-on until it reaches the attack level.

If the start level is 0, this will be the rise time of the sound.

Intensity (AMS Intensity)

[–99…+99]

As the absolute value of this setting is increased, the effect of

“AMS (LFO1 AMS)” on “OSC1 LFO1” will increase. Nega-

tive (–) values will invert the LFO waveform.

Decay (Decay Time)

[00…99]

Speciﬁes the time over which the volume will change from

when it reaches the attack level until it reaches the break

point level.

LFO2 Intensity

[–99…+99]

[Off, (PEG, FEG, AEG, KT, EXT)]

[–99…+99]

AMS (LFO2 AMS)

Intensity (AMS Intensity)

Slope (Slope Time)

[00…99]

Speciﬁes the time over which the volume will change from

when it reaches the break point level until it reaches the sus-

tain level.

Speciﬁes the depth and direction of the effect that “OSC1

LFO 2” (5–2) will have on the volume of oscillator 1. Refer to

the preceding sections “LFO1 Intensity”–“Intensity (AMS

Intensity).”

Release (Release Time)

[00…99]

Speciﬁes the time over which the volume will change after

note-off until it reaches 0.

M 4–2: Page Menu Command

Amplifier EG

Note-off

Attack Level

ꢀ0 –1A: Write Program, 1 –1A: Copy Oscillator, 1 –1B: S w ap

Note-on

Break Point

Oscillator

Volume

Sustain

Level

Start

Level

Time

4–3: Amp1 EG

These parameters let you create time-varying changes in the

volume of oscillator 1.

Attack

Time

Decay Slope

Time Time

Release Time

4–3

4–3b: Level Modulation

Speciﬁes how AMS will control the amp 1 EG level speciﬁed

4–3a

in “Amp1 EG” (4–3a).

AMS (Level Mod.AMS)

[Off, (KT, EXT)]

4–3b

4–3c

Selects the source that will control the Level parameters of

the amp 1 EG (“AMS List” ꢀ p .242).

Intensity (AMS Intensity)

[–99…+99]

Speciﬁes the depth and direction of the effect that “AMS

(Level Mod.AMS)” will have.

4–3a: Amp1 EG

For example if “AMS (Level Mod.AMS)” is Velocity, setting

“St (AMS SW Start),” “At (AMS SW Attack),” and “Br (AMS

SW Break)” to + and setting “Intensity (AMS Intensity)” to a

positive (+) value will cause the amp 1 EG volume levels to

increase as you play more strongly. Setting “Intensity (AMS

Intensity)” to a negative (–) values will cause the amp 1 EG

volume levels to decrease as you play more strongly. With a

setting of 0, the levels will be as speciﬁed in “Amp1 EG” (4–

3a).

These parameters specify how the amp 1 EG will change

over time.

Level:

Start (Start Level)

[00…99]

Speciﬁes the volume level at note-on.

If you want the note to begin at a loud level, set this to a high

value.

St (AMS SW Start)

[–, 0, +]

Attack (Attack Level)

[00…99]

Speciﬁes the direction in which “AMS (Level Mod.AMS)”

will change “Start (Start Level).” If “Intensity (AMS Inten-

sity)” is set to a positive (+) value, setting this parameter to

+ will allow AMS to increase the EG level, and setting this

parameter to – will allow AMS to decrease the EG level.

With a setting of 0, no change will occur.

Speciﬁes the volume level that will be reached after the

attack time has elapsed.

Break (Break Point Level)

[00…99]

Speciﬁes the volume level that will be reached after the

decay time has elapsed.

At (AMS SW Attack)

[–, 0, +]

Sustain (Sustain Level)

[00…99]

Speciﬁes the direction in which “AMS (Level Mod.AMS)”

will change “Attack (Attack Level).” If “Intensity (AMS

Intensity)” is set to a positive (+) value, setting this parame-

ter to + will allow AMS to increase the EG level, and setting

this parameter to – will allow AMS to decrease the EG level.

With a setting of 0, no change will occur.

Speciﬁes the volume level that will be maintained from after

the slope time has elapsed until note-off occurs.

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Br (AMS SW Break)

[–, 0, +]

Rl (AMS1 SW Release)

[–, 0, +]

Speciﬁes the direction in which “AMS (Level Mod.AMS)”

will change “Break (Break Point Level).” If “Intensity (AMS

Intensity)” is set to a positive (+) value, setting this parame-

ter to + will allow AMS to increase the EG level, and setting

this parameter to – will allow AMS to decrease the EG level.

With a setting of 0, no change will occur.

Speciﬁes the direction of the effect that “AMS1 (Time Mod.

AMS1)” will have on “Release (Release Time).” With posi-

tive (+) values of “Intensity (AMS1 Intensity),” setting this

parameter to + will allow AMS1 to lengthen the time, and

setting it to – will allow AMS1 to shorten the time. With a

setting of 0 there will be no effect.

Amp 1 EG changes (Level) (AMS=Velocity, Intensity = a positive (+) value)

Amp 1 EG changes (Time)

(AMS=Amp KTrk +/+, Intensity = a positive (+) value)

(When Amp Keyboard Track (4–2a) Low Ramp= a positive (+) value, and

High Ramp = a positive (+) value)

Note-on

Note-off

Note-on

Note-off

Softly played note when “St”=0 Strongly played note

Strongly played note

and “At” and “Br” are set to + when “St”=0 and “At” and when “St”=0 and “At” and

(settings of 4–3a: Amp 1 EG) “Br” are set to +

“Br” are set to –

Settings of 4–3a: Amp 1 EG Low-pitched note played with High-pitched note played with

“At,” “Dc,” “Sl,” and “Rl” at + “At,” “Dc,” “Sl,” and “Rl” at –

Amp 1 EG changes (Time) (AMS=Velocity, Intensity= a positive (+) value)

Note-on Note-on Note-on

4–3c: Time Modulation

Note-off

These parameters let you use an alternate modulation

source to modify the amp 1 EG times that were speciﬁed in

Amp1 EG (4–3a).

Softly played note with “At,”

“Dc,” “Sl” and “Rl” at +

(settings of 4–3a: Amp 1 EG)

Strongly played note with “At,” Strongly played note with

AMS1 (Time Mod. AMS1)

[Off, (KT, EXT)]

“Dc,” “Sl” and “Rl” at +

“At,” “Dc,” “Sl” and “Rl” at –

Selects the source that will control the Time parameters of

the amp 1 EG (“AMS List” ꢀ p .242).

AMS2 (Time Mod. AMS2)

Intensity (AMS2 Intensity)

At (AMS2 SW Attack)

Dc (AMS2 SW Decay)

Sl (AMS2 SW Slope)

[Off, (KT, EXT)]

[–99…+99]

[–, 0, +]

Intensity (AMS1 Intensity)

[–99…+99]

Speciﬁes the depth and direction of the effect that “AMS1

(Time Mod. AMS1)” will have.

[–, 0, +]

For example if “AMS1 (Time Mod. AMS1)” is Amp KTrk +/

+, the (Amp) Keyboard Track settings (4–2a) will control the

EG Time parameters. With positive (+) values of this param-

eter, positive (+) values of Ramp will cause EG times to be

lengthened, and negative (–) values of Ramp will cause EG

times to be shortened. The direction of the change is speci-

ﬁed by “At (AMS1 SW Attack),” “Dc (AMS1 SW Decay),”

“Sl (AMS1 SW Slope),” and “Rl (AMS1 SW Release).”

When “AMS1 (Time Mod. AMS1)” is Velocity, positive (+)

values will cause EG times to lengthen as you play more

strongly, and negative (–) values will cause EG times to

shorten as you play more strongly. With a setting of 0, the EG

times will be as speciﬁed in Amp1 EG (4–3a).

[–, 0, +]

Rl (AMS2 SW Release)

[–, 0, +]

These parameters specify how “AMS2 (Time Mod. AMS2)”

will control the amp 1 EG Time parameters (ꢀ“AMS1 (Time

Mod. AMS1)”–“Rl (AMS1 SW Release)”).

M 4–3: Page Menu Command

0–1A

1–1A

1–1B

4–3A

At (AMS1 SW Attack)

[–, 0, +]

Speciﬁes the direction of the effect that “AMS1 (Time Mod.

AMS1)” will have on “Attack (Attack Time).” With positive

(+) values of “Intensity (AMS1 Intensity),” setting this

parameter to + will allow AMS1 to lengthen the time, and

setting it to – will allow AMS1 to shorten the time. With a

setting of 0 there will be no effect.

4–3A: Sync Both EGs

When you select the page menu command “Sync Both

EGs,” a check mark will appear at the left of “Sync Both

EGs.” In this state, you can edit the amp 1 EG and amp 2 EG

simultaneously. (Editing either EG will change the settings

of both EGs.) (ꢀ3–4A)

Dc (AMS1 SW Decay)

[–, 0, +]

Speciﬁes the direction of the effect that “AMS1 (Time Mod.

AMS1)” will have on “Decay (Decay Time).” With positive

(+) values of “Intensity (AMS1 Intensity),” setting this

parameter to + will allow AMS1 to lengthen the time, and

setting it to – will allow AMS1 to shorten the time. With a

setting of 0 there will be no effect.

4–4: Amp2 Level/ Pan

4–5: Amp2 Mod.

4–6: Amp2 EG

Sl (AMS1 SW Slope)

[–, 0, +]

These are the parameters for amp 2 (used for oscillator 2).

(ꢀ“4–1: Amp1 Level/ Pan”–“4–3: Amp 1 EG.”)

These will appear when “Oscillator Mode” (1–1a) is Dou-

ble.

Speciﬁes the direction of the effect that “AMS1 (Time Mod.

AMS1)” will have on “Slope (Slope Time).” With positive

(+) values of “Intensity (AMS1 Intensity),” setting this

parameter to + will allow AMS1 to lengthen the time, and

setting it to – will allow AMS1 to shorten the time. With a

setting of 0 there will be no effect.

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Offset settings and pitch change produced by vibrato

Program P5: Edit–Common LFO

Pitch

offset = –99

offset = 0

offset = +99

Here you can make settings for the LFO that can be used to

cyclically modulate the Pitch, Filter, and Amp of oscillators 1

and 2. There are two LFO units for each oscillator. By setting

the LFO1 or LFO2 Intensity to a negative (–) value for Pitch,

Filter, or Amp, you can invert the LFO waveform.

Pitch at note-on

Key Sync.

[Off, On]

On (checked): The LFO will start each time you press a key,

and an independent LFO will run for each note.

Off (unchecked): The LFO effect that started when the ﬁrst

key was pressed will also apply to subsequently-played

notes. (In this case, the delay and fade effects will apply only

to the ﬁrst-started LFO.)

5–1: OSC1 LFO1

Make settings for the “OSC1 LFO1,” which is the ﬁrst LFO

that can be used for oscillator 1.

5–1

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.

5–1a

How “Fade” affects the LFO (when “Key Sync.” is On)

5–1b

Note-on

“Fade”

Note-off

5–1c

“Delay”

Delay

[0…99]

Speciﬁes the time from note-on until the LFO effect begins to

apply.

5–1a: OSC1 LFO1

When “Key Sync.” is Off, the delay will apply only when

the LFO is ﬁrst started.

Waveform

[Triangle 0…Random6 (Vector)]

Selects the LFO waveform.

The numbers that appear at the right of some of the LFO

waveforms indicate the phase at which the waveform will

begin.

5–1b: Frequency Modulation

You can use two alternate modulation sources to adjust the

speed of the OSC1 LFO1.

Triangle

Step Triangle – 4

Step Triangle – 6

Step Saw – 4

Triangle 90

Triangle wave

AMS1 (Freq. AMS1)

Phase will change

randomly at each key-in

Triangle

Random

[Off, (PEG, FEG, AEG, LFO2, KT, EXT)]

Selects the source that will adjust the frequency of the oscil-

lator 1 LFO1 (“AMS List” ꢀ p .242). OSC1 LFO1 can be mod-

ulated by OSC1 LFO2.

Saw

Step Saw – 6

Sawtooth down ↓

Random1 (S/H):

Saw

180

Conventional sample & hold (S/H) in which the

level changes randomly at fixed intervals of

time

Square

Sine

Square wave

Sine wave

Intensity (AMS1 Intensity)

[–99…+99]

Random2 (S/H):

Both the levels and the time intervals will

change randomly.

Speciﬁes the depth and direction of the effect that “AMS1

(Freq. AMS1)” will have.

Random3 (S/H):

Guitar vibrato

Guitar

The maximum level and minimum level will

alternate at random intervals of time (i.e., a

square wave with random period).

When this parameter is set to a value of 16, 33, 49, 66, 82, or

99, the LFO frequency being can be increased by a maxi-

mum of 2, 4, 8, 16, 32, or 64 times respectively (or decreased

by 1/ 2, 1/ 4, 1/ 8, 1/ 16, 1/ 32, or 1/ 64 respectively).

For example if “AMS1 (Freq. AMS1)” is Note Number, pos-

itive (+) values of this parameter will cause the oscillator 1

LFO to speed up as you play higher notes. Negative (–) val-

ues will cause the oscillator 1 LFO to slow down as you play

higher notes. This change will be centered on the C4 note.

If “AMS1 (Freq. AMS1)” is set to JS +Y: CC#01, higher set-

tings for this parameter will cause the OSC1 LFO speed to

become proportionately faster when you move the joystick.

With a setting of +99, the LFO speed will be approximately

64 times faster when the joystick is pushed all the way away

from yourself.

Exponential

Triangle

Random4 (Vect.)

Random5 (Vect.)

Random6 (Vect.)

These types cause Random 1–3 to change

smoothly. They can be used to simulate the

instability of acoustic instruments etc.

Exponential

Saw Down

Exponential

Saw Up

Frequency

[00…99]

Sets the LFO frequency. A setting of 99 is the fastest.

Offset

[–99…+99]

Speciﬁes the central value of the LFO waveform.

For example with a setting of 0 as shown in the following

diagram, the vibrato that is applied will be centered on the

note-on pitch. With a setting of +99, the vibrato will only

raise the pitch above the note-on pitch, in the way in which

vibrato is applied on a guitar.

AMS2 (Freq. AMS2)

[Off, (PEG, FEG, AEG, LFO2, KT, EXT)]

When “Waveform” is set to Guitar, the modulation will

occur only in the positive (+) direction even if you set “Off-

set” to 0.

Intensity (AMS2 Intensity)

[–99…+99]

Make settings for a second alternate modulation source that

will adjust the frequency of the oscillator 1 LFO1. (ꢀ“AMS1

(Freq. AMS1),” “Intensity (AMS1 Intensity)”)

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5–4: OSC2 LFO2

5–1c: Frequency MIDI/ Tempo Sync.

This can be used when “Oscillator Mode” (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 (ꢀ“5–1: OSC1

LFO1” and “5–2: OSC1 LFO2”).

MIDI/ Tempo Sync.

[Off, On]

On (checked): The LFO frequency will synchronize to the

tempo (MIDI Clock). In this case, the values you speciﬁed

for “Frequency” (5–1a) and Frequency Modulation (5–1b) will

be ignored.

Base Note (Sync. Base Note)

[ ꢁ , ꢃ ꢂ , ꢃ , ꢀ ꢂ , ꢀ , ꢄ ꢂ , ꢄ , ꢅ ]

Program P7: Edit–Arpeggiator

Times (Sync. Times)

[01...16]

When “MIDI/Tempo Sync.” is checked, these parameters

set a note length relative to “ꢀ (Tempo)” and the multiple

(“Times”) that will be applied to it. These parameters will

determine the frequency of the OSC1 LFO1. For example if

“Base Note (Sync. Base Note)” is ꢀ (quarter note) and “Times

(Sync. Times)” is 04, the LFO will perform one cycle every

four beats.

Even if you change the “ꢀ (Tempo)” setting of the arpeggia-

tor or sequencer, the LFO will always perform one cycle

every four beats.

Here you can make settings for the arpeggiator used by the

program.

You can make settings so that when you select a program,

these arpeggiator settings will automatically switch to the

arpeggiator settings that are memorized in the selected pro-

gram. (Global P0: 0–1c Auto Arpeggiator “Program”)

The arpeggiator can be switched on/ off by the ARPEGGIA-

TOR [ON/ OFF] key. When on, the key LED will light.

The settings of the ARPEGGIATOR [TEMPO] knob, [GATE]

knob, [VELOCITY] knob, and [ON/ OFF] key can be saved

for each program.

M 5–1: Page Menu Command

These settings will be valid when “Auto Arpeggiator”

Program is checked.

0–1A

5–1A

You can control the arpeggiator from an external

sequencer, or record note data generated by the arpeg-

giator onto an external sequencer. (ꢀ p .266)

5–1A: Swap LFO 1&2

“Pattern,” “Resolution,” “Octave,” “Sort,” “Latch,”

“Key Sync.,” “Keyboard,” and “ꢀ (Tempo)” can also be

set from the P0: Play, Arpeggio page.

This command exchanges the settings of LFO1 and 2. If

LFO2 has been selected as Frequency Modulation “AMS1

(Freq. AMS1)”or “AMS2 (Freq. AMS2)” (5–1b) of LFO1, that

setting will be cancelled for LFO2 after the LFO1 and 2 set-

tings have been exchanged. If this is selected from the OSC1

LFO1 or OSC1 LFO2 page, the LFO1 and LFO2 of OSC1 will

be exchanged.

7–1: Arpeg. Setup

7–1

1Select “Swap LFO 1&2” to access the dialog box.

7–1a

7–1b

2Press the OK button to execute, or press the Cancel but-

ton to cancel without executing.

5–2: OSC1 LFO2

Here you can make settings for the OSC1 LFO2, which is the

second LFO that can be applied to oscillator 1. (ꢀ“5–1:

OSC1 LFO1”) However in “Frequency Modulation” (5–1b),

the LFO cannot be selected as a modulation source in

“AMS1 (Freq. AMS1)”or “AMS2 (Freq. AMS2).”

7–1a: Arpeggiator Tempo

ꢀ (Tempo)*

[040...240, EXT]

Sets the tempo.

This can also be set by the [ARPEGGIATOR TEMPO] knob.

When “MIDI Clock” (Global P1: 1–1a) is set to either Exter-

nal MIDI or External mLAN, this parameter will indicate

EXT, and the arpeggiator will synchronize to the MIDI

Clock received from an external MIDI device.

5–3: OSC2 LFO1

This can be used when “Oscillator Mode” (1–1a) is set to

Double.

Here you can make settings for the OSC2 LFO1, which is the

ﬁrst LFO that can be applied to oscillator 2 (ꢀ“5–1: OSC1

LFO1”).

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Swing

[–100...+100(%)]

7–1b: Arpeggiator Setup

This parameter shifts the timing of the odd-numbered notes

of the arpeggio.

ꢀRefer to BG p.130.

When Resolution =

Pattern*

[P00...P04, U000(I-A/ B)...U506(User)]

Step

Selects the arpeggio pattern.

P00...P04

Preset arpeggio patterns

U000(I-A/B)...U199(I-A/B)

U200(E-A)...U215(E-A)

U216(E-B)...U231(E-B)

U232(E-C)...U247(E-C)

U248(E-D)...U263(E-D)

U264(E-E)...U279(E-E)

U280(E-F)...U295(E-F)

U296(E-G)...U311(E-G)

U312(User)...U506(User)

Preloaded arpeggio patterns

–50

Swing

–25

+25

+50

EXB-PCM series

(user arpeggio patterns)

Sort*

[Off, On]

This speciﬁes the order in which the notes you press will be

arpeggiated.

On (checked): Notes will be arpeggiated in the order of

their pitch, regardless of the order in which you pressed

them.

User arpeggio patterns

(some preloaded arpeggio patterns)

Off (unchecked): Notes will be arpeggiated in the order in

which you pressed them.

U000 (I–A/B)–U506 (User) are rewritable. Use Global

P6 to create arpeggio patterns.

Latch*

[Off, On]

Arpeggio patterns U000 (I-A/B)–U506 (User) can be

selected using the numeric keys [0]–[9] and the

[ENTER] key.

Speciﬁes whether or not the arpeggio will continue playing

after you take your hand off of the keyboard.

On (checked): The arpeggio will continue playing after you

remove your hand from the keyboard.

Off (unchecked): The arpeggio will stop when you remove

your hand from the keyboard.

Octave*

[1, 2, 3, 4]

Speciﬁes the number of octaves in which the arpeggio will

be played.

Key Sync.*

[Off, On]

If a user arpeggio pattern is selected, the range of the

arpeggio will depend on the “Octave Motion” (Global

P6: 6–1b) setting.

Speciﬁes whether the arpeggio pattern will begin when you

press a key, or whether it will always follow the “ꢀ (Tempo)”

(0–1a).

On (checked): The arpeggio pattern will start playing from

the beginning when a note-on occurs from a condition

where no keys are pressed. This setting is suitable when you

are playing in realtime and want the arpeggio to play from

the beginning of the measure.

Resolution*

[ꢁ ꢂ , ꢁ , ꢃ ꢂ , ꢃ , ꢀ ꢂ , ꢀ ]

Speciﬁes the timing resolution of the arpeggio. The notes of

the arpeggio will be played at the interval you specify: ꢁ ꢂ ,

ꢁ , ꢃ ꢂ, ꢃ , ꢀ ꢂ , or ꢀ . The speed of the arpeggio pattern is

determined by the “Arpeggiator Tempo ꢀ” and the “Resolu-

tion.”

Off (unchecked): The arpeggio pattern will always play

according to the “ꢀ (Tempo).”

Gate

[000...100(%), Step]

Speciﬁes the length (gate time) of each note in the arpeggio.

Keyboard*

[Off, On]

This speciﬁes whether the notes you play on the keyboard

will be sounded as usual in addition to being sounded as

part of the arpeggio (“keyboard” 0–2a).

000–100(%): Each note will be played with the speciﬁed gate

time.

Step: This is available when an user arpeggio pattern U000

(I-A/B)–U506 (User) is selected for “Pattern.” When this is

selected, the gate time speciﬁed for each step will be used.

The gate time can also be controlled by the ARPEGGIATOR

[GATE] knob. Rotating the knob toward the left will shorten

the gate time, and rotating it toward the right will lengthen

the gate time. When the knob is at the 12 o’clock position,

the gate time will be as speciﬁed here.

On (checked): The notes you play will be sounded on their

own, in addition to being sounded as part of the arpeggio.

For example if you simultaneously press two or more notes,

they will be sounded as usual in addition to being played as

arpeggiated notes.

Off (unchecked): Only the arpeggiated notes will be heard.

*: These parameters can also be set from “P0: Play,

Velocity

[001...127, Key, Step]

Arpeggio.”

Speciﬁes the velocity of the notes in the arpeggio.

001–127: Each note will sound with the speciﬁed velocity

value.

M 7–1: Page Menu Command

Key: Each note will sound with the velocity value at which

it was actually played.

0–1A

7–1A

Step: This is available when an user arpeggio pattern U000

(I-A/B)–U506 (User) is selected for “Pattern.” When this is

selected, the velocity speciﬁed for each step will be used.

The velocity can also be controlled by the ARPEGGIATOR

[VELOCITY] knob. Rotating the knob toward the left will

decrease the velocity, and rotating it toward the right will

increase the velocity. When the knob is at the 12 o’clock posi-

tion, the velocity will be as speciﬁed here.

7–1A: Copy Arpeggiator

This command can be used to copy arpeggio settings from

another location to the current program.

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1Select “Copy Arpeggiator” to access the dialog box.

Program P8: Edit–Insert Effect

ꢀFor details on insertion effects, refer to p.178 “8. Effect

Guide.”

8–1: Routing

These settings specify the bus on which the output of the

oscillator will be sent, and can be used to adjust the send

levels to the master effects.

The following diagram shows the LCD screen when “Oscil-

lator Mode” (1–1a) is set to Double.

2In “From” specify the source of the arpeggio settings

(mode, bank, number) that you wish to copy.

3If you are copying from Combination, Song, or Song Play

mode, specify whether you wish to copy from A or B.

4To execute the Copy Arpeggio operation, press the OK

button. To cancel, press the Cancel button.

8–1

8–1a

7–2: Scan Zone

7–1

8–1b

7–2a

8–1c

8–1d

7–2b

8–1a: Routing Map

This shows the status of the insert effects.

The insert effect routing, effect name, on/ off status, and

chain is shown. The types of insert effect, on/ off, and chain

settings are made in the P8: Edit-Insert Effect, Insert FX

page.

7–2a: Zone Map

This shows the Scan Zone setting.

7–2b: Scan Zone

8–1b: Use DKit Setting

Top Key

[C–1...G9]

Use DKit Setting

[Off, On]

Bottom Key

[C–1...G9]

This will be available only when “Oscillator Mode” (1–1a)

These parameters specify the range of notes (keys) for which

the arpeggiator will function. “Top Key” is the upper limit,

and “Bottom Key” is the lower limit.

is set to Drums.

On (checked): The “BUS Select” (Global P5: 5–2a) setting for

each key of the selected drum kit will be used. Check this

when you want to apply an insert effect to an individual

drum instrument, or to output an individual drum instru-

ment to one of the AUDIO OUTPUT (INDIVIDUAL) jacks.

If the “Oscillator Mode” is Single or Double, this setting has

no effect.

Off (unchecked): The setting of the BUS Select (8–1c), OSC

MFX Send (8–1d) parameter described below will be used.

All drum instruments will be sent to the speciﬁed bus.

Top Velocity

[001...127]

Bottom Velocity

Speciﬁes the range of velocities for which the arpeggiator

will function. “Top Velocity” is the upper limit, and “Bottom

Velocity” is the lower limit.

Note number and velocity can also be entered by hold-

ing down the [ENTER] key and playing a note on the

keyboard.

8–1c: BUS Select (IFX/ Indiv.Out Assign)

BUS Select (All OSCs to)

[L/ R, IFX1...5, 1...4, 1/ 2, 3/ 4, Off]

Speciﬁes the bus to which oscillators 1 and 2 will be sent.

If this is set to 1/2 or 3/4, the oscillator pan settings (4–

1b, 4–4) will be used to output the sound in stereo from

AUDIO OUTPUT (INDIVIDUAL) 1/ 2 or 3/ 4. When

the oscillator pan is controlled by CC#10 (pan) or AMS

(Pan AMS), the sound will be output with the pan set-

ting that is in effect at note-on. Unlike the case when

this is set to L/R to output the sound from (MAIN) L/

MONO and R, the pan of a sounding note will not

change in realtime.

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If you wish to adjust the pan in realtime during a note

and output the sound from AUDIO OUTPUT (INDI-

VIDUAL) 1/ 2 or 3/ 4, set “BUS Select ” to IFX1 (or

IFX2–IFX5), set “IFX1” (or IFX2–IFX5) to 000: No

Effect, and set the “BUS Sel. (BUS Select)” (8–2a) after

passing through IFX to 1/2 or 3/4.

3Select which of the effects you wish to copy.

You can also copy from a master effect. If “All” is

checked, all effect settings will be copied (i.e., the con-

tents of the Insert FX page and the effect parameters of

IFX 1–5, but not “Ctrl Ch”).

If you are copying from a master effect, the result may

not be identical, due to differences in the routing and

level settings of a master effect.

8–1d: OSC MFX Send

4Select the insert effect copy destination.

OSC1:

If you check “Post IFX Mixer Setting,” the “Chain,”

“Pan (CC#8),” “BUS Sel.,” “Send 1” and “Send 2” set-

tings that follow the copy source insert effect will also be

copied. If this is unchecked, only the effect type and its

parameters will be copied.

Send1 (to MFX1)

[000...127]

Sets the volume (send level) at which the output of oscillator

1 will be sent to master effect 1. This is valid when “BUS

Select” (8–1c) is set to L/R or Off.

If “BUS Select” is set to IFX1, IFX2, IFX3, IFX4 or IFX5, the

send levels to master effect 1 and 2 are set by “Send 1” and

“Send 2” (8–2a) after passing through IFX 1/ 2/ 3/ 4/ 5 of the

Insert FX pages.

5To execute the Copy Insert Effect command, press the

OK button. To cancel, press the Cancel button.

8–1B: Swap Insert Effect

This command swaps (exchanges) insert effect settings.

Send2 (to MFX2)

[000...127]

1Select “Swap Insert Effect” to access the dialog box.

Sets the volume (send level) at which the output of oscillator

1 will be sent to master effect 2 (ꢀ“Send 1 (to MFX1)”).

OSC2:

Send1 (to MFX1)

Send2 (to MFX2)

[000...127]

2In “Source 1” and “Source 2,” select each of the insert

effects that you wish to swap.

Sets the volume (send level) at which the output of OSC2

will be sent to master effects 1 and 2. These parameters will

be valid when “Oscillator Mode” (1–1a) is set to Double

and “BUS Select” is set to L/R or Off.

3To execute the Swap Insert Effect command, press the

OK button. To cancel, press the Cancel button.

CC#93 will control the Send 1 level for OSC 1/ 2, and

control change CC#91 will control the Send 2 level for

OSC 1/ 2. These are controlled on the global MIDI chan-

nel “MIDI Channel” (Global P1: 1–1a).

The actual send level is determined by multiplying

these values with the send level setting of each oscilla-

tor.

8–2: Insert FX

Here you can select the type of each insert effect, turn it on/

off, and make chain settings.

The direct sound (Dry) of an insert effect is always stereo

input and output. The input/ output of the effect sound

(Wet) will depend on the effect type (ꢀ p .178).

8–1

M 8–1: Page Menu Command

0–1A

8–1A

8–1B

8–2a

8–1A: Copy Insert Effect

This command copies effect settings from Program, Combi-

nation, Song, Sampling mode, or Song Play mode.

1Select “Copy Insert Effect” to access the dialog box.

8–2a: IFX1, 2, 3, 4, 5

IFX1, 5

[000...089]

[000...102]

IFX2, 3, 4

Selects the type of each insert effect.

For “IFX1” and “IFX5” you can select from 90 types of effect:

000: No Effect – 089: Reverb-Gate. Double-size effects can-

not be used.

2In “From” select the source mode, bank, and number of

For “IFX2,” “IFX3” and “IFX4” you can select from 103

types of effect: 000: No Effect – 102: Hold Delay.

If you select a double-size effect, the insert effect that follows

will be unavailable. For example if you select a double-size

effect for “IFX2,” “IFX3” cannot be used. Up to two double-

size effects can be used. (You can use a normal size effect for

“IFX1,” and double-size effects for “IFX2” and “IFX4.”)

(ꢀ p .178)

the effect to be copied.

You can select a bank by pressing the [INT-A]–[EXB-G]

keys.

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Category/ IFX Select menu:

8–3: IFX 1

8–4: IFX 2

8–5: IFX 3

8–6: IFX 4

8–7: IFX 5

Here you can set the effect parameters for the IFX 1/ 2/ 3/ 4/

5 that were selected in the Insert FX page (ꢀ p .187–).

When you press the popup button, a “Category/ IFX Select”

list will appear. Press a tab to select a category of effects, and

select an effect from that category. Press the OK button to

execute, or press the Cancel button to cancel.

Effect dynamic modulation (Dmod) is controlled on the

global MIDI channel “MIDI Channel” (Global P1: 1–1a).

(“D.mod” ꢀ p .247)

IFX1, 2, 3, 4, 5 On/ Off

[Off, ON]

0–1

Switches the insert effect on/ off.

When this is OFF, the input will be output unchanged. (For

000: No Effect, on/ off will produce the same result.)

Each time you press this, the setting will alternate between

on/ off.

Control change #CC92 can be used to turn off all of the

insert effects at once. A value of 0 will be off, and a

value of 1–127 will be the original setting. This message

is received on the global MIDI channel speciﬁed by

“MIDI Channel” (Global P1: 1–1a).

Chain

[Off, On]

Switch “chain” on/ off for each insert effect.

Chain

For example if the “Chain” check box between IFX1 and

IFX2 is checked, IFX1 and IFX2 will be connected in series. If

“BUS Select” (8–1c) is set to IFX1, IFX1 and IFX2 will be

inserted in series.

A maximum of ﬁve insert effects (IFX1–IFX5) can be

inserted in series. When effects are chained, the “PAN

(CC#8),” “BUS Select,” “Send 1” and “Send 2” settings that

follow the last IFX in the chain will be used.

Pan(CC#8) (Post IFX PanCC#8) [L000...C064...R127]

Sets the pan after the sound has passed through the insert

effect. This setting is valid only when the following “BUS

Select” is set to L/ R (ꢀ p .181).

CC#8 will control the pan of the sound after it has

passed through the insert effect.

BUS Sel. (BUS Select) [L/ R, 1, 2, 3, 4, 1/ 2, 3/ 4, Off]

Speciﬁes the bus to which the sound will be sent after pass-

ing through the insert effect. Normally you will set this to L/

R. If you wish to output to AUDIO OUTPUT (INDIVID-

UAL), set this to 1, 2, 3, 4, 1/2, or 3/4. The Off setting is used

when you wish to use “Send 1” and “Send 2” and in addi-

tion connect to the master effects in series.

Send1

Send2

[000...127]

Sets the send levels to the master effects 1 and 2 for the

sound that has passed through the insert effect. These set-

tings are valid when “BUS Select” (8–2a) has been set to L/R

or Off.

Control change CC#93 will control the Send 1 level, and

control change CC#91 will control the Send 2 level.

These messages are received on the global MIDI chan-

nel speciﬁed by “MIDI Channel” (Global P1: 1–1a).

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MFX1, 2 On/ Off

[Off, ON]

Program P9: Edit–Master Effect

Switches the master effects 1, 2 on/ off. When off, the output

will be muted. This will alternate between on and off each

time it is pressed.

ꢀFor details on the master effects, refer to p.182 “8. Effect

Guide.”

CC#94 can be used to switch the MFX on and off. A

value of 0 will be off, and a value of 1–127 will be the

original setting. This is controlled on the global MIDI

channel “MIDI Channel” (Global P1: 1–1a).

9–1: Master FX

Here you can select the master effect types, switch them on/

off, specify chain order, and set the master EQ.

Chain

[Off, On]

On (checked): Chain (series connection) will be turned on

for MFX1 and MFX2.

9–1

Off (unchecked): MFX1 and MFX2 will operate in parallel.

9–1a

Chain Direction

[MFX1¡MFX2, MFX2¡MFX1]

Speciﬁes the direction of the connection when MFX1 and

MFX2 are chained.

9–1c

MFX1→MFX2: Connect from MFX1 to MFX2.

MFX2→MFX1: Connect from MFX2 to MFX1.

9–1b

Chain Signal

[LR 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.

9–1a: MFX1, 2

L/R Mix: The stereo output L/ R of the ﬁrst master effect will

be mixed before being input to the next master effect.

L Only, R Only: Only the left or right channel of the output

will be input to the next master effect.

The master effects do not output the direct sound (Dry). The

return level (“Return1,” “Return2”) sends the effect sound

(Wet) to the L and R bus, and this is mixed with the direct

sound (i.e., the output from P8: Routing tab “BUS Select” L/

R, or the L/R output from Insert FX page “BUS Select”).

The master effects have a mono input. After passing through

the oscillator and insert effects, sound that is panned L and

R is mixed to a mono signal (as adjusted by the “Send 1” and

“Send 2” levels) and input to the master effects.

Chain Level

[000...127]

When chain is On, this sets the level at which the sound is

sent from the ﬁrst master effect to the next master effect.

9–1b: Return Level

The master effects are mono-in stereo-out. Even when

a stereo-input type effect is selected, the input will be

monaural.

Return 1, 2

[000...127]

Adjusts the return levels from the master effects to the L/ R

bus (main output L/ MONO, R).

MFX1, 2

[000...089]

Selects the effect type for master effect 1 and 2. You can

select from 90 types of effect: 000: No Effect–089: Reverb-

Gate. (Double-size effects cannot be selected.) If 000: No

Effect is selected, the output from the master effect will be

muted.

9–1c: Master EQ Gain [dB]

Sets the gain for the three-band EQ located immediately

before the sound of the L/ R bus is sent from the AUDIO

OUTPUT (MAIN OUT) L/ MONO and R jacks. This is

linked with the various “Gain” parameters of Master EQ (9–

4).

Category/ MFX Select menu:

When you press the popup button, a “Category/ MFX

Select” menu will appear. Press a tab to select the desired

category of effect, and select an effect from the list. Press the

OK button to execute, or press the Cancel button to cancel.

Low

Mid

[–18.0...+18.0]

High

The cutoff frequency for “Low,” “Mid” and “High” and the

“Q” of “Mid” can be adjusted in the Master EQ page. These

settings are in “dB” units.

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9–2: MFX 1

M 9–1: Page Menu Command

9–3: MFX 2

Makes effect parameter settings for the MFX1 and 2 effects

0–1A

9–1A

9–1B

that were selected in the Master FX page (9–2). (ꢀ p .187–)

Effect dynamic modulation (Dmod) is controlled on the

global MIDI channel “MIDI Channel” (Global P1: 1–1a).

(“D.mod” ꢀ p .247)

9–1A: Copy Master Effect

This command lets you copy any desired effect settings from

Program, Combination, Song, Sampling, or Song Play mode.

0–1

1Select “Copy Master Effect” to access the dialog box.

2In “From,” select the copy source mode, bank, and num-

ber.

3Select the effect that you want to copy.

If you select MFX1 or MFX2, “Return” (return level) will

be copied at the same time.

9–4: Master EQ

If you select Master EQ, only the master EQ settings will

be copied.

You can select from an insert effect by selecting IFX 1–5.

If you check “All,” all settings for the master effects and

master EQ will be copied.

The master EQ is a three-band stereo EQ. It is used to adjust

the overall tonality of the sound immediately before the L/ R

bus is output to the AUDIO OUTPUT (MAIN OUT) L/

MONO and R jacks (ꢀ p .239).

0–1

If you are copying from an insert effect, differences in

routing and level will mean that the result will not be

completely identical.

4In “To,” specify the copy destination master effects.

5To execute the Copy Master Effect command, press the

OK button. To cancel, press the Cancel button.

9–1B: Swap Master Effect

This command swaps (exchanges) the settings of MFX1 and

MFX2.

1Select “Swap Master Effect” to access the dialog box.

The MEQ High Gain and MEQ Low gain can be controlled

by assigning a modulation source to the “Low Gain Mod-

Src:” and the “High Gain Mod-Src:” functions on this page.

2To execute the Swap Master Effect command, press the

OK button. To cancel, press the Cancel button.

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2. Combination mode

1Press the popup button located at the left of “Combina-

tion Select” to access the Bank/ Combination Select

menu.

Combination P0: Play

2Press one of the tabs located at the left or right to select a

bank.

In this display page you can select and play Combinations.

A Combi allows you to use up to eight programs at once.

3Select a combination from the list. You can directly press

your choice within the list, or use the [ ] [ ] keys.

4Press the OK button to execute, or press the Cancel but-

ton to cancel your selection.

0–1: Prog. Select (Program Select)

0–1

Category

[00...15]

Select the combination category.

0–1a

Each combination is assigned to one of 16 categories. You

can choose a category, and select from the combinations

included in that category. When you press the popup menu

button, the Category/ Combination Select menu will appear.

0–1b

0–1c

Category/ Combination Select menu:

0–1a: Bank, Combination Select, 10’s Hold,

ꢀ

Category,

Bank (Bank Select)[Bank INT-A…INT-E, EXB-A...EXB-G]

1Press the (category) popup button located at the top of

“Combination Select” to access the Category/ Combina-

tion Select menu.

2Press one of the tabs at left or right to select a category.

3Select a combination from the list. You can directly press

your choice within the list, or use the [ ] [ ] keys.

4Press the OK button to execute, or press the Cancel but-

ton to cancel your selection.

This is the Combination bank display.

Press one of the BANK [INT-A]–[EXB-G] keys to select a

bank.

Each of the rewritable banks INT-A–INT-E and EXB-A–

EXB-G contain 128 (a total of 1,536) combination program

areas.

INT-A...INT-D

INT-E

Preloaded combinations

The category of each combination can be speciﬁed in the

“Write Combination” (0–1A) dialog box.

User combinations, EXB-MOSS combinations

EXB-A...EXB-G User combinations, EXB-PCM series combina-

tions

10’s Hold

1Press the [./10’s HOLD] key to display

If you have selected the “Bank/ Program (Program

Select)” (0–1d) edit cell for a timbre 1–8 in the Prog.

Select page, BANK [INT-A]–[EXB-G] will switch the

program banks for timbres 1–8.

The 10’s place of the combination number will be held

(ﬁxed).

2Press any numeric key [0]–[9] to input the 1’s place of the

combination number with a single keystroke.

3You can use the [

the 10’s place.

4To cancel, press the [./ 10’s HOLD] key to turn off the

], [

] keys to change the value of

Combination Select

[0…127]

Here you can select the desired combination. When this

parameter is selected, you can select combinations using the

numeric keys [0]–[9], [VALUE] dial, or [

display.

], [

] keys.

When you press the popup button, the Bank/ Combination

Select menu will appear. Here you can select combinations

by bank.

ꢀ (Tempo)

[040...240, EXT]

This sets the tempo of the arpeggiator. The tempo can also

be adjusted by the ARPEGGIATOR [TEMPO] knob. A dis-

play of EXT indicates that the “MIDI Clock” setting (Global

P1: 1–1a) has been set to External MIDI or External mLAN,

and that the arpeggiator will synchronize to MIDI Clock

messages received from an external MIDI device.

You can select combinations by transmitting MIDI pro-

gram changes from a connected external MIDI device,

or by using a foot switch. (“Foot SW Assign” Global P2:

2–1a, “Foot S w i tch Assign List ” ꢀ p .251)

Bank/ Combination Select menu:

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nel. At the same time, timbres whose “Status” is EXT or

EX2 will transmit the same messages on their own

MIDI channel.

0–1b: Selected Timbre Information

This displays information on the selected timbre (1–8).

If bank select and program change messages are

received on a MIDI channel that matches the MIDI

channel of a timbre whose “Status” is INT, the program

of that timbre will change. However if the MIDI chan-

nel of the incoming message matches the global MIDI

channel “MIDI Channel,” then the combination will

change.

T (Timbre)

[01...08]

Indicates the timbre number and the bank/ number/ name

of the program that is selected for the timbre.

[01...16, Gch]

Indicates the MIDI channel number speciﬁed for the timbre.

If you do not want the combination to change, you can

either change the global MIDI channel so that it does

not match the channel on which the program change

messages are being received, or you can uncheck

“Enable Combination Change” (Global P1: 1–1b). You

can also uncheck “Enable Bank Change” (Global P1:

1–1b) so that only the program number will change and

the bank will remain the same.

0–1c: Timbre Number, Category, Bank/ Program,

Status

Timbre Number

(1...8)

Indicates the timbre number.

The parameters below “Timbre Number” let you make set-

tings for that timbre.

If you wish to change the program assigned to certain

timbres without changing the combination, you can

also set “Enable Program Change” (3–1a) so that the

program will change on certain timbres but not on oth-

ers.

Timbre Number

Category

Program Select

Status

“Category” and “Bank/ Program (Program Select)” can

also be speciﬁed from P1: Edit-Program/ Mixer.

Category

[00...15]

Status

[INT, Off, EXT, EX2]

The program for each timbre can be selected by program

category. All programs are classiﬁed into one of sixteen cate-

gories. After you select a particular category, you can choose

a program from that category.

When you press the popup button, the Category/ Timbre

Program Select menu will appear. (“Category/ Program

Select menu” ꢀProgram P0: 0–1a)

Speciﬁes the status of MIDI and the internal tone generator

for each timbre.

INT: When you play TRITON STUDIO, the internal tone

generator will sound, and will also sound in response to

MIDI messages received from an external MIDI device.

Off: The timbre will not sound. Nor will MIDI data be trans-

mitted.

EXT: Playing TRITON STUDIO will not cause it to sound,

but it will transmit data via MIDI to control external MIDI

devices.

EX2: The “Bank Select” (2–1b) LSB value and MSB value will

be valid. Instead of the INT-A–EXB-G bank numbers that

can be selected on the TRITON STUDIO, the bank number

speciﬁed by “Bank Select” (2–1b) will be transmitted via

MIDI. Other aspects are the same as for EXT.

Bank/ Program (Program Select)

[INT-A...INT-F, G, g(1)...g(9), g(d), EXB-A...EXB-G]

Speciﬁes the program that will be used by the timbre.

Part of the program name is displayed in the line below.

When “Bank/ Program (Program Select)” is selected, you

can use the BANK [INT-A]–[EXB-G] keys or the VALUE

controllers to choose.

When you press the popup button, the Bank/ Timbre Pro-

gram Select menu will appear, and you can select a program

(“Bank/ Program Select menu” ꢀProgram P0: 0–1a).

“Status” can also be set in the P2: Edit-Trk Param, MIDI

Ch page.

INT

MIDI IN

When “Bank/ Program (Program Select)” is selected,

one of the BANK key LEDs will light to indicate the

bank of the selected program.

Tone

generator

Bank INT-F can be selected only if you have installed

the EXB-MOSS option. When installed, the 128 special

EXB-MOSS programs will be available.

EXT, EX2

MIDI OUT

When you select a combination on the TRITON STU-

DIO, a MIDI program change for the selected combina-

tion number will be transmitted on the global MIDI

channel “MIDI Channel” (Global P1: 1–1a). At the same

time, bank select, program change, and volume (CC#7)

messages will be transmitted on the MIDI channel spec-

iﬁed for each timbre whose “Status” (0–1c, 2–1b) is set

to EXT or EX2. However, these messages will not be

transmitted for timbres that are set to the same MIDI

channel as the global MIDI channel. In this case, EX2

timbres will show the “Bank/ Program (Program

Select)” Bank as “–”, and will transmit the bank number

that was speciﬁed in “Bank Select” (2–1b).

MIDI messages transmitted when you operate the TRI-

TON STUDIO are transmitted on the global MIDI chan-

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0–2: Mixer

M 0–1: Page Menu Command

Here you can set the pan and volume for each timbre 1–8.

0–1A

0–1B

0–1

0–1a

0–1A: Write Combination

0–1b

0–1c

This command writes an edited combination into the TRI-

TON STUDIO’s internal memory. Be sure to write any com-

bination that you wish to save. If the power is turned off or a

different combination selected before you write an edited

combination, your edits cannot be recovered.

For the procedure, refer to “Write Program” (Program P0: 0–

1A).

0–2a

0–2a: Program Category, Pan, Volume, Hold

Balance

Program Category

Part of the program category name for the timbre program is

displayed here.

If you use “Category” to specify a category for the combina-

tion you are writing, you will be able to select that combina-

tion by its category in Combination P0: Play.

The names of the combination categories can be edited in

“Comb Cat.” (Global P4: 4–2).

Pan

[RND, L001...C064...R127]

Sets the pan for each timbre 1–8.

L001...C064...R127: A setting of L001 is far left and R127 is

far right. A setting of C064 will reproduce the pan setting of

the oscillator in Program mode.

You can also use the SEQUENCER [REC/ WRITE] key

to write a combination in the same way as “Write Com-

bination.” Press the SEQUENCER [REC/ WRITE] key

to access the dialog box, and write the combination. In

this case, the data will be written to the currently

selected combination.

OSC1

Left

OSC2

Right

OSC1: Amp1 Pan=L001

OSC2: Amp2 Pan=R127

OSC1: Amp1 Pan=L032

OSC2: Amp2 Pan=R096

Center

Left

Center

Right

Pan (CC#10)

C064

Pan (CC#10)

C064

0–1B: Solo Selected Timbre

L032

L001

R096

R127

L032

L001

R096

R127

The Solo function will toggle between on and off each time

you select “Solo Selected Timbre.”

1Select the page menu command “Solo Selected Timbre.”

When you select this, a check mark will appear at the left

of “Solo Selected Timbre” in the menu, and the Solo func-

tion will be on.

2In pages that show parameters for an individual timbre,

you can select a particular timbre to Solo (in P0: Play, Pro-

gram Select page “Bank/ Program,” etc.) so that only this

timbre will sound and the other timbres will be muted.

The “Selected Timbre Information” (0–1b) in each page

will indicate [Solo.]

Left

Center

Left

Center

Right

OSC1

Left

OSC2

Right

OSC1: Amp1 Pan=C064

OSC2: Amp2 Pan=C064

Center

Pan (CC#10)

C064

L032

L001

R096

R127

To solo a different timbre, select a parameter of the tim-

bre that you wish to solo.

Left

Center

Right

3To cancel the Solo function, once again select “Solo

Selected Timbre” from the page menu.

If a mono insert effect is in use, the settings you make here

will be ignored. In this case, the “Pan (CC#8)” (P8: 8–2)

parameter in Insert FX page will adjust the panning of the

sound after the insertion effect (“3. Mixer ” ꢀ p .181).

RND: The oscillator pan will change randomly at each note-

on.

If a timbre that is muted by the Solo function has been

set to a “Status” (0–1c, 2–1b) of EXT or EX2, MIDI note-

on/ off messages will not be transmitted by that timbre.

If “Status” (0–1c, 2–1b) has been set to INT, MIDI con-

trol change #10 (panpot) messages can be received to

control the setting. CC#10 values of 0 or 1 will place the

sound at far left, 64 at center, and 127 at far right.

Pan can be controlled by messages received on the

“MIDI channel” (2–1b).

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Volume

[000...127]

Timbre assign

Adjusts the volume of each timbre 1–8.

This indicates the arpeggiator A and B assignment status for

each timbre 1–8. These settings are made in “Arpeggiator

Assign” (7–1b).

The volume of each timbre is determined by multiply-

ing this volume value with the MIDI volume (CC#7)

and expression (CC#11). If “Status” (0–1c, 2–1b) has

been set to INT, incoming MIDI CC#7 or CC#11 mes-

sages will control the volume of a timbre. (However

these messages will not affect the setting of this param-

eter.)

If “Status” is EXT or EX2, the value of this parameter

will be transmitted as MIDI CC#7 when the combina-

tion is changed. However this will not be transmitted

by a timbre that is set to the same MIDI channel as the

global MIDI channel. This message is transmitted on

the “MIDI channel” (2–1b) speciﬁed for each timbre.

0–3(4)b: Arpeggiator A (B)

Pat (Pattern)

Octave

[P00...P04, U000(I-A/ B)...U506(User)]

[1, 2, 3, 4]

[ ꢁ ꢂ , ꢁ , ꢃ ꢂ , ꢃ , ꢀ ꢂ , ꢀ ]

[Off, On]

Reso (Resolution)

Sort

Latch

[Off, On]

Key Sync.

Keyboard

[Off, On]

“Pan” and “Volume” can also be set from P1: Edit-Pro-

gram/ Mixer.

Set the various parameters of the combination arpeggiator

(ꢀ“Program P7: Edit-arpeggiator”).

These parameters can also be set from 7–2(3): Arpegg. A(B).

Hold Balance

[Off, On]

On (checked): When any one of the volume sliders is

moved, the volume of the other timbres will change as well.

The volume balance of timbres 1–8 will be maintained. This

is useful when you wish to adjust the overall volume.

0–5: Sampling

Here you can adjust the settings for the analog/ digital audio

signal input (AUDIO INPUT, S/ P DIF, EXB-mLAN), and the

sampling-related settings for Combination mode.

0–3: Arpegg. A (Arpeggio Play A)

As in Program mode, sampling in Combination mode

allows you to sample an incoming audio signal or to resam-

ple a TRITON STUDIO performance. (ꢀProgram P0: 0–3)

0–4: Arpegg. B (Arpeggio Play B)

Here you can make arpeggiator settings for the combina-

tion. A combination can run two arpeggiators simulta-

neously. Arpeggiator parameters can be edited in P7: Edit-

Arp., but certain major parameters can be edited in these

pages as well. You can edit these parameters in realtime, for

example by changing the arpeggio pattern while playing in

Combination P0: Play.

0–5

0–5a

To save the edits you make, use “Write Combination.” The

arpeggiator can also be edited in realtime by the ARPEG-

GIATOR [TEMPO] knob, [GATE] knob, and [VELOCITY]

knob.

0–5c

0–5b

0–1A

0–1a

0–5a: Input

Input

[Analog, S/ P DIF, mLAN]

0–3a

Input1:

Input2:

0–3b

Level

[0...127]

Pan

[L000...C064...R127]

BUS(IFX/ Indiv.) Select

[L/ R, IFX1…5, 1, 2, 3, 4, 1/ 2, 3/ 4, Off]

Send1(MFX1), Send2(MFX2)

[000...127]

0–3a: Arpeggiator Run A, B, Timbre assign

Specify the input source analog/ digital audio device, and

set the input level, pan, bus, and master effect sends.

Arpeggiator Run A, B

When the ARPEGGIATOR [ON/ OFF] key is on, the arpeg-

giator(s) you checked here will run if they are assigned to a

timbre by “Arpeggiator Assign” (7–1b).

Input settings are valid in Combination, Program,

Sequencer, Song Play, and Disk modes. (ꢀGlobal P0: 0–

3a)

When the arpeggiator is on, these check boxes let you turn A

and B on/ off.

This parameter can also be set from P7: Edit-Arp. Setup

page “Arpeggiator Run A, B.”

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0–5b: Sampling Setup

Combination P1: Edit–Program/ Mixer

Source BUS

[L/ R, Indiv.1/ 2]

[Sampling START SW, Note On]

[Off, 4, 8, 3, 6]

Trigger

1–1: Program/ Mixer

For each timbre 1–8, set the bank, program, pan and volume.

Metronome Precount

Save to

[RAM, DISK]

Mode (Sample Mode)

Sample Time

[L-Mono, R-Mono, Stereo]

[min sec]

0–1

1–1a

Make settings for sampling in Combination mode. (ꢀPro-

gram P0: 0–3)

1–1b

Sampling Setup settings apply to the entire Combination

mode; not to an individual combination.

0–5c: Recording Level [dB]

ADC OVERLOAD !!

Recording Level

[–inf, –72.0... 0.0...+18.0dB]

Adjusts the signal level at the ﬁnal stage of sampling in

Combination mode. (ꢀSampling P0: 0–1d)

1–1a: Combination Name,

Selected Timbre Information

This setting defaults to –12 dB when you turn on the power.

At a setting of –12 dB, CLIP will not appear even if you play

the Combinetion at its maximum level.

Combination Name

This shows the combination bank, number, and name

selected in Combination P0: Play.

(ꢀProgram P0: 0–3c “Recording Level”)

Selected Timbre Information

M 0–5: Page Menu Command

Displays information about the selected timbre (1–8). (ꢀP0:

0–1b)

ꢀ0–1A: Write Combination, 0–1B: Solo Selected Timbre,

Program P0: 0–3A: Metronome Setup,

Program P0: 0–3B: Optimize RAM,

Program P0: 0–3C: Select Bank & Smpl No.,

Program P0: 0–3D: Select Directory

1–1b: Timbre Number, Category, Program Select,

Pan, Volume

Timbre Number

(1...8)

Category

[00...15]

Bank/ Program (Program Select)

[INT-A...INT-F, G, g(1)...g(9), g(d), EXB-A...EXB-G]

Selects the program for each timbre.

These parameters can also be set from the P0: Play, Program

Select page. (ꢀP0: 0–1c)

Pan

[RND, L001...C064...R127]

[000...127]

Volume

Speciﬁes the pan and volume of each timbre.

These parameters can also be set from the P0: Play, Mixer

page. (ꢀP0: 0–2a)

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2–2: OSC

These settings specify how each timbre will be played.

Combination P2: Edit–Trk Param

0–1

2–1: MIDI Channel (MIDI Ch)

Here you can make MIDI settings for each timbre.

0–1

2–1a

2–2a

2–1a

2–1b

MSB

LSB

2–2a: Force OSC Mode, OSC Select, Portamento

Force OSC Mode [PRG, Poly, MN, LGT]

Speciﬁes the Voice Assign Mode (Program P1: 1–1b) of the

program selected for each timbre 1–8.

2–1a: Combination Name, Selected Timbre

Information, Timbre Number, Program

Category

PRG: The settings of the program will be used.

Poly: The timbre will play polyphonically, regardless of the

settings of the program.

MN (Mono): The timbre will play monophonically, regard-

less of the settings of the program.

LGT (Legato): The timbre will play monophonically, with

single triggering (legato).

Combination Name

Displays the bank, number, and name of the combination

selected in Combination P0: Play.

When using MN or LGT settings, the note priority will fol-

low the “Priority” (Program P1: 1–1b) setting of the pro-

gram.

Selected Timbre Information

Displays information about the selected timbre (1–8). (ꢀP0:

0–1b)

OSC Select

[BTH, OS1, OS2]

Timbre Number

(1...8)

Speciﬁes the “Oscillator Mode” of the program selected for

each timbre 1–8. If the “Oscillator Mode” (Program P1: 1–

1a) is Double, you can specify that either or both oscillators

sound.

Displays the timbre number. (ꢀP0: 0–1c)

Program Category

Displays the category of the program assigned to the timbre.

BTH (Both): OSC1 and 2 will sound as speciﬁed by the set-

tings of the program.

(ꢀP0: 0–2a)

OS1: Only OSC1 will sound.

OS2: Only OSC2 will sound. (If “Oscillator Mode” is Single

or Drums, there will be no sound.)

2–1b: Status, MIDI Channel, Bank Select

Status

[INT, Off, EXT, EX2]

Portamento

[PRG, Off, 001...127]

“Status” can also be set from the P0: Play, Program Select

page. (ꢀP0: 0–1c)

Make portamento settings for each timbre 1–8.

PRG: Portamento will be applied as speciﬁed by the pro-

gram settings.

Off: Portamento will be off, even if the original program set-

tings speciﬁed for it to be on.

001...127: Portamento will be applied with the portamento

time you specify here, even if it is turned off by the program

settings.

MIDI Channel

[01...16, Gch]

Sets the MIDI transmit/ receive channel for each timbre 1–8.

Gch: The timbre will use the channel that has been selected

as the global MIDI channel “MIDI Channel” (Global P1: 1–

1a).

When “Status” is INT, MIDI messages will be received on

the channel you specify here. If this setting is the same as the

global MIDI channel, the internal tone generator will sound

according to the internal settings. If this is set to EXT or EX2,

playing the TRITON STUDIO will transmit MIDI messages

on the MIDI channel speciﬁed here. (Messages will also be

transmitted simultaneously on the global MIDI channel.)

If the “Status” (0–1c, 2–1b) is set to INT, CC#05 (porta-

mento time) and CC#65 (portamento switch) messages

will be received and will control and change these set-

tings. (If the setting is PRG, CC#05 portamento time

will not be received.) These messages will be received

on the MIDI channel speciﬁed for each timbre by “MIDI

Channel” (2–1b).

Bank Select (When Status=EX2) [000:000...127:127]

Speciﬁes the bank number that will be transmitted when

“Status” is set to EX2. The value at left is the MSB, and the

value at right is the LSB.

This setting has no effect if “Status” is other than EX2.

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2–3: Pitch

M 2–3: Page Menu Command

Here you can make pitch-related settings for each timbre.

0–1A

2–3

0–1B

2–3A

2–1a

2–3a

2–3A: Detune BPM Adjust

If the program of a timbre uses a phrase or rhythm loop

multisample (or sample that was created in the Sampling

mode) is matched to a speciﬁc BPM, you can use this Utility

to modify its BPM value. “Detune BPM Adjust” changes the

BPM of a phrase or rhythm by modifying its pitch.

This is valid only for a timbre when “Detune” is selected.

When this Utility is executed, the selected “Detune” value

will be set automatically. (ꢀProgram P1: 1–2a, 1–2b, Global

P5: 5–1b, 5–1c)

2–3a: Transpose, Detune, Bend Range

1Select “Detune BPM Adjust” to access the dialog box.

Transpose

[–24…+24]

Adjusts the pitch of each timbre in semitone steps.

12 units equal one octave.

When “Status” (0–1c, 2–1b) is INT, this parameter will

affect the pitches sounded by the TRITON STUDIO.

When “Status” is EXT, this parameter will affect the

note numbers of the MIDI note messages that are trans-

mitted.

For example if you make settings of +04 and +07

respectively for two timbres that are set to EXT, playing

the C key will transmit a C note number on the global

MIDI channel, and at the same time will also transmit E

and G note numbers on the MIDI channels of those tim-

bres.

2In “From” specify the original BPM value. In “To” spec-

ify the desired BPM value. The appropriate “Detune”

value will be calculated automatically from these two

values.

For example if you set “From” to 60 bpm and “To” to 120

bpm, the “Detune” parameter will be set to +1200 (one

octave up).

3To execute the Detune BPM Adjust command, press the

OK button. To cancel, press the Cancel button.

The detune value that is calculated when you execute

this command will be added to “Detune” +0000. You

must set the “From” BPM value when “Detune” is

+0000. For example if you execute “From” 60 bpm “To”

120 bpm, and then execute “From” 120 bpm “To” 60

bpm, will not return to the original result. (Rather, this

will set Detune= –1200, which is one octave down.)

Detune (Use BPM Adj. in Page Menu) [–1200...+1200]

Adjusts the pitch of each timbre in one-cent units.

0: Normal pitch.

You can also use the “Detune BPM Adjust” page menu

command to automatically make a detune setting from

a calculation in BPM units.

“Transpose” and “Detune” can be controlled via MIDI

RPN messages. Depending on the “Oscillator Mode”

(Program P1: 1–1a) settings of the programs used by

timbres 1–8, they can be controlled as follows.

When “Oscillator Mode” is Single or Double

MIDI RPN Coarse Tune can be received to control and

change the setting of “Transpose,” and RPN Fine Tune

can be received to control and change the setting of

“Detune.”

When “Oscillator Mode” is Drums

MIDI RPN Coarse Tune and Fine Tune can be received

to control and change the setting of “Detune.” The con-

trollable range is ±1 octave for coarse tune and ﬁne tune

together.

Bend Range

[PRG, –24...+24]

Speciﬁes the amount of pitch change that will occur when

the pitch bender is operated, in semitone units.

PRG: The pitch range speciﬁed by the program will be used.

–24–+24: This setting will be used regardless of the setting in

the program.

The MIDI RPN Pitch Bend Change message can be

received to control this and change the setting. (How-

ever it will not be received if this parameter is set to

PRG.) This message is received on the MIDI channel for

each timbre set by “MIDI Channel” (2–1b).

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2–4: Other

Here you can make various other settings for each timbre.

Combination P3: Edit–MIDI Filter

These settings allow you to apply ﬁlters to the MIDI data

that will be transmitted and received by each timbre 1–8. For

example even if two timbres are being played by the same

MIDI channel, you can make settings so that the damper

pedal will apply to one but not the other.

0–1

2–1a

2–4a

On (checked): Transmission and reception of MIDI data is

enabled. When “Status” (0–1c, 2–1b) is INT, operation of the

built-in controllers or incoming MIDI data will apply the

effect of the checked item to the program of the correspond-

ing timbre. (The effect dynamic modulation function is not

affected by this setting.)

When “Status” is EXT or EX2, operation of the built-in con-

trollers will transmit MIDI data on that timbre’s MIDI chan-

nel. MIDI transmission and reception settings for the entire

TRITON STUDIO are made in “MIDI Filter” (Global P1: 1–

1b).

2–4a: Delay, Use Program’s Scale, Scale

Delay [ms] (Delay Time)

[0000…5000, KeyOff]

The Edit–MIDI Filter-3 and -4 pages contain MIDI ﬁlters for

assignable controllers (whose function can be set by the

user), and if these are assigned to MIDI control changes, the

ﬁlter settings will affect those control changes.

In this case, if the assignable controllers have been set to

control changes that are also found in the Edit–MIDI Filter-1

or -2 pages, the settings in the MIDI 1 and MIDI 2 pages will

take priority. Also, if the same control change is assigned to

two or more controllers in the Edit–MIDI Filter-3 and -4

pages, checking any one of them will enable that control

change.

For each timbre, this speciﬁes a delay time from note-on

until the sound begins.

KeyOff: The note will begin sounding at note-off. In this

case, the sound will not die away if the sustain level of the

program’s amp EG is other than 0. This setting is used when

creating harpsichord sounds.

Normally you will set this to 0.

Use Program’s Scale

[Off, On]

Each timbre can use the scale that is speciﬁed by Scale (Pro-

gram P1: 1–1c).

Off (unchecked): Transmission and reception of MIDI data

is disabled.

On (checked): The scale speciﬁed by the program will be

used.

Off (unchecked): The scale speciﬁed by Scale will be used.

3–1: MIDI 1 (MIDI Filter –1)

Scale:

Speciﬁes the scale that the combination will use.

0–1

Type (Combi's Scale)

2–1a

[Equal Temperament...User Octave Scale15]

3–1a

Select the type of scale (ꢀ“Type” Program P1: 1–1c).

Key

[C…B]

Selects the tonic key of the selected scale (ꢀ“Key” Program

P1: 1–1c).

Random

[0…7]

As this value is increased, an increasingly random devia-

tion will be added to the pitch at each note-on (ꢀ“Random”

Program P1: 1–1c)

3–1a: Enable Program Change, Enable After Touch,

Enable Damper, Enable Portamento SW

Enable Program Change

[Off, On]

Speciﬁes whether or not MIDI program change messages

will be transmitted and received.

Enable After Touch

[Off, On]

Speciﬁes whether or not MIDI after touch messages will be

transmitted and received.

Enable Damper

[Off, On]

Speciﬁes whether or not MIDI control change CC#64 hold

(damper pedal) messages will be transmitted and received.

Enable Portamento SW

[Off, On]

Speciﬁes whether or not MIDI control change CC#65 porta-

mento on/ off messages will be transmitted and received.

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3–2: MIDI 2 (MIDI Filter –2)

3–3a: Enable Realtime Control Knob –1...4

0–1

Enable Realtime Control Knob –1

[Off, On]

Speciﬁes whether or not the A-mode MIDI control message

CC#74 (the TRITON STUDIO’s low pass ﬁlter cutoff fre-

quency) and the B-mode MIDI control message assigned to

knob [1] will be transmitted and received.

2–1a

3–2a

Enable Realtime Control Knob –2

[Off, On]

Speciﬁes whether or not the A-mode MIDI control message

CC#71 (the TRITON STUDIO’s low pass ﬁlter resonance or

high pass ﬁlter cutoff frequency) and the B-mode MIDI con-

trol message assigned to knob [2] will be transmitted and

received.

Enable Realtime Control Knob –3

[Off, On]

3–2a: Enable JS X as AMS, Enable JS+Y,

Speciﬁes whether or not the A-mode MIDI control message

CC#79 (the TRITON STUDIO’s ﬁlter EG intensity) and the

B-mode MIDI control message assigned to knob [3] will be

transmitted and received.

Enable JS–Y, Enable Ribbon

Enable JS X as AMS

[Off, On]

Speciﬁes whether or not MIDI pitch bend messages (the X

axis of the TRITON STUDIO’s joystick) will be received to

control the AMS (“Alternate Modulation Source (AMS)”

ꢀ p .241) effect assigned to JS X. (This is not a ﬁlter for MIDI

pitch bend message reception.)

Enable Realtime Control Knob –4

[Off, On]

Speciﬁes whether or not the A-mode MIDI control message

CC#72 (the EG release time for the TRITON STUDIO’s ﬁlter

and ampliﬁer) and the B-mode MIDI control message

assigned to knob [4] will be transmitted and received.

Enable JS+Y

[Off, On]

Speciﬁes whether or not MIDI control change CC#1 (the +Y

axis of the TRITON STUDIO’s joystick, or speciﬁed as the

“B” assignment of a realtime control knob) will be transmit-

ted or received.

3–4: MIDI 4 (MIDI Filter –4)

0–1

Enable JS–Y

[Off, On]

2–1a

Speciﬁes whether or not MIDI control change CC#2 (the –Y

axis of the TRITON STUDIO’s joystick, or speciﬁed as the

“B” assignment of a realtime control knob) will be transmit-

ted or received.

3–4a

Enable Ribbon

[Off, On]

Speciﬁes whether or not MIDI control change CC#16 (the

TRITON STUDIO’s ribbon controller, or speciﬁed as the “B”

assignment of a realtime control knob) will be transmitted or

received.

3–4a: Enable SW1, Enable SW2, Enable Other

3–3: MIDI 3 (MIDI Filter –3)

Control Change

Speciﬁes whether or not the effects of A and B modes for the

REALTIME CONTROL knobs [1], [2], [3] and [4] will be

transmitted and received. In A-mode, the MIDI control mes-

sage for each knob is ﬁxed. In B-mode, the message for each

knob can be assigned in Controller page.

Enable SW1, Enable SW2

[Off, On]

Speciﬁes whether or not the effect of the [SW1] and [SW2]

keys will be transmitted and received.

The function of these keys is speciﬁed in the P4: Edit-Zone/

Ctrl. Controller page.

0–1

This ﬁlter setting is valid for settings of SW1 Mod.: CC#80,

SW2 Mod.: CC#81, or Porta.SW: CC#65.

2–1a

Enable Foot Pedal/ Switch

[Off, On]

3–3a

Speciﬁes whether or not the effect of the ASSIGNABLE

PEDAL/ SWITCH will be transmitted and received. The

function is assigned in Global P2: Controller page.

This ﬁlter setting is valid when a MIDI control change is

assigned.

Enable Other Control Change

[Off, On]

Speciﬁes whether or not MIDI control messages not covered

in the preceding items MIDI Filter 1–4 will be transmitted

and received.

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Bottom Slope

[00...72]

Combination P4: Edit–Zone/ Ctrl

Speciﬁes the range of keys (12 is one octave) over which the

volume will be reached starting from the bottom key.

0: The volume will be at the original level from the bottom

key.

12: The volume will increase gradually as you play upward,

and will reach the original volume one octave above the bot-

tom key.

60: The volume will increase gradually as you play upward,

and will reach the original volume ﬁve octaves above the

bottom key.

4–1: Key Z (Key Zone)

These settings specify the keyboard range in which each

timbre will sound.

The top/ bottom key parameters specify the range of notes

in which timbres 1–8 will sound, and the top/ bottom slope

parameters specify the range over which the original vol-

ume will be reached.

Bottom Key

[C–1...G9]

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).

Speciﬁes the bottom key (lower limit) of the notes that will

sound each timbre 1–8.

By setting the ranges to overlap, you can play two or more

sounds with a single note (Layer).

How volume will change according to keyboard location

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).

Volume

Key

0–1

Bottom Slope

Bottom Key

Top Slope

Top Key

4–1a

“Top Key” and “Bottom Key” settings can also be input

by holding down the [ENTER] key and playing a note

on the keyboard.

2–1a

4–1b

It is not possible to set the bottom key above the top key

of the same timbre. Nor is it possible for the top and

bottom slopes to overlap.

4–2: Vel Z (Vel Zone)

4–1a: Zone Map

Sets the Top/ Bottom Velocity parameters to specify the

range of velocities that will sound for each timbre 1–8, and

set the Top/ Bottom Slope parameters to specify the range

over which the volume will change.

This area indicates the note and velocity ranges in which

each timbre will sound.

The LCD screen will display a line to indicate the range of

notes and velocities that will sound, and will show the slope

portion in gray.

By setting two or more timbres to velocity zones that do not

overlap, you can use variations in playing dynamics to play

different sounds (Velocity Switch).

If you set two or more timbres to velocity zones that overlap,

the sounds will be heard together (Layer).

Bottom Slope

Top Slope

Velocity zone

display

Bottom Key

Timbre 1

Top Key

Top Velocity

Top Slope

Key zone

display

If the slope ranges (gray line) overlap, different sounds will

be sounded together, and your playing dynamics will deter-

mine the proportion of each sound (Velocity Cross-fade).

Bottom Slope

Timbre 8

Bottom Velocity

C-1

. . .

Timbre

It is not possible to set the bottom velocity greater than

the top velocity for the same timbre. Nor can the top

slope and the bottom slope overlap.

4–1b: Top Key, Top Slope, Bottom Slope,

0–1

Bottom Key

4–1a

Top Key

[C–1...G9]

Speciﬁes the top key (upper limit) of the notes that will

sound each timbre 1–8.

2–1a

4–2a

Top Slope

[00...72]

Speciﬁes the range of keys (12 is one octave) over which the

volume will be reached starting from the top key.

0: The volume will be at the original level from the top key.

12: The volume will increase gradually as you play down-

ward, and will reach the original volume one octave below

the top key.

60: The volume will increase gradually as you play down-

ward, and will reach the original volume ﬁve octaves below

the top key.

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4–4: Controller (Control)

Here you can set the Combination mode functions of the

[SW1] key, [SW2] key, and the B-mode functions of REAL-

TIME CONTROL knobs [1]–[4].

4–2a: Top Velocity, Top Slope, Bottom Slope,

Bottom Velocity

Top Velocity

[1…127]

Speciﬁes the maximum velocity value that will sound each

timbre 1–8.

0–1A

1–1a

Top Slope

[0…120]

Speciﬁes the number of velocity steps over which the origi-

4–4a

nal volume will be reached, starting from the Top Velocity.

0: The volume will be at the original value from the top

velocity.

4–4b

120: The volume will decrease as the velocity approaches the

top velocity.

Bottom Slope

[0…120]

Speciﬁes the number of velocity steps over which the origi-

nal volume will be reached, starting from the Bottom Veloc-

ity.

4–4a: Panel Switch Assign

0: The volume will be at the original value from the bottom

velocity.

120: The volume will decrease as the velocity approaches the

bottom velocity.

These settings assign the function of the [SW1] and [SW2]

keys (“SW1, SW2 Assign List ” ꢀ p .249).

Since the function assignments of the [SW1] and [SW2] keys

made for the program assigned to each timbre are not valid

inside of a combination, they must be newly set using these

parameters.

Bottom Velocity

[1…127]

Speciﬁes the minimum velocity value that will sound each

timbre 1–8.

SW1 (SW1 Assign)

SW1 Mode

[Off, ..., After Touch Lock]

[Toggle, Momentary]

How volume will change according to keyboard location

SW2 (SW2 Assign)

SW2 Mode

[Off, ..., After Touch Lock]

[Toggle, Momentary]

Volume

ꢀProgram P1: 1–4a

4–4b: Realtime Control Knobs B-Assign

Velocity

Bottom Slope

Top Slope

These settings assign functions (mainly various control

changes) to the B-mode of the REALTIME CONTROL knobs

[1]–[4] (“Realtime Control Knobs B –Assign List ” ꢀ p .250).

The functions you specify here will be controlled when you

operate the REALTIME CONTROL knobs [1]–[4] in B-mode.

Bottom Velocity

Top Velocity

“Top Velocity” and “Bottom Velocity” settings can also

be input by holding down the [ENTER] key and play-

ing a note on the keyboard.

Since the REALTIME CONTROL knob [1]–[4] function

assignments made for the program assigned to each timbre

are not valid inside a combination, they must be newly set

using these parameters.

4–3: MOSS Setup (MOSS)

Knob 1-B

[Off, ..., MIDI CC#95]

This page is displayed when the EXB-MOSS option has been

installed. For details refer to the owner’s manual included

with the EXB-MOSS.

Knob 2-B

Knob 3-B

Knob 4-B

ꢀProgram P1: 1–4b

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If you want the note data generated by the arpeggiator

to be recorded on the external sequencer, turn Local

Control ON, and turn off the echo back function on

your external sequencer.

Combination P7: Edit–Arp.

These parameters specify how the arpeggiator will function

within the combination. Two arpeggiators can run simulta-

neously.

This offers a variety of possibilities, such as applying sepa-

rate arpeggio patterns to two sounds that have been

assigned as a keyboard split, or using velocity to switch

between two arpeggio patterns.

You can control the arpeggiator from an external

sequencer, or use an external sequencer to record arpeg-

gio note data. (ꢀ p .266)

Example 1)

Set the “MIDI Channel” (2–1b) of timbres 1 and 2 to

Gch, and set “Status” (0–1c, 2–1b) to INT. Assign arpeg-

giator A to timbre 1 and arpeggiator B to timbre 2, and

check “Arpeggiator Run A, B” (0–3a, 7–1b).

When the ARPEGGIATOR [ON/ OFF] key is off, timbres

1 and 2 will sound simultaneously (layered) when you

play the keyboard.

When the ARPEGGIATOR [ON/ OFF] key is turned on,

timbre 1 will be played by arpeggiator A, and timbre 2

will be played by arpeggiator B.

7–1: Setup

•

7–1

7–1a

2–1a

7–1b

Arpeggiator

Assign

Trigger

= Gch

Arpeggiator

Pattern - A

Pattern - B

Timbre 1

Timbre 2

MIDI Ch=Gch Status=INT

Arpeggiator

Trigger

= Gch

Pattern - B

Example 2)

The “MIDI Channel” (2–1b) of timbres 1, 2, 3, 4, and 5

are set respectively to Gch, Gch, 02, Gch, and 03. Their

“Status” (0–1c, 2–1b) 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” (0–3a, 7–1b).

When the ARPEGGIATOR [ON/ OFF] key is off, playing

the keyboard will sound only timbre 1. (Timbres 2 and 4

are receiving the Gch, but they will not sound since their

“Status” is Off.)

When you turn on the ARPEGGIATOR [ON/ OFF] key,

arpeggiator A will operate for timbres 2 and 3, and

arpeggiator B will operate independently for timbres 4

and 5. (Arpeggiators A and B are triggered by receiving

note data on any MIDI channel of an assigned timbre,

but in this example they are being triggered from the

Gch.)

When you play the keyboard, arpeggiator A will operate

for timbres 2 and 3, but only timbre 3 whose “Status” is

INT will sound. Similarly, arpeggiator B will operate for

timbres 4 and 5, but only timbre 5 whose “Status” is INT

will sound.

ꢀ

7–1a: (Tempo)

[040...240, EXT]

Speciﬁes the tempo of the arpeggiator.

This can also be set by the [TEMPO] knob, or in the P0: Play

page. (ꢀ0–1a)

•

7–1b: Arpeggiator Assign, Arpeggiator Run

Arpeggiator Assign

[Off, A, B]

Assigns arpeggiator A or B to each timbre 1–8. When the

ARPEGGIATOR [ON/ OFF] key is on, the arpeggiator speci-

ﬁed for each timbre will operate according to “Arpeggiator

Run A, B” and these settings.

Off: The arpeggiator will not operate.

A: Arpeggiator A will operate. Use the settings in the Arpeg-

giator A page to select the arpeggio pattern and to set

parameters.

B: Arpeggiator B will operate. Use the settings in the Arpeg-

giator B page to select the arpeggio pattern and to set

parameters.

In this way, you can make settings so that a timbre does

not sound when the arpeggiator is off, but sounds only

when the arpeggiator is on.

This type of setting is used in preloaded combinations

which sound the drums only when the arpeggiator is on.

If the “Status” (0–1c, 2–1b) of the timbre is INT, each

timbre 1–8 will be sounded by the note data generated

by the assigned arpeggiator, regardless of the “MIDI

Channel” (2–1b) setting of the timbre. If a timbre is set

to EXT or EX2, MIDI note data will be transmitted on

the “MIDI Channel” of that timbre.

In this case, arpeggiator A (or B) will be triggered (oper-

ated) by all MIDI channels speciﬁed for the “MIDI

Channel” parameter of any timbre 1–8 assigned to

arpeggiator A or B.

Arpeggiator

Assign

Off

Timbre 1

Timbre 2

Timbre 3

Timbre 4

Timbre 5

MIDI Ch=Gch Status=INT

MIDI Ch=Gch Status=Off

MIDI Ch=2ch Status=INT

MIDI Ch=Gch Status=Off

MIDI Ch=3ch Status=INT

Sounded by normal

keyboard playing

Arpeggiator

Pattern - A

Pattern - B

Trigger

Does not sound

Gch, Ch2

Pattern - A

Arpeggiator

Trigger

Gch, Ch3

Does not sound

Pattern - B

Arpeggiator Run A, B

If Local Control (“Local Control On,” Global P1: 1–1a) is

ON, the keyboard will not trigger the arpeggiator. The

arpeggiator will be triggered via MIDI IN. Turn Local

Control OFF if you have recorded only the trigger notes

on an external sequencer, and wish to playback the

external sequencer to trigger the TRITON STUDIO’s

arpeggiator.

When the ARPEGGIATOR [ON/ OFF] key is on, the arpeg-

giator(s) checked here will run if they are assigned to a tim-

bre by “Arpeggiator Assign” (7–1b). (ꢀ0–3a)

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Key Sync.*

Keyboard*

[Off, On]

M 7–1: Page Menu Command

0–1A

These parameters are the arpeggiator settings for the combi-

nation. (ꢀ“Program P7: Edit-Arpeggiator”)

0–1B

* These parameters can also be set from “0–3(4): Arpegg.

7–1A

A(B)”.

7–1A: Copy Arpeggiator

This command can copy arpeggiator settings from another

location to the current Combi.

7–4: Scan Zone (Scan Zone A/ B)

These settings specify the note and velocity ranges that will

operate arpeggiators A and B.

1Select “Copy Arpeggiator” to access the dialog box.

7–1

1–1a

7–1a

7–4a

2In “From” select the source (mode, bank, number) of the

arpeggiator you wish to copy.

7–4b

If you are copying from Combination, Song, or Song Play

mode, select either A or B to if you wish to copy settings

from only one arpeggiator, or select A&B if you wish to

copy the settings of both arpeggiators.

3If you are copying from a Program, or are copying either

A or B from Combination, Song, or Song Play mode,

select either A or B as the “To” copy destination.

4To execute the Copy Arpeggiator command, press the

OK button. To cancel, press the Cancel button.

7–4a: Zone Map

This shows the Scan Zone for each arpeggiator, A and B.

Velocity zone of

arpeggiator A

Velocity zone of

arpeggiator B

Key zone of arpeggiator B

Key zone of arpeggiator A

7–2: Arpegg. A (Arpeggiator A)

C–1

7–3: Arpegg. B (Arpeggiator B)

The Arpeggiator A pages allow you to adjust the settings for

arpeggiator A. The Arpeggiator B pages allow you to adjust

the settings for arpeggiator B.

7–4b: Scan Zone A/ B

You can also use the “Copy Arpeggiator” page menu

command to copy arpeggiator settings from Program

mode or another mode.

Top Key

[C–1...G9]

Bottom Key

[C–1...G9]

Speciﬁes the range of notes (keys) that will operate arpeg-

giator A. “Top Key” speciﬁes the upper limit, and “Bottom

Key” speciﬁes the lower limit.

7–1

1–1a

7–1a

Top Velocity

[001...127]

7–2a

Bottom Velocity

Speciﬁes the range of velocities that will operate arpeggiator

A. “Top Velocity” speciﬁes the upper limit, and “Bottom

Velocity” speciﬁes the lower limit.

Top Key

[C–1...G9]

Bottom Key

[C–1...G9]

7–2(3)a: Arpeggiator-A(B) Setup

Top Velocity

[001...127]

Pattern*

Octave*

Resolution*

Gate

[P00...P04, U000(I-A/ B)...U506(User)]

[1, 2, 3, 4]

Bottom Velocity

Speciﬁes the range of notes (keys) and velocities that will

operate arpeggiator B (ꢀA:).

[ ꢁ ꢂ , ꢁ , ꢃ ꢂ , ꢃ , ꢀ ꢂ , ꢀ ]

[000...100%, Step]

[001...127, Key, Step]

[–100...+100%]

The values of these parameters can also be entered by

holding down the [ENTER] key and playing a note on

the keyboard.

Velocity

Swing

Sort*

[Off, On]

Latch*

[Off, On]

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IFX2–IFX5) (8–2), and for the sound that has passed

through the IFX, set “BUS Select” (8–2) to either 1/2 or

3/4.

Combination P8: Edit–Insert FX

You can also specify the bus routing for the program used by

each timbre 1–8.

Send1 (MFX1)

Send2 (MFX2)

[000...127]

ꢀFor details on insertion effects, refer to p.178 “8. Effect

For each timbre 1–8, these parameters set the send level to

master effects 1 and 2. These settings are valid when “BUS

Select” is set to L/R or Off. When IFX 1, 2, 3, 4 or 5 are

selected, the send levels to master effects 1 and 2 are set by

the “Send 1” and “Send 2” parameters of the Insert FX page,

after the sound has passed through IFX1–5.

Guide.”

8–1: Routing

Speciﬁes the bus to which the program oscillator(s) used by

each timbre 1–8 will be sent. You can also set the send levels

to the master effects from this page.

If “BUS Select” is set to 1, 2, 3, 4, 1/2, or 3/4, these settings are

ignored.

Control change CC#93 can be used to control the Send 1

level, and CC#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 P2:

MIDI channel page.

8–1

8–1a

The actual send levels are determined by multiplying

this value with the send level “Send 1” and “Send 2”

(Program P8: 8–1d) for each oscillator of the program

selected for the timbre.

2–1a

8–1b

M 8–1: Page Menu Command

0–1A

0–1B

8–1A

8–1B

8–1C

8–1a: Routing Map

This shows the status of the insert effects. For each insert

effect, this indicates the routing, the name of the selected

effect, the on/ off status, and chain status.

The effect type, on/ off status and chain status can be modi-

ﬁed in the Insert FX page (8–2).

8–1A: Copy Insert Effect

ꢀ“Program P8: 8–1A: Copy Insert Effect.”

However, the MIDI control channel speciﬁed for “Ctrl Ch”

of the IFX1–5 pages will not be copied.

8–1b: BUS Select (IFX/ Indiv.Out BUS Select),

Send1 (MFX1), Send2 (MFX2)

8–1B: Swap Insert Effect

BUS Select (IFX/ Indiv.Out BUS Select)

[DKit, L/ R, IFX1...5, 1...4,1/ 2, 3/ 4, Off]

ꢀ“Program P8: 8–1B: Swap Insert Effect.”

However, the MIDI control channel speciﬁed for “Ctrl Ch”

of the IFX1–5 pages will not be swapped.

For each timbre 1–8, these parameters specify the bus to

which the program oscillator(s) will be sent. The current set-

tings can also be viewed in the Routing Map.

8–1C: DrumKit IFX Patch

This command applies a patch to the “BUS Select” settings

of each key of the drum kit, allowing you to temporarily

change the connections to the insert effects. This command

is available only if a drum program has been selected for the

timbre and the “BUS Select” (8–1b) parameter is set to Dkit.

Furthermore, this command can be executed only if the

“BUS Select” (Global P5: 5–2b) for the individual keys of

that drum kit are set to IFX1–5.

DKit: This can be selected only if the program for which set-

tings are being made is a drum program (“Oscillator Mode”

Drums). With a setting of DKit, the “BUS Select” (Global P5:

5–2b) setting made for each key of the drum kit will be used.

For example if the “BUS Select” settings of the drum kit

have assigned Snare sounds to IFX1 and Kick sounds to

IFX2, setting this parameter to DKit will send the Snare

sounds to IFX1 and Kick sounds to IFX2. If you wish to

modify these routings, use the page menu command “Drum

Kit IFX Patch” (8–1C).

1Select “DKit IFX Patch” to access the dialog box.

If this is set to 1/2 or 3/4, the programs of timbres 1–8

will be sent in stereo from AUDIO OUTPUT (INDIVID-

UAL) 1/ 2 or 3/ 4. If the pan of the program oscillator is

controlled by MIDI control change CC#10 (pan) or

AMS, the sound will be output with the pan setting that

is in effect at the moment of note-on. Unlike the case

when this parameter is set to L/R to output the sound

from (MAIN) L/ MONO and R, the pan of a sounding

note will not change in realtime.

If you wish to move the pan of a sounding note in real-

time and output it from AUDIO OUTPUT (INDIVID-

UAL) 1/ 2 or 3/ 4, you must set “BUS Select” to IFX1

(or IFX2–IFX5), select 000: No Effect for “IFX1” (or

2In the Drum Kit “IFX” popup, select the insert effect to

which you want to patch.

3To execute the Drum Kit Insert Effect Patch command,

press the OK button. To cancel, press the Cancel button.

To restore the condition of the drum kit, execute

IFX1→IFX1, IFX2→IFX2, IFX3→IFX3, IFX4→IFX4, and

IFX5→IFX5.

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8–2: Insert FX

Here you can select the type of each insert effect, turn it on/

off, and make chain settings etc.

8–3: IFX 1

8–4: IFX 2

8–5: IFX 3

8–6: IFX 4

8–7: IFX 5

8–1

These are the parameters for IFX1, 2, 3, 4, and 5 that were

selected in the Insert FX page (ꢀ p .187–).

8–2a

8–1

8–3a

8–2a: IFX1, 2, 3, 4, 5

IFX1, 5

[000...089]

[000...102]

[Off, ON]

[Off, On]

IFX2, 3, 4

IFX1, 2, 3, 4, 5 On/ Off

Chain

Pan(CC#8) (Post IFX PanCC#8) [L000...C064...R127]

BUS Sel. (BUS Select) [L/ R, 1, 2, 3, 4, 1/ 2, 3/ 4, Off]

8–3(~7)a: Ctrl Ch

Ctrl Ch

[Ch01...16, G ch, All Routed]

Send1

Send2

[000...127]

This parameter speciﬁes the MIDI channel that will be

used to control effect dynamic modulation (Dmod), pan

following the insert effect (CC#8), Send 1, and Send 2.

These parameters are the same as in Program mode. (ꢀPro-

gram 8–2a)

However, unlike the case in Program mode, the “Ctrl Ch”

(8–3a – 7a) MIDI channel is used to control dynamic modu-

lation (Dmod), “Pan (CC#8),” “Send1,” and “Send2” for the

insert effects. The control changes used are the same as in

Program mode.

The channel number of the timbre routed through this IFX

will be followed by a “*” displayed at the right of Ch01–16.

If two or timbres with different MIDI channel settings are

routed through the same IFX, this parameter speciﬁes which

of these channels will be used to control the effect.

G ch: The global MIDI channel “MIDI Channel” (Global

mode P1: 1–1a) will be used to control the effect. Normally

you will set this to G ch.

All Routed: The channel of any timbre routed through this

effect can be used to control the effect. (Channels of each

routed timbre will be indicated by “*”.)

If the “BUS Select” (8–1b) of a timbre for which a drum

program is selected is set to DKit, the MIDI channel of

that timbre will be valid if any IFX1–5 is set to All

Routed, regardless of the “BUS Select” (Global P5: 5–

2b) settings or the settings of the “DrumKit IFX Patch”

page menu command.

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9–2: MFX 1

Combination P9: Edit–Master FX

9–3: MFX 2

Here you can set the parameters for the MFX 1 and 2 effects

ꢀFor details on master effects, refer to p.182 “8. Effect

Guide.”

that were selected in the Master FX page (ꢀ p .187).

9–1

9–2a

9–1: Master FX

Here you can select the type of each master effect, turn it

on/ off, and make chain and master EQ settings.

9–1

9–1a

9–1c

9–1b

9–2(3)a: Ctrl Ch

Ctrl Ch

[Ch01...16, G ch]

This parameter speciﬁes the MIDI channel that will

control dynamic modulation (Dmod) for the master

effect.

9–1a: MFX1, 2

G ch: The global MIDI channel “MIDI Channel” (Global P1:

1–1a) will be used for control. Normally you will set this to

G ch.

MFX1, 2

[000...089]

[Off, ON]

MFX1, 2 On/ Off

Chain

[Off, On]

Chain Direction

Chain Signal

Chain Level

[MFX1¡MFX2, MFX2¡MFX1]

[LR Mix, L Only, R Only]

[000...127]

9–4: Master EQ

The master EQ is a three-band stereo EQ. It is located imme-

diately 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 .239).

9–1b: Return Level

Return 1, 2

[000...127]

0–1A

9–4a

9–1c: Master EQ Gain [dB]

Low

Mid

[–18.0...+18.0]

High

These settings are the same as in Program mode (ꢀ“Pro-

gram 9–1: Master FX”).

M 9–1: Page Menu Command

9–4a: Ctrl Ch

0–1A

9–1A

9–1B

Ctrl Ch

[Ch01...16, G ch]

This parameter speciﬁes the MIDI channel that will

control dynamic modulation (Dmod) for the master EQ.

9–1A: Copy Master Effect

G ch: The global MIDI channel “MIDI Channel” (Global P1:

1–1a) will be used for control. Normally you will set this to

G ch.

ꢀ“Program P9: 9–1A: Copy Master Effect.”

However, the MIDI control channel that is speciﬁed by “Ctrl

Ch” of the MFX 1 and 2 pages will not be copied.

The MEQ High Gain and MEQ Low gain can be controlled

by assigning a modulation source to the “Low Gain Mod-

Src:” and the “High Gain Mod-Src:” functions on this page.

9–1B: Swap Master Effect

ꢀ“Program P9: 9–1B: Swap Master Effect.”

However, the MIDI control channel that is speciﬁed by “Ctrl

Ch” of the MFX 1 and 2 pages will not be swapped.

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3. Sequencer mode

In Sequencer mode you can use the built-in 16-track

sequencer to play, record, and edit songs. You can also

arrange multiple songs in the Cue List and play them back

in succession.

Sequencer P0: Play/ Rec

Here you can also record and edit patterns, copy a created

pattern or preset pattern into a song, or use patterns from

the RPPR (Realtime Pattern Play Recording) function.

Both songs and patterns can be recorded while using the

arpeggiator.

0–1: Prog. 1–8 (Program T01–08)

0–2: Prog. 9–16 (Program T09–16)

Here you can make basic settings for recording and playing

back songs, and can select the program that will be used by

each track.

Executing the Sampling mode “Time Slice” command (Sam-

pling P2: 2–1B) will divide the sample and will at the same

time create song performance data for these divided sam-

ples. You can then freely re-create the original rhythm loop

in various ways; for example you can change the song

tempo in Sequencer mode to play the rhythm loop at a dif-

ferent tempo without changing the pitch, or you can edit the

sequence data to change the note numbers or timing.

0–1

0–1a

0–1b

0–1c

In addition, while the song plays back, you can play the key-

board or input an external audio source (e.g., vocal or gui-

tar) from AUDIO INPUT etc. and sample it to automatically

capture audio data to go with your sequencer song. In other

words, you can create audio tracks while running the

sequencer, just as if you were using a recorder. (the In-Track

Sampling function)

You can also sample performances produced by playing

songs, patterns, cue lists, the arpeggiator, or RPPR.

0–1a: Location, Meter, Tempo, Tempo Mode, Song

Select, Track Select, Reso, RPPR On/ Off

Furthermore, a song you create can be resampled to the

internal hard disk, and then, using the included CDRW-1

option etc., written to a CD in Disk mode to produce an

audio CD. (ꢀBG p.118)

Location

[001:01.000…999:16.191]

This display shows the current position in the song.

From the left, the numbers are the measure, beat, and clock.

When you modify these values, the current location will

change.

These settings and any song data that you have

recorded will not be backed up when the power is

turned off. Before turning off the power, be sure to save

important data on a ﬂoppy disk, hard disk, CD-R/ RW,

external SCSI device, 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 ﬂoppy disk etc., or

receive a MIDI bulk data dump from an external MIDI

sequencer (ꢀ p .144).

When “MIDI Clock” (Global P1:1–1a) is set to Internal,

changing the location will cause Song Position Pointer

messages to be transmitted. Also if the “MIDI Clock”

parameter is set to External MIDI or External mLAN,

and “Receive Ext. Realtime Command” (Global P1: 1–

1a) is on, the location will change if a Song Position

Pointer message is received from the speciﬁed source.

The range in which the beat and clock can be modiﬁed

will depend on the currently speciﬁed time signature.

Meter

[**/ **, 1/ 4…16/ 16]

This is the time signature at the current location of the song.

The time signature can be changed at each measure.

**/**: This will be displayed when you press the

SEQUENCER [REC/ WRITE] key. Specify this when you

wish to use the time signature that is already recorded for

that measure, and wish to record without changing the time

signature.

1/4–16/4, 1/8–16/8, 1/16–16/16: This is the time signature at

the current location of the song.

After pressing the SEQUENCER [REC/ WRITE] key, specify

the time signature here. Then press the SEQUENCER

[START/ STOP] key to begin recording, and the speciﬁed

time signature will be recorded on the Master Track and on

previously-recorded tracks. Be aware that if you press the

SEQUENCER [START/ STOP] key during the pre-count to

stop recording, the time signature will not be recorded.

Normally, you will specify the time signature when you

record the ﬁrst track, and select **/** when recording subse-

quent tracks.

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If you wish to record only the tempo changes, set

“Recording Setup” (0–8a) to OverDub, and the tempo

will be recorded on the master track without being

affected by the musical data of “Track Select.”

Recording from measure 2 of track 2

when Meter = **/**

when Meter =7/8

2 (3/4) 3 (4/4)

Recording

Track 1

Track 2

Track 1

Track 2

1 (4/4)

2 (3/4)

3 (4/4)

1 (4/4)

3 (4/4)

Recording

Song Select

[000…199]

1 (4/4)

2 (3/4)

3 (4/4)

1 (4/4)

2 (7/8)

3 (7/8)

4 (7/8)

Track 1

Track 2

Track 1

Track 2

Select the song that you want to record or play back.

Either select the song name from the popup menu, or use

numeric keys [0]–[9] to specify the song number and then

press the [ENTER] key.

Changing the time signature in the middle of a song

If you know beforehand the location at which you wish to

change time signatures in the middle of a song, use “Insert

Measure” (5–1H) to specify and insert the time signature for

each measure of the same time signature, and then record

your musical data. Alternatively, if you wish to change the

time signature in the middle of a song which already con-

tains musical data, use “Track Select” to specify the Master

Track (or any Track01–16 which contains data), and use

“Event Edit” (5–1B) to modify the time signature of the Bar

event.

If you want to create a new song, choose a number from the

popup menu whose song name is blank, or use the numeric

keys [0]–[9] to specify the song number and press the

[ENTER] key to access the dialog box. Then specify “Set

Length” to specify the number of measures in the song, and

press the OK button.

If the number of beats in a measure increases when you

modify the time signature, rests will be inserted in the por-

tion that was added. Conversely if the number of beats

decreases, that portion will not be played. However if you

return to the original time signature, the data that had been

hidden will once again be played. (The data itself will not be

erased.)

If you want to change the length of a song after creating

it, execute the page menu command “Set Song Length”

(5–1Q). When creating a new song, you can specify the

length to be somewhat longer than necessary, and after

you have ﬁnished recording and editing, use “Set Song

Length” to specify the correct length.

ꢀ

ꢆ

ꢀ

If “MIDI Clock” (Global P1: 1–1a) is Internal, changing

the song will cause Song Select and Song Position

Pointer messages to be transmitted. If “MIDI Clock” is

External MIDI or External mLAN, Song Select mes-

sages can be received from the speciﬁed source to

change songs.

Rest is inserted

ꢀ

Not played

When the song changes, tracks whose track status

(“Status” (2–1a)) is EXT, EX2 or BTH will transmit Bank

Select, Program Change, Volume, Panpot, Poramento,

Send1, 2, Post IFX Pan, and Post IFX send 1, 2 messages

on the MIDI channel of the respective track.

ꢀ (Tempo)

[040…240, EXT]

This sets the playback tempo of the song and the tempo of

the arpeggiator.

040...240: When the “Tempo Mode” is Manu, this tempo

will be used for recording and playback. When “Tempo

Mode” is REC, this tempo will be recorded on the master

track.

EXT: This will appear when “MIDI Clock” (Global P1: 1–1a)

is either External MIDI or External mLAN. The tempo of

the internal sequencer will synchronize with the MIDI Clock

messages received from an external sequencer etc. When

“MIDI Clock” is Internal, the above tempo setting

(040...240) will be used.

Track Select

[Track01…Track16, Master Track]

Track01–Track16: Select the track(s) that will record or play

song data.

The track names speciﬁed in “Track Name” (5–2).

When you perform realtime recording on a single track, the

musical data will be recorded on the track you select here.

When you perform realtime recording on two or more tracks

simultaneously (ꢀ“Multi REC” 0–8a), the “PLAY/ MUTE/

REC” (0–1c) will select the recording track, regardless of the

setting you make here.

Master Track: Selects the master track when you wish to use

the P5: Track Edit page menu commands to edit the tempo

track. When using realtime recording or step recording, it is

not possible to record the master track alone.

If Tempo is selected as an alternate modulation source,

ꢀ = 120 will be the base value.

Tempo Mode

[Auto, Manu, REC]

Auto: The tempo will follow the tempo of the Master Track.

The tempo of the master track can be speciﬁed by using

“Event Edit” (5–1B) with Master Track chosen in “Track

Select,” or by the REC operation described below. When

Auto is selected, it will not be possible to modify the “ꢀ

(Tempo)” setting while a song is playing or recording (or

during standby).

Manu (Manual): The “ꢀ (Tempo)” setting will be used.

REC: Tempo changes will be recorded on the Master Track.

Select this after pressing the SEQUENCER [REC/ WRITE]

key. When REC is selected and you are recording in real-

time, modify the “Tempo” value to change the tempo. This

cannot be selected when the Preferences page item “Record-

ing Setup” is set to Loop All Tracks. Tempo changes can

also be created using “Event Edit” (5–1B) or “Create Control

Data” (5–1L).

When you play the keyboard of the TRITON STUDIO

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” 2–

1a/ 2a is INT or BOTH), and other tracks whose MIDI

channels match will also sound at the same time (if

“Status” is INT or BOTH). Messages will also be trans-

mitted on the MIDI channels of these tracks (whose

“Status” is EXT, EX2 or BOTH).

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When you press the popup button, the Category/ Track Pro-

gram Select menu will appear.(“Category/ Program Select

menu” ꢀProgram P0: 0–1a)

Reso (Realtime Quantize Resolution)

[Hi, 3 … ꢀ ]

This corrects the timing of data as it is recorded in realtime.

(It does not affect previously-recorded data.)

Hi (High Resolution): Timing will not be corrected. Data

will be recorded at the maximum resolution (ꢀ/ 192).

3 – ꢀ : Data will be corrected to the nearest interval of the

speciﬁed timing as it is recorded. For example if you select

3 , data will be corrected to the nearest 32nd note triplet

interval. If you select ꢀ, data will be corrected to the nearest

quarter note interval.

Program Select (Bank/ Program)

[INT-A...INT-F, G, g(1)...g(9), g(d), EXB-A...EXB-G]

Selects the program that will be used by the track.

The lower line displays part of the program name.

If “Program Select” is selected, you can use the BANK [INT-

A]–[EXB-G] keys and VALUE controller to make the setting.

If you press the popup button, the Bank/ Track Program

Select menu will appear, allowing you to select a program.

(“Bank/ Program Select menu” ꢀProgram P0: 0–1a)

With a setting of ꢃ

ꢃ

ꢃ ꢃ

ꢃ

If you select “Program Select,” the BANK key LED will

light to indicate the bank of the program selected for

the track.

ꢃ

Bank INT-F can be selected if the EXB-MOSS option is

installed. If this is installed, 128 special EXB-MOSS pro-

grams can be used.

Since all that musical data that is recorded will be corrected

to the speciﬁed timing resolution, coarse settings of this

parameter will cause continuous controllers such as pitch

bend to be recorded in “stairstep” fashion.

The program you select here will be used when the song is

played or recorded from the beginning. If the program is

changed while recording, the program change will be

recorded as musical data, and the program will change dur-

ing playback. You can also change the program manually

during playback. However if musical data (program change

data) is already recorded, the program will change at that

point.

In such cases, use a setting of Hi to record, and then use

“Quantize” (5–1N) to correct only the desired type of data

(notes etc.). It is best to avoid recording at a stiff resolution

to begin with.

RPPR On/ Off

[Off, On]

This turns the RPPR (Realtime Pattern Play/ Recording)

function on/ off. RPPR lets you assign a pattern to each note

of the keyboard, so that the pattern will playback (or be

recorded) when you press the appropriate key.

On (checked): The RPPR function will be on. If a pattern

has been assigned to each key in the P6: Pattern/ RPPR,

RPPR Setup page, pressing that key will perform the

assigned pattern (ꢀP6–3: RPPR Setup).

If the “Status” (2–1a/ 2a) is either INT or BTH, pro-

grams can be selected by receiving MIDI program

change messages. Also, when the song is changed or

when the song returns to the beginning, tracks whose

“Status” is EXT, EX2 or BTH will transmit the bank and

program numbers via MIDI. Tracks whose “Status” is

EX2 will show Bank as “–” and will transmit the bank

number that was selected in the “Bank Select” (2–1a/

2a) setting.

0–1(2)b: Selected Track Information

PLAY/ MUTE/ REC

[PLAY, MUTE, REC]

Displays information for the track (1–16) that is currently

being edited or selected by “Track Select.”

Here you can mute each track, and select the recording

track(s) when performing multi-track recording. During

playback, or for single-track recording (normal recording), it

is possible only to select PLAY or MUTE for tracks (play-

back tracks) other than the recording track. For multi-track

recording, tracks can be set to PLAY, MUTE, or REC. The

setting will alternate each time you press the PLAY/MUTE/

REC button.

T (Track)

(01...08 (09...16))

Indicates the track number and the program bank/ number/

name speciﬁed for that track.

(01...16)

Indicates the MIDI channel number speciﬁed for the track.

PLAY: The track will play.

RPPR

(NoAssign, C#2...C8)

MUTE: The track will be muted (silent).

REC: This will be displayed during single-track recording

(normal recording). It cannot be selected.

When you use multi-track recording (the Preferences page

“Multi REC” is on), select REC for the tracks that you wish

to record.

This shows the key number(s) that will start the RPPR pat-

tern assigned to the track. (If there are numerous keys, not

all will be shown. To view all of the assignments, use the P6:

Pattern/ RPPR, Pattern Edit page.)

SOLO ON/ OFF

[SOLO ON, SOLO OFF]

0–1(2)c: Track Number, Category, Bank/ Program,

This turns the Solo function on/ off.

PLAY/ MUTE/ REC, SOLO ON/ OFF

Only the track that is set to SOLO ON will sound. Other

tracks will be muted.

Track Number

(1...8 (9...16))

The setting will alternate on/ off each time you press the

SOLO ON/OFF button.

Indicates the track number.

Use the parameters located below “Track Number” to make

settings for that track number.

If tracks whose “Status” (2–1a/ 2a) is BTH, EXT, or EX2

are muted by Mute or by the Solo function, note on/ off

messages will not be transmitted on the MIDI channel

selected for those tracks.

Category

[00...15]

The program to be used by the track can be selected by cate-

gory. All programs are classiﬁed into one of sixteen catego-

ries. You can select the desired category, and then choose

programs from that category.

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When the page menu command “Solo Selected Track”

(0–1B) is on, its Solo status will be given priority (if

ON). When you press “SOLO ON/ OFF” or the parame-

ter of another track, only that track will be soloed, and

will sound.

0–1E: Copy From Song

This command copies all of the setting data and musical

data from the speciﬁed song to the currently selected song.

1Select “Copy From Song” to access the dialog box.

M 0–1: Page Menu Command

0–1A

0–1B

0–1C

0–1D

0–1E

0–1F

0–1G

0–1H

0–1I

2In “From,” specify the copy source song number.

3Select the data that you wish to copy.

0–1J

0–1K

All: will copy all setting data and musical data (track

events and patterns, etc.).

Without Track/Pattern Events: will copy only the setting

data of songs, except for Play Loop and RPPR data.

4To execute the Copy Song operation, press the OK but-

ton. To cancel, press the Cancel button.

0–1A: Memory Status

This displays the remaining amount of sequencer memory.

Be aware that if you execute “All,” all setting data and

musical data of the currently selected song will be erased

and rewritten by the data from the copy source song. If

you execute “Without Track/Pattern Events,” song set-

ting data other than Play Loop and RPPR will be rewrit-

ten.

0–1B: Solo Selected Track

The Solo function will alternate on/ off each time you select

this command.

1Select the page menu command “Solo Selected Track.”

When you select this command, a check mark will be

added at the left of the “Solo Selected Track” in the menu,

and the Solo function will be turned on.

0–1F: Copy From Combi (Copy from Combination)

This command copies the parameters of the speciﬁed combi-

2In a page that displays parameters for each track, select

the track that you want to solo (e.g., by using “Program

Select” in the P0: Play, Program Select page), and only

that track will sound, while the other tracks will be

muted. The “Selected Track Information” (0–1b/ 2b) in

each page will indicate [Solo]. This function cannot be

selected in pages that do not contain parameters for indi-

vidual tracks.

nation to the setting data of the currently selected song.

1Select “Copy From Combi” to access the dialog box.

If you want to solo another track, select a parameter of

that track.

3To cancel the Solo function, once again choose “Solo

Selected Track.”

2In “Combination,” select the copy source destination.

3Use “with Effects” to specify whether effect and EQ set-

tings will also be copied.

If this is checked, insert effects, master effects, and mas-

ter EQ settings will also be copied.

4Use “To” to select the copy-destination tracks (1–8 or 9–

16).

When this Solo function is on, only the selected track

will be soloed and will sound when you press “SOLO

ON/ OFF” (0–1c/ 2c) or a parameter of another track –

even if two or more “SOLO ON/ OFF” buttons are

turned on.

5If you selected Track 1 to 8 as the “To” setting, you have

the option of checking “Auto adjust Arp setting for

Multi REC.” As necessary, this function will adjust the

MIDI channel etc. of any tracks that need to be changed,

and/ or add new tracks, in order to ensure that when you

perform multi-recording with the arpeggiator on, the

same sound will be reproduced during recording as dur-

ing playback.

If the tracks that have been muted by the Solo function

have a “Status” (2–1a) setting of EXT, EX2, or BTH, the

MIDI note-on/ off messages of that track will not be

transmitted.

0–1C: Rename Song

Here you can rename the selected song. A name of up to six-

teen characters can be input. (ꢀBG p.53, 57)

This function makes adjustments depending on the

ARPEGGIATOR [ON/ OFF] state of the combination.

When you copy a combination that was written with

the arpeggiator turned off, it is assumed that you will

leave the arpeggiator off in the song as well. If you

want to use the arpeggiator in the song, you should

write the combination with the arpeggiator turned on,

and then copy it to the song.

0–1D: Delete Song

This command deletes the currently selected song.

1Select “Delete Song” to access the dialog box.

If this is checked, the MIDI channels etc. of the tracks

will be corrected. “Multi REC” (0–8a) and “PLAY/

MUTE/ REC” (0–1c/ 2c) will also be set automatically. In

addition, “Recording Setup” Over Write (0–8a) will be

selected. (Note that the automatically-set “Multi REC”

and “PLAY/ MUTE/ REC” will be reset when you re-

select the song.)

2If you wish to execute the Delete Song command, press

the OK button. To cancel, press the Cancel button.

When you execute this command, the musical data, set-

ting data, and patterns etc. of the currently selected song

will be erased, and the memory area allocated to that

song will be freed.

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For details on the content that will be corrected, refer to

“If the recorded performance is not reproduced cor-

rectly during playback” (ꢀBG p.96). The content

described here will be corrected automatically. Depend-

ing on the settings of the combination, it may be neces-

sary to make additional changes to the track settings in

addition to the settings here.

If in step 3you checked “Copy Pattern to Track too?”

and pressed the OK button, the “Copy Pattern To Track”

dialog box will appear.

6Press the OK button to execute the Copy From Combination

command, or press the Cancel button to cancel without

executing.

This dialog box is the same as in the page menu com-

mand “Copy To Track” (6–1I) (ꢀ p .78).

5In “Pattern,” select the pattern that you wish to copy. If

you press the SEQUENCER [START/ STOP] key, the

selected pattern will play.

When you execute the command, the song setting data of

the currently selected song will be erased, and overwrit-

ten by the settings of the combination.

0–1G: Load Template Song

In To “Track,” select the copy destination track.

In “Measure,” specify the beginning measure of the copy

destination.

This command loads a template song as a song.

The built-in sequencer contains sixteen different preset tem-

plate songs (P00–15) that contain preset settings for pro-

grams and effects appropriate for various musical styles.

You are also free to create your own favorite settings for pro-

grams, track parameters, and effects, and save them as one

of sixteen user template songs (U00–15) (ꢀ“Save as User

Template Song” 0–1H).

Track 1 of all sixteen preset template songs contains a

drum category program. (In preset template songs P02,

P04, P08, and P15 drum category programs are speci-

ﬁed for multiple tracks.)

The pattern names of the 150 preset patterns indicate

the musical genre and part of the optimal drum cate-

gory program. (ꢀtable below)

1Select “Load Template Song” to access the dialog box.

For example in P00: Pop&Balad 1/Std, the musical

genre is “Pop&Balad 1,” and “Std” is part of the name

of the drum category program that is most suitable.

By loading the drum track for these preset template

songs and the corresponding preset patterns, you can

efﬁciently set up a drum track that is suited to each pre-

set template song.

2In “From,” specify the template song that you wish to

load.

3If you check “Copy Pattern to Track too?,” the “Copy

Pattern To Track” dialog box will appear automatically

after “Load Template Song” has been executed.

If you execute without checking this, only the template

song you speciﬁed in step 2will be loaded.

4To load the template song, press the OK button. To can-

cel without loading, press the Cancel button.

When you execute, song settings other than Play Loop

and RPPR will be copied.

6To execute, press the OK button. When you execute,

“Measure” will count up automatically. You may then

copy patterns as well. To exit the command, press the

Exit button.

ꢀFor details on how to copy preset patterns to a song along

with the preset template song, refer to BG p.49.

Preset Template Song

P00: Pop/Ballade

P01: Rock/Metal Rock

P02: R & B

Track No.: Name

Track01: Drums

Program

Corresponding Preset Pattern No.:Name

A036:Standard Kit

B020:Processed Kit

B036:Standard Kit 2

A036:Standard Kit

B004:Jazz/Brush Kits

P00: Pop&Balad 1/Std

P11: Rock 1/Process

P22: R&B 1/Std2

P28: R&B 7/Std

... P10: Pop(6/8) 3/Std

... P21: Rock11/Process

... P27: R&B 6/Std2

... P32: R&B11/Std

... P39: Jazz 7/Jazz

... P42: Latin 3/Jazz

... P47: Latin 8/Jazz

... P45: Latin 6/Perc

... P53: Reggae 6/D'n'B

... P57: Country 4/Std

... P61: Folk 4/Std

Track01: Drums

Track01: Drums 1(Std 2)

Track09: Drums 2(Std)

Track01: Drums

P03: Jazz

P04: Latin

P33: Jazz 1/Jazz

Track01: Drums

P40: Latin 1/Jazz

P46: Latin 7/Jazz

P43: Latin 4/Perc

P48: Reggae 1/D'n'B

P54: Country 1/Std

P58: Folk 1/Std

Track08: Percussion

Track01: Drums

B116:Percussion Kit

B068:Drum'nBass Kit

A036:Standard Kit

B116:Percussion Kit

A116:Orchestra&Ethnic

A020:House Kit

P05: Reggae

P06: Country

P07: Folk

Track01: Drums

P08: European Trad.

Track01: Drums

P62: E.Trad 1/Std

... P67: E.Trad(3/4)2/Std

—

Track08: Percussion

Track01: Percussion

Track01: Drums

P09: Orchestral

P10: Techno/Euro Beat

P11: House

—

P68: Techno 1/House

P79: House 1/House

P93: Drum'nBs 1/D'n'B

P109: AcidJazz 1/Std2

P121: HipHop 1/HipHop

P136: Bigbeat 1/HipHop

P144: Bigbeat 9/Tricky

... P78: Techno11/House

... P92: House14/House

... P108: Drum'nBs16/D'n'B

... P120: AcidJazz12/Std2

... P135: HipHop15/HipHop

... P143: Bigbeat 8/HipHop

... P149: Bigbeat14/Tricky

Track01: Drums

A020:House Kit

P12: Drum'n'Bass

P13: Acid Jazz

Track01: Drums

B068:Drum'n'Bass Kit

B036:Standard Kit 2

A068:HipHop Kit

Track01: Drums

P14: Hip Hop/Rap

P15: Big Beats

Track01: Drums

Track01: Drums 1(Hip/Hop)

Track09: Drums 2(Tricky)

A068:HipHop Kit

A004:! {Tricky} Kit!

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3If “Ignore Tempo” is checked, the playback tempo and

note length will be ignored, and fast-forward and rewind

will be performed as fast as possible. The speed of fast-

forward and rewind will differ between sections where

the playback data is dense and sections where it is sparse.

If this item is unchecked, fast-forward and rewind will

be performed at the speed you specify for “Speed.”

4To execute the settings, press the OK button. To cancel,

press the Cancel button.

0–1H: Save Template Song

(Save as User Template Song)

This command saves the program selections, track parame-

ters, and effect settings etc. of the current song as a user tem-

plate song U00–15. The settings you save here can also be

loaded in Song Play mode.

1Select “Save Template Song” to access the dialog box.

0–1J: Set Location (Set Location for Locate Key)

When you press the [LOCATE] key, you will move to the

location speciﬁed here.

2In “To,” specify the user template song (U00–15) in

which the data will be saved.

1Select “Set Location” to access the dialog box.

3To save the template song, press the OK button. To can-

cel, press the Cancel button.

Be aware that when you execute this command, all set-

ting data of the save destination User Template Song will

be erased and rewritten with the current settings.

2In “Location,” specify the location to which you will

move when you press the [LOCATE] key. If you specify

001:01:000, you will move to the beginning of the song

when you press the [LOCATE] key.

3To execute the settings, press the OK button. To cancel,

press the Cancel button.

0–1I: FF/ REW Speed

This allows you to set the speed at which fast-forward or

rewind will occur when you press the [FF] key or [REW]

key.

1Select “FF/REW Speed” to access the dialog box.

When this dialog box is not open, you can hold down

the [ENTER] key and press the [LOCATE] key to set the

current location as the “Set Location” value.

0–1K: GM Initialize

This command transmits a GM System On message to the

Sequencer mode, resetting all tracks to the GM settings

(ꢀtable below).

2In “Speed,” specify the speed (relative to the playback

tempo) at which fast-forward and rewind will occur.

This setting is relative to the playback tempo.

With a setting of 2, this will occur at double the playback

tempo; with a setting of 3, triple the tempo; and with a

setting of 4, quadruple the tempo. However in sections

where the playback data is dense, the fast-forward or

rewind speed may slow down.

GM Initialize Parameter

Parameter

Track1–9, 11–16

Track10

P0 Bank/Program (Program Select)

G001:Acoustic Piano

g(d)001:STANDARD Kit

Pan

C064

100

–

C064

100

Volume

P1 Status

–

The setting remains unchanged

Use Program’s Scale

–

P7 Arpeggiator Assign

–

Other Arpeggiator parameters

–

P8 IFX/Indiv.Out BUS Select

L/R

DKit

Send1(MFX1)

Send2(MFX2)

–

IFX1–5

The setting remains unchanged

016: Stereo Chorus

Pan(CC#8)

–

BUS Select

–

Send1

–

Send2

–

Other Insert Effect parameters

–

P9 MFX1

–

MFX2

–

053: Reverb SmoothHall

127

Return1

–

Return2

–

050

Other Master Effect and Master EQ parameters

–

Default settings

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If “Status” (2–1a/ 2a) is INT or BTH, CC#10 Panpot can

be received to control the panning. When receiving

CC#10, a value of 0 or 1 is far left, 64 is center, and 127 is

far right. When you change the song or return to the

beginning of the song, tracks whose “Status” is EXT,

EX2 or BTH will transmit the pan you specify here as a

MIDI message (except for RND).

0–3: Mixer 1–8 (Mixer T01–08)

0–4: Mixer 9–16 (Mixer T09–16)

Here you can set the pan and volume of each track.

The pan and volume that you specify here will be used

when you playback or record from the beginning of the

song. If you change the settings during recording, the

changes will be recorded as musical data, and pan and vol-

ume will change during playback. You can also change the

settings during playback. However when the song reaches a

location where pan or volume data was recorded, the set-

tings will change accordingly.

Volume

[000...127]

Sets the volume of tracks 1–16.

When “Status” (2–1a/ 2a) 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 mes-

sage.

0–1

0–1a

0–1b

0–3a

0–5: PlyLoop 1–8 (PlayLoop T01–08)

0–6: PlyLoop 9–16 (PlayLoop T09–16)

When playing or recording a song, you can independently

loop the playback of tracks 1–16.

0–3(4)a: Track Number, Program Category, Pan,

0–1

Volume

0–1a

Track Number

(1...8 (9...16))

0–1b

0–3a

Indicates the track number. (ꢀ0–1c/ 2c)

Program Category

0–5a

Partially displays the name of the category used by the

track.

Pan

[RND, L001...C064...R127]

Sets the pan of tracks 1–16.

L001...C064...R127: A setting of L001 is far left, and R127 is

far right. A setting of C064 will reproduce the pan setting of

the oscillator in Program mode.

0–5(6)a: Play Loop, Loop Start Measure, Loop End

Measure, Play Intro

OSC1

OSC2

OSC1: Amp1 Pan=L001

OSC2: Amp2 Pan=R127

OSC1: Amp1 Pan=L032

OSC2: Amp2 Pan=R096

Track Play Loop

[Off, On]

Left

Center

Left

Center

Right

Turns looping on/ off for each track 1–16.

Pan (CC#10)

C064

Pan (CC#10)

C064

On (checked): That track will loop between “Loop Start

L032

Measure” and “Loop End Measure.”

L001

R096

R127

L001

R096

R127

Loop Start Measure

[001...999]

Speciﬁes the ﬁrst measure of the loop.

Left

Center

Left

Center

Right

Loop End Measure

[001...999]

[Off, On]

Speciﬁes the last measure of the loop.

OSC1

Left

OSC2

Right

OSC1: Amp1 Pan=C064

OSC2: Amp2 Pan=C064

Center

Play Intro

Pan (CC#10)

C064

On (checked): After the measures before the speciﬁed “Loop

Start Measure” are played once, the region of “Loop Start

Measure” – “Loop End Measure” will be played repeatedly.

For example, you can use this on a drum track to make it

play a ﬁll-in and then begin looping.

L032

L001

R096

R127

Off (unchecked): Playback will begin from the “Loop Start

Measure,” and will begin looping immediately.

Left

Center

Right

If a mono-type insertion effect is inserted, this setting will be

ignored. In this case, the P8: Insert Effect, Insert FX page

“Pan (CC#8)” setting will adjust the pan of the sound fol-

lowing the insertion effect. (“3. Mixer ” ꢀ p .181)

This will be valid if “Track Play Loop” is checked and

“Loop Start Measure” is set to other than 001.

RND: The sound will be panned randomly at each note-on.

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Example) When “Play Intro” is checked

0–7b: Sampling Setup

Source BUS

[L/ R, Indiv.1/ 2]

[RAM, DISK]

Save to

Mode (Sample Mode)

Sample Time

[L-Mono, R-Mono, Stereo]

[min sec]

Track 1 will loop as follows.

Make sampling-related settings for Sequencer mode. (ꢀPro-

M001–M002–M003–M004–M003–M004–M003–M004…

gram P0: 0–3)

When “Play Intro” is not checked

Trigger

[Sampling START SW, Note On,

Threshold, Sequencer START SW]

Speciﬁes the trigger that will initiate sampling.

Sampling START SW: (ꢀProgram P0: 0–3)

In Sequencer mode, the metronome count will operate

according to the Metronome Setup (0–8b) setting.

Track 1 will loop as follows.

Note On: (ꢀProgram P0: 0–3)

M003–M004–M003–M004–M003–M004–M003–M004...

Threshold: Sampling will begin automatically when the

input level exceeds the speciﬁed “Level” value. (ꢀSampling

P0: 0–7b)

In this way, you can use “Track Play Loop” to make the real-

time recording process more efﬁcient (ꢀBG p.50).

Sequencer START SW: Press the SAMPLING [REC] key

and then the SAMPLING [START/ STOP] key to enter sam-

pling-standby mode. Then press the SEQUENCER [START/

STOP] key to begin sampling. Use this when you want to

resample the song playback.

0–7: Sampling

Here you can adjust the settings for analog/ digital audio

signal input (AUDIO INPUT, S/ P DIF, EXB-mLAN) and the

settings for sampling in Sequencer mode. (ꢀ p .49)

You can sample either an external audio signal, or a perfor-

mance played on the TRITON STUDIO.

The various Sampling Setup settings apply to the entire

Sequencer mode, not to individual songs.

It is not possible to realtime-record a song or pattern

while sampling.

0–7c: Recording Level [dB]

ADC OVERLOAD !!

0–7

Recording Level

[–inf, –72.0...0.0...+18.0 dB]

Adjusts the signal level at the ﬁnal stage of sampling in

Sequencer mode. (ꢀSampling P0: 0–1d)

0–7a

This setting defaults to –12 dB when you turn on the power.

At a setting of –12 dB, CLIP will not appear even if you play

the Song at its maximum level.

0–7c

0–7b

(ꢀProgram P0: 0–3c “Recording Level”)

M 0–7: Page Menu Command

0–1A

0–1B

0–1C

0–1D

0–1E

0–1F

0–1G

0–1H

0–1I

0–7a: Input (COMBI, PROG, SEQ, S.PLAY, DISK)

0–1J

Input

[Analog, S/ P DIF, mLAN]

Program

0–3B

0–7A

Input1:

Input2:

ꢀProgram P0: 0–3D: Select Directory

Level

[0...127]

Pan

[L000...C064...R127]

0–7A: Select Bank & Smpl No.

BUS(IFX/ Indiv.) Select

Here you can specify the RAM bank and sample number

into which the sample will be written. You can also specify

whether the sample will be automatically converted into a

program after sampling. “Select Bank & Smpl No.” can be

selected if you have chosen RAM for “Save to.”

[L/ R, IFX1…5, 1, 2, 3, 4, 1/ 2, 3/ 4, Off]

Send1(MFX1), Send2(MFX2)

[000...127]

Here you can specify the analog/ digital audio input source,

and specify the input level, bus, and the send levels to the

master effects.

1Choose “Select Bank & Smpl No.” to access the dialog

box.

The various Input settings will apply to Combination,

Program, Sequencer, Song Play, and Disk modes.

(ꢀGlobal P0: 0–3a)

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2In “Bank,” specify the bank of sample memory (RAM)

into which sampling will be performed.

“Track” you created will automatically will automatically

change to the program you speciﬁed in “Program.”

3In “Sample No.,” choose a sample number where the

sampling will be performed. By default, this will be the

lowest-numbered of the vacant sample numbers. If you

select ----:---No Assign--- or a sample number that

already contains data, the sample will automatically be

sampled into the lowest-numbered vacant sample num-

ber. If you are sampling in stereo, “Sample No.(L)” and

“Sample No.(R)” will be created.

“Seq.Event” is available only if “Program” has been

checked.

6Press the OK button to apply the settings you made, or

press the Cancel button to discard any settings you

made after accessing the dialog box.

4Set “Auto +12 dB On.”

0–8: Preference

Here you can select the method of realtime recording, and

set the metronome.

On (checked): “+12 dB” (Sampling P2: 2–1c) will auto-

matically be turned on for samples you record. Samples

for which “+12 dB” is on will play back approximately

+12 dB louder than if this setting were off.

0–1

When you resample a performance in Program, Combi-

nation, or Sequencer modes, you should normally set

“Recording Level” to about –12.0 (dB) so that the record-

ing level will be as high as possible without clipping.

When you resample, the sound will be recorded at the

optimum level for sampled data, but the playback level

at playback will not be as loud as it was during the resa-

mpling process (if “+12 dB” (Sampling P2: 2–1c) is off). In

such cases, you can check the “Auto +12 dB On” check

box when you resample, so that “+12 dB” (Sampling P2:

2–1c) will automatically be on, making the sample play

back at the same level as when it was resampled.

In these modes, the power-on default settings are

“Recording Level” at –12.0 (dB) and “Auto +12 dB On.”

If you resample a performance in the respective mode

with these settings, the sample will play back at the same

level at which it was resampled.

0–1a

0–1b

0–8a

0–8b

0–8a: Recording Setup

Recording Mode

[Over Write...Loop All Tracks]

Selects the method of realtime recording.

Refer to BG p.83 for the realtime recording.

If you want to monitor your performance in Program,

Combination, or Sequencer mode, while sampling only

the external audio signal from AUDIO INPUT etc. (with

the “Source BUS” Indiv.1/2 setting: 0–7b), we recom-

mend that you set “Recording Level” to about +0.0

(dB) and turn off “Auto +12 dB On” when you resam-

ple.

Over Write

When recording for the ﬁrst time, you will normally select

this method.

To begin recording, press the SEQUENCER [REC/ WRITE]

key and then the SEQUENCER [START/ STOP] key. To stop

recording, press the SEQUENCER [START/ STOP] key once

again.

Be aware that when this method of recording is used to

record on a track that already contains data, any previously

existing data will be erased starting from the measure at

which you begin recording and from all subsequent mea-

sures.

The “Auto +12 dB On” setting is made independently

for Program, Combination, Sequencer, and Sampling

modes.

5“Convert to” lets you specify whether the sample will

automatically be converted to a program after sampling.

You can also specify whether a note event will be created

at the time of sampling.

Over Dub

If the “Program” check box is checked, the sample will

automatically be converted to a program. (ꢀSampling

P0: 0–1a)

At the right, use “Program” and “MS” to specify the pro-

gram number and multisample number of the program

that will be created.

Select this method when you wish to add data to a previ-

ously-recorded track.

To begin recording, press the SEQUENCER [REC/ WRITE]

key and then the SEQUENCER [START/ STOP] key. To stop

recording, press the SEQUENCER [START/ STOP] key once

again.

“Orig.Key” (Sampling P0: 0–1b) speciﬁes the location of

the original key. The multisample will be created with an

“Index” (Sampling P0: 0–1a) having this key as its “Top

Key” (Sampling P0: 0–1b). “Orig.Key” will increment

after sampling, so that the next sample will be assigned

to the next higher key.

If you check the “Seq.Event” check box, a note event will

automatically be created in the track speciﬁed by

“Track.” Note-on will occur at the location at which sam-

pling began, and note-off will occur at the location at

which sampling ended. The note event will be created as

in “Recording Setup” Over Dub mode (i.e., it will be

added without erasing existing events). If you are sam-

pling repeatedly without stopping the song playback, the

event(s) will be automatically created when you stop

song playback. The “Program Select” (0–1c/ 2c) of the

The newly recorded data will be added to the previously

recorded data already residing in that track.

Manual Punch In

Select this method when you wish to use the SEQUENCER

[REC/ WRITE] key or a foot switch to re-record selected por-

tions of a previously-recorded track.

Press the SEQUENCER [START/ STOP] key to playback the

song. When you reach the measure at which you wish to

begin re-writing the data, press the SEQUENCER [REC/

WRITE] key or the foot switch, and recording will begin.

When you are ﬁnished recording, press the SEQUENCER

[REC/ WRITE] key or the foot switch once again, and

recording will end.

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If this is checked, the “PLAY/ MUTE/ REC” setting (0–1c/

2c) (button) of all tracks will be set simultaneously to REC.

For tracks that you do not want to record, press “PLAY/

MUTE/ REC” (button) to select either PLAY or MUTE (the

setting will cycle in the order of PLAY→MUTE→REC).

This mode can also be used when you wish to playback a

connected multi-track sequencer, and record all of the MIDI

data it transmits in one pass into the TRITON STUDIO’s

sequencer (ꢀBG p.85).

Multiple channels of MIDI data can be received and simulta-

neously recorded onto multiple tracks.

In this case, tracks whose “PLAY/ MUTE/ REC” setting is

REC will record MIDI data whose channel matches their

own MIDI channel setting, regardless of the “Track Select”

(0–1a) setting.

Auto Punch In

Select this method when you wish to automatically re-

record selected portions of a previously-recorded track.

If you select Auto Punch In, the display will indicate “M***–

M*** (Auto Punch In Start Measure–Auto Punch In End Mea-

sure)” at the right, allowing you to specify the range of mea-

sures that will be rewritten.

Press the SEQUENCER [REC/ WRITE] key and then the

SEQUENCER [START/ STOP] key, and playback will occur

until the speciﬁed measure is reached. Then, recording will

occur only over the speciﬁed area (“Start Measure”–“End

Measure”), rewriting it with the newly recorded data.

M–M (Auto Punch In Start Measure – Auto Punch In

End Measure)

[M001…M999 – M001…M999]

In this case you will probably want to set “MIDI Clock”

(Global P1: 1–1a) to External MIDI or External mLAN, to

sync up with an external sequencer. However, changes in

tempo will not be recorded. (“Recording musical data from

an external device ” ꢀ p .266)

When “Recording Mode” is set to Auto Punch In, specify

the measures at which recording will start and end.

Loop All Tracks

Select this method when you wish to repeatedly record a

speciﬁed area of a track, and continue adding data. This is

suitable for creating drum patterns, etc.

If you select Loop All Tracks, the display will indicate

“M***–M*** (Loop Start Measure–Loop End Measure)” at

the right, allowing you to specify the range of measures that

will be recorded repeatedly.

Off (unchecked): Single track recording mode will be

selected. Recording will occur on the track selected by

“Track Select.”

This cannot be selected if “Recording Mode” is set to

Loop All Tracks.

Press the SEQUENCER [REC/ WRITE] key and then the

SEQUENCER [START/ STOP] key, and playback will occur

until the speciﬁed measure is reached. Then, recording will

occur repeatedly over the speciﬁed area (“Loop Start Mea-

sure”–“Loop End Measure”). Previously-recorded data will

remain, and the new data will be added. While recording,

you can check “Remove Data” to delete unwanted data.

0–8b: Metronome Setup

Here you can make metronome settings.

Sound

[Only REC, REC & Play, Off]

Only REC: The metronome will sound only during record-

ing.

If “Multi REC” is checked, this parameter will not be

REC & Play: The metronome will sound during recording

and playback.

available.

Off: The metronome will not sound. However, the pre-count

will sound before recording begins.

This parameter can also be set from “Metronome Sound” (6–

1b).

M–M (Loop Start Measure – Loop End Measure)

[M001…M999 – M001…M999]

Speciﬁes the range of measures over which recording will

repeat when “Recording Mode” is set to Loop All Tracks.

Specify the range of measures in which recording will be

repeated.

BUS (Output) Select

[L/ R, L, R, 1, 2, 3, 4, 1/ 2, 3/ 4]

Selects the output destination of the metronome sound.

Remove Data

[Off, On]

L/R, L, R: Output from OUTPUT (MAIN) L/ Mono and/ or

Unwanted playback data can be removed while you record

using the Loop All Tracks setting. This is available when

“Recording Mode” is set to Loop All Tracks.

1, 2, 3, 4, 1/2, 3/4: Output from OUTPUT (INDIVIDUAL) 1, 2,

3, 4 respectively.

On (checked): You can delete unwanted musical data while

recording with Loop All Tracks. During recording, press the

key (note number) that corresponds to the musical data you

wish to delete. All occurrences of that note number will be

deleted for the interval that you continue holding down the

key. Controller data can also be erased in a similar way. For

example while you move and hold the joystick in the X (hor-

izontal) direction, bender data will be erased. While you

apply pressure to the keyboard, after touch data will be

erased.

Level

[000…127]

Sets the volume of the metronome.

Precount [Measure]

[0…2]

Speciﬁes the pre-count that will occur before recording

begins.

With a setting of 0, recording will begin the instant you press

the SEQUENCER [START/ STOP] key (after ﬁrst pressing

the SEQUENCER [REC/ WRITE] key).

Also, you can press and hold down the SEQUENCER [REC/

WRITE] key to delete all musical data for as long as the key

is held.

Multi REC

[Off, On]

On (checked): Multi-track recording mode will be selected.

Use this mode when you wish to simultaneously record

multiple tracks.

Use this when you want to realtime–record a performance

played by the arpeggiator on multiple tracks of differing

channels.

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Tempo Mode

[Auto, Manu]

Sequencer P1: Cue List

Auto: Playback will follow the tempo speciﬁed by each song

in the cue list. It will not be possible to change the “ꢀ

(Tempo)” setting during playback.

Manu (Manual): Tempo speciﬁed in the song will be

ignored, and playback will use the tempo speciﬁed above

for “ꢀ (Tempo).”

1–1: Cue List

The cue list allows you to playback multiple songs in succes-

sion. You can specify a number of repetitions for each song.

The TRITON STUDIO allows you to create twenty cue lists.

In a single cue list you can freely connect up to 99 songs.

Each unit in a cue list is called a “step,” and you can specify

a song number and a repeat (number of repetitions) for each

step.

For example you could create each part of a song (intro, mel-

ody A, melody B, break, solo backing, ending etc.) as an

individual song, and use a cue list to play the intro twice,

melody A four times, melody B four times, the break twice,

melody A four times ... etc. to produce the entire song. In

cases when you wish to change the structure of the song,

this Cue List function can help you work more efﬁciently.

The page menu command “Convert to Song” (1–1D) lets

you convert the songs in a cue list into a single song.

For example you can use a cue list to create the backing, con-

vert the cue list to a song, and then add solo phrases on

unused tracks.

Cue List Select

[C00...C19: name]

Selects the cue list that you wish to play.

When using a cue list to play songs, you must ﬁrst load the

necessary data into internal memory, either from media

(ﬂoppy disk etc.), or by a MIDI data dump from an external

sequencer.

When “MIDI Clock” (Global P1: 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. When

“MIDI Clock” is External MIDI or External mLAN, a

Song Select message from the speciﬁed source will

switch cue lists.

Track Select

[Track01...Track16: name]

Selects the track that you wish to play manually from the

keyboard along with the playback of the cue list.

While a cue list is playing, you can play along using the

track settings and musical data of the song selected by the

current “Step” (1–1c).

1–1

1–1a

The track selected here can be speciﬁed independently for

each song in the cue list.

1–1b

When you are playing back different songs in succession,

and want to play along using the same program on the key-

board, set “Track Select” (0–1a) to the same track and pro-

gram for each step.

1–1c

At the right you can view the program bank, program num-

ber, and name of the program selected for “Track Select.”

1–1d

1–1b: Selected Step Information

ꢀ

1–1a: Location, Meter, , Tempo Mode, Cue List

This shows information on the currently selected or playing

“Step.”

Select, Track Select

Location

[0001:01.000…9999:16.191]

STEP

(01...99/ 01...99)

This displays the current location within the selected cue

list.

From the left, the numbers indicate the measure, beat, and

clock. Each can be set separately, and this will change the

current location within the cue list.

The selected step number is shown at the left, and the total

number of steps (not including the last step) is shown at the

right.

SONG

(000...199)

The range of the beat and clock will depend on the time sig-

nature of the corresponding song.

This shows the number and name of the song for the cur-

rently selected step.

When “MIDI Clock” (Global P1: 1–1a) is Internal, a

Song Position Pointer message will be transmitted each

time you change the location within the cue list. If

“MIDI Clock” is set to External MIDI or External

mLAN, and “Receive Ext. Realtime Commands” (Glo-

bal P1: 1–1a) is turned on, receiving a Song Position

Pointer message from the speciﬁed source will cause

the location to change.

Length

(000...999)

This shows the number of measures in the song for the cur-

rently selected step.

1–1c: Step, Song, Repeat, Load FX?

Step [Measure]

[01...100 (M0001...M9999)]

If the location exceeds the allowable data range of a

Song Position Pointer message, it will not be transmit-

ted.

This displays the step number and its starting measure.

“Step” indicates each step number. The “Step” indicated by

the symbol is the currently-selected or currently-playing

step. This can be directly selected by “Song” (1–1c) or “Cur-

rent Step” (1–1d). When stopped, pressing the SEQUENCER

[START/ STOP] key will cause playback to begin from this

step.

Meter (Time Signature)

[1/ 4...16/ 16]

This displays the time signature of the currently-playing

song.

ꢀ (Tempo)

[040...240]

“Measure” indicates the starting measure of each step. This

cannot be edited.

Speciﬁes the tempo at which the song in the cue list will be

played (ꢀ“0–1a: Tempo”).

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Song (Cue Edit - Song)

[S000...S199: name/ End, Continue to Step01]

1–1d: Insert, Cut, Copy, Current Step

S000...S199: Speciﬁes a song for each step. This cannot be

edited during playback.

End and Continue to Step01 can be speciﬁed only for the

last step of the cue list.

End: Playback will stop at the last step of the cue list.

Continue to Step01: At the last step of the cue list, playback

will return to “Step” 01 and the cue list will continue play-

ing endlessly. To stop, press the SEQUENCER [START/

STOP] key.

Insert

When you press the Insert button, the step data that was

temporarily saved in the buffer by the Copy button or Cut

button will be inserted at the “Current Step.” (If copy or cut

has not been executed, default data will be inserted.)

Cut

When you press the Cut button, the “Current Step” will be

cut, and its data will be saved temporarily in the buffer. If

you Insert immediately after you cut, the data will return

the state in which it was before you cut.

Repeat

[01...64, FS]

Speciﬁes the number of times that the song of this step will

be repeated.

Copy

When you press the Copy button, the data of the “Current

Step” will be saved temporarily in the buffer.

Press the Insert button to insert the copied step into the

“Current Step.”

FS: A foot switch connected to the rear panel can be used to

specify the point at which the song will stop repeating.

When you press the foot switch, that repetition of the song

will ﬁnish playing, and then playback will continue to the

next step. Set “Foot Switch Assign” (Global P2: 2–1a) to Cue

Repeat Control.

Current Step

[01...100]

Selects the step that will be inserted, cut or copied.

If you wish to playback from a step in the middle of the cue

list, select the desired step here, and press the SEQUENCER

[START/ STOP] key.

Load FX? (Cue Edit-Load Fx)

[Off, On]

Speciﬁes whether the effects speciﬁed by the song assigned

to each step will be used.

On (checked): The effect settings of the song speciﬁed for

the current step will be used. When playback moves to the

next step, the effect settings will also change.

For details on creating and editing a cue list, refer to BG

p.90.

Off (unchecked): The effect settings will not change.

M 1–1: Page Menu Command

Depending on the effect settings, a certain amount of

time may be required to switch effects. In this case,

playback will not be smooth from song to song.

If you want to transition smoothly from song to song

inside of a cue list, check “FX Load?” in “Step” 01. For

the remaining steps, do not check “FX Load?”

0–1A

1–1A

1–1B

1–1C

1–1D

1–1E

0–1I

0–1J

With these settings, the effects will be set before play-

back begins, so there will be no time lag to interrupt the

smooth transition between songs.

Although it is not possible to change the effect types in

the middle of a cue list, you can use the dynamic modu-

lation function or MIDI control changes (effect control)

to apply reverb more deeply to certain songs, or raise

the LFO speed for other songs, etc.

1–1A: Rename Cue List

This command renames the selected cue list. A name of up

to sixteen characters can be input. (ꢀBG p.57)

1–1B: Delete Cue List

This command deletes the currently selected cue list.

When using a cue list to construct a song, we recom-

mend this method. When you execute the “Convert to

Song” (1–1D) page menu command, the effect settings

of the “Step” 01 song will be speciﬁed at the beginning

of the song that is created by the conversion.

1Select “Delete Cue List” to access the dialog box.

Even when “Load FX?” is not checked, there may be a

time lag in the transition from one song to the next,

depending on the musical data in the song. There may

also be cases in which the musical data at the transition

between songs does not play at the correct timing. To

ﬁx this, you can edit the musical data of the song, or

convert the cue list to a single song. If you use “Convert

to Song” (1–1D) to convert the cue list to a song, there

will be no time lag at the transition, and the musical

data will play at the correct timing.

2To execute the Delete Cue List command, press the OK

button. To cancel, press the Cancel button. When you

execute this command, the data of the currently selected

cue list will be deleted.

1–1C: Copy Cue List

This command copies the settings of another cue list to the

currently selected cue list.

1Select “Copy Cue List” to access the dialog box.

2In “From,” specify the copy source cue list.

3To execute the Copy Cue List command, press the OK

button. To cancel, press the Cancel button.

When you execute, the setting data of the selected cue list

will be deleted, and replaced by the copy-source data.

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(2–5a/ 6a)is PRG or a negative value, these will not be

reﬂected in the conversion.

1–1D: Convert to Song (Convert Cue List to Song)

This command converts a cue list consisting of multiple

songs to a single song. Although it is not possible to record

additional tracks into a cue list, you can convert the cue list

to a song, and then record solos etc. onto open tracks.

Also, it will be necessary to convert a cue list to a song if you

wish to write it to a ﬂoppy disk as SMF data. During the

conversion, the track and effect settings of the song speciﬁed

for “Step” 01 will be copied to the beginning of the resulting

song, and all track and effect settings of subsequent songs

will use the settings of the song for “Step” 01.

“Detune” (2–5a/ 6a) will be divided into RPN Fine Tun-

ing and Coarse Tuning, and converted into events. For

example if the “Detune” setting of +600, Fine Tuning

will be 00 and Coarse Tuning will be 6. Fine Tuning will

modify the playback pitch (Detune). Coarse Tuning will

change the notes that are played back (Transpose). For

this reason with some programs such as drum pro-

grams, the playback result produced by a cue list may

not be reproduced when the cue list is converted into a

song.

1Select the cue list (C00–19) that you want to convert to a

song.

2Select “Convert to Song” to access the dialog box.

•

“PLAY/ MUTE”

(P0: Program T01–08, 09–16 “PLAY/ MUTE/ REC”)

The “PLAY/ MUTE” track parameters will be reﬂected in

the song. “SOLO ON/ OFF” will not be reﬂected.

“Track Play Loop” (P0: PlyLoop 1–8, 9–16 page)

If “Track Play Loop” is on, the area from “Loop Start” to

“Loop End” will be expanded as far as the last measure

in the master track.

3In “To Song,” specify the conversion destination song

number.

Example)

If you select a new song, a conﬁrmation dialog box will

appear.

Press the OK button to create a new song, into which the

cue list will be converted.

If “Track Play Loop” is M005–M008, and the master track

contains 10 measures, the data will be expanded from the

beginning of the track as M005, 6, 7, 8, M005, 6, 7, 8,

M005, 6.

4Press the OK button to execute the conversion, or press

the Cancel button to cancel without executing.

If you selected a song that already contains settings and

performance data, executing this command will erase the

data of that song and replace it with the data that was

converted from the cue list. Use this command with cau-

tion.

•

“Play Intro” (P0: PlyLoop 1–8, 9–16 page)

If “Track Play Loop” is on, the data will be developed

according to the Play Loop setting until the last measure

of the master track.

If “Play Intro” is checked, the data from the beginning of

the track until “Loop End” will be developed, and then

the data from “Loop Start” until “Loop End” will be

developed until the last measure of the master track.

For example if “Track Play Loop” is M005–M008 and the

master track ends at measure 10, checking “Play Intro”

will cause the data to be developed from the beginning of

the track as M001, 2, 3, 4, 5, 6, 7, 8, M005, 6, 7, 8, M005, 6.

If “Play Intro” is not checked, refer to the example in

“Track Play Loop.”

After executing this command, you can press the [COM-

PARE] key to return to the state prior to execution.

The “Convert to Song” command converts a cue list to a

song as described below.

•

Song/ Track parameter settings for “Step” 01

Song/ Track parameters will use the settings of the

“Step” 01 song.

The MIDI channel of each track will be according to the

settings of the “Step” 01 song. If “Step” 02 and follow-

ing songs have different settings, it may not be possible

to convert the playback result of the cue list into a song.

As far as possible, try to keep the MIDI channel assign-

ments consistent between songs that you intend to use

as part of a play list that will be converted into a song.

•

Patterns

Patterns in the “Step” 01 song will be copied as patterns

of the converted song.

If there is a second or subsequent repeat for “Step” 01, or

if the tracks of “Step” 02 and subsequent songs contain

patterns, they will be expanded into track events (musi-

cal data).

“Transpose”

The following track parameters will not be reﬂected in

the conversion. As with the MIDI channels, we recom-

mend that you keep these settings consistent between all

songs in the cue list.

If the “Transpose” (2–5a/ 6a) of the tracks in “Step” 02

and subsequent songs differ from the settings of the

“Step” 01 song, the note numbers of the note data will be

shifted.

SOLO ON/OFF, Status, MIDI Channel, Bank Select (When Status =

EX2), Force OSC Mode, OSC Select, Delay, Use Programs Scale,

MIDI Filter, Key Zone, Velocity Zone

Example)

If “Step” 01 “Transpose” = +1 and “Step” 02 “Trans-

pose” –1, the actual note numbers of the “Step” 02 track

note data will be shifted downward by 2.

•

Converting Song/ Track parameters into track events

Second and subsequent repeats of the “Step” 01 song,

and the settings of “Step” 02 and following songs will all

be converted into track events (musical data). The follow-

ing data will be converted.

•

“Repeat” FS (Foot Switch) → “Repeat” 1

If “Repeat” is set to FS (Foot Switch), it will be converted

as “Repeat” 1.

When you execute “Convert to Song” to convert a cue

list to a song, the repeat settings within the cue list and

the pattern and track play loop settings of the songs

used by the cue list will all be converted into events

such as note data. For this reason, the amount of data

will increase signiﬁcantly, and in some cases there may

not be enough internal memory to perform the conver-

sion. In particular if the cue list uses long songs, or if

Track1–16

Program Select, Pan, Volume, Portamento,

Detune, Bend Range

Master Track

Tempo, Meter

If “Pan” (0–3a/ 4a) is RDN, it will be converted to C064.

If “Portamento” (2–3a/ 4a) is PRG, or if “Bend Range”

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numerous repeats have been speciﬁed, or if many pat-

terns are used by the songs, you should try executing

the “Convert to Song” command from time to time as

you create the cue list, in order to verify the amount of

memory that will be required for the conversion.

Sequencer P2: Trk Param

2–1: MIDI Ch 1–8 (MIDI Ch T01–08)

A cue list that is longer than 999 measures cannot be

converted into a song.

2–2: MIDI Ch 9–16 (MIDI Ch T09–16)

Here you can make MIDI-related settings for each track.

1–1E: Copy Song

This command copies a portion (a number of measures) of

the song speciﬁed by “Step,” and makes it into a song. This

is convenient when you want to modify the structure or

development of the songs 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 out of that portion. Then you can assign

the resulting song to a step in a cue list, and repeat it.

0–1

0–1a

0–1b

0–3a

2–1a

1In “Current Step,” or “Song” select the desired step.

2Select “Copy Song” to access the dialog box.

LSB

MSB

2–1(2)a: Status, MIDI Channel, Bank Select

Status

[INT, Off, BTH, EXT, EX2]

This sets the status of MIDI and the internal tone generator

for each track.

3In “From Measure,” specify the ﬁrst measure in the copy

source song. In “To End of Measure,” specify the last

measure.

INT: When the musical data recorded in the track is played

back, or when you use “Track Select” (0–1a) to select a track

that is set to INT and play the keyboard and operate the

controllers, the internal tone generator of the TRITON STU-

DIO will sound, and MIDI data will not be transmitted to an

external device.

4In “To Song,” specify the song into which the data will

be converted. If you select a new song, a dialog box will

ask you for conﬁrmation. Press the OK button to create a

new song and copy the data to that song. If you select an

existing song that already contains settings and/ or musi-

cal data, executing this command will erase the data of

that song and rewrite it with the data from the copy

source. Before you execute, be sure that you will not be

losing important data.

5If you check “Replace to original Song in Cue List” and

execute this command, the “Current Step” song will be

replaced by the newly created song. If you execute with-

out checking this box, the newly created song can be

selected later for the desired step of the cue list.

6To execute the Copy Song operation, press the OK but-

ton. To cancel, press the Cancel button.

Off: The program will not sound, nor will MIDI data be

transmitted.

BTH: The operation of both INT and EXT will be per-

formed. When the musical data recorded in the track is

played back, or when you select a track that is set to BTH

and play the keyboard and operate the controllers, the inter-

nal tone generator of the TRITON STUDIO will sound, and

at the same time MIDI data will also be transmitted to an

external device.

EXT: When the musical data recorded in the track is played

back, or when you select a track that is set to EXT and play

the keyboard and operate the controllers, MIDI data will be

transmitted to an external device, but the internal tone gen-

erator of the TRITON STUDIO will not sound.

When you select another song or return to the beginning of

the song, the program change, volume, panpot, portamento,

sends 1 and 2, post IFX pan, and post IFX sends 1 and 2 of

each track set to EXT will be transmitted via MIDI.

EX2: “Bank Select (When Status=EX2)” will be enabled.

Instead of the INT-A–EXB-G bank numbers that can be

selected on the TRITON STUDIO, the bank number you

specify here will be transmitted. In other respects this is the

same as EXT.

MIDI data is transmitted and received on the MIDI

channel that is speciﬁed separately for each track by

“MIDI Channel.”

Recorded data

Keyboard and controller

operations

Received data

Status

Internaltone MIDI OUT

generator

Internaltone MIDI OUT

generator

INT

—

EXT, EX2

BTH

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CC#65 of 127 and CC#05 of 1–127 will be transmitted.

If this is set to PRG, nothing will be transmitted.

This data is transmitted and received on the MIDI chan-

nel speciﬁed for each track by “MIDI Channel” (2–1a/

2a).

MIDI Channel

[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. Tracks set to INT which

have the same MIDI channel will sound and be controlled

identically when they receive MIDI data or data from the

sequencer tracks.

2–5: Pitch 1–8 (Pitch T01–08)

2–6: Pitch 9–16 (Pitch T09–16)

Bank Select (When Status=EX2) [000:000...127:127]

Here you can make pitch-related settings for each track.

When “Status” is set to EX2, this sets the bank number that

will be transmitted.

2–5

The left value is the MSB, and the right value is the LSB.

When “Status” is other than EX2, this setting has no effect.

0–1a

0–1b

0–3a

2–3: OSC 1–8 (OSC T01–08)

2–5a

2–4: OSC 9–16 (OSC T09–16)

These parameters specify how each track will be sounded.

0–1

0–1a

2–5(6)a: Transpose, Detune, Bend Range

0–1b

0–3a

Transpose

[–24...+24]

2–3a

Adjusts the pitch of each track in semitone steps.

12 steps are one octave.

Detune (BPM Adj. in Page Menu)

[–1200... +1200]

Adjusts the pitch of each track in one-cent steps from the

normal pitch.

0: Normal pitch.

2–3(4)a: Force OSC Mode, OSC Select, Portamento

You can use the “Detune BPM Adjust” (2–5A) page menu

command to make a calculation in BPM units and set

Detune automatically.

Force OSC Mode

[PRG, Poly, MN, LGT]

Selects the Voice Assign Mode (Program P1: 1–1b) of the pro-

gram selected for each track 1–16 (ꢀCombination P2: 2–2a).

“Transpose” and “Detune” settings do not affect the

note data that is transmitted via MIDI. “Transpose” and

“Detune” are controlled by received MIDI RPN mes-

sages. The “Oscillator Mode” (Program P1:1–1a) of the

programs selected for tracks 1–16 will be controlled as

follows. These messages will be received on the MIDI

channel that is specified for each track by “MIDI Chan-

nel” (2–1a/ 2a).

OSC Select

[BTH, OS1, OS2]

Speciﬁes the “Oscillator Mode” of the program selected for

each track 1–16. If the “Oscillator Mode” is Double, you can

use this setting to make only one or the other oscillator

sound (ꢀCombination P2: 2–2a).

Portamento

[PRG, Off, 001...127]

•

If “Oscillator Mode” is Single or Double, MIDI RPN

Coarse Tune messages can be received to control and

change the “Transpose” setting, and Fine Tune

Speciﬁes the portamento effect for each track 1–16 (ꢀCom-

bination P2: 2–2a).

messages to control and change the “Detune” setting.

The portamento setting you make here will be used

when the song is played or recorded from the begin-

ning. 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

accordingly.

If “Oscillator Mode” is Drums, MIDI RPN Coarse

Tune and Fine Tune messages can be received to

control and change the “Detune” setting. The range of

control will be ±1 octave when Coarse Tune and Fine

Tune are added.

Bend Range

[PRG, –24...+24]

Speciﬁes the range of pitch change in semitone steps that

When the track whose “Status” (2–1a/ 2a) is INT or

BTH, MIDI control change CC#5 (Portamento Time)

and CC#65 (Portamento Switch) can be received to con-

trol this and change the setting. (If the setting is PRG,

CC#05 Portamento Time will not be received.)

When you switch songs or return to the beginning of

the song, tracks whose “Status” is BTH, EXT, or EX2

will transmit this setting via MIDI. If this is Off, CC#65

with a value of 0 will be transmitted. If this is 001–127, a

will occur when the pitch bender is operated.

PRG: The pitch range speciﬁed by the program will be used.

–24–+24: Regardless of the setting of the program, pitch

bending will use the range you specify here.

This setting can be controlled and changed by received

MIDI RPN Pitch Bend Range messages. (These mes-

sages will not be received if the setting is PRG.)

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Key

[C…B]

M 2–5: Page Menu Command

Selects the tonic key of the selected scale (ꢀ“Key” Program

P1: 1–1c).

0–1A

0–1B

0–1C

0–1D

0–1E

0–1F

0–1G

0–1H

0–1I

Random

[0…7]

As this value is increased, an increasingly random devia-

tion will be added to the pitch at each note-on (ꢀ“Random”

Program P1: 1–1c).

0–1J

2–5A

2–5A: Detune BPM Adjust

When the program selected for a track uses a phrase,

rhythm loop multisample (or sample that was created to

match a speciﬁc BPM in Sampling mode or loaded from disk

in Disk mode) you can use this command to change the

BPM of the phrase or rhythm. The BPM can be adjusted by

modifying the pitch. This command is available when the

“Detune” setting of that track is selected. When you execute

this command, the selected “Detune” value will be adjusted.

For the procedure, refer to “Detune BPM Adjust” (Combina-

tion P2: 2–3A).

2–7: Other 1–8 (Other T01–08)

2–8: Other 9–16 (Other T09–16)

Here you can make additional settings for each track.

0–1

0–1a

0–1b

0–3a

2–7a

2–7(8)a: Delay [ms], Use Program’s Scale, Scale

Delay [ms]

[0000...5000, KeyOff]

Speciﬁes a delay time from when a track receives a note-on

until it actually sounds.

KeyOff: The sound will begin when note-off occurs. In this

case, the sound will continue indeﬁnitely unless the amp EG

Sustain Level of the program is other than 0. This setting is

useful for simulating harpsichord sounds.

Normally you will leave this at 0.

Use Program’s Scale

[Off, On]

Each track can use the scale that is speciﬁed for the program

by “Scale.”

On (checked): The scale that is saved with the program will

be used.

Off (unchecked): The scale speciﬁed here by Scale will be

used.

Scale:

Speciﬁes the scale that will be used for the song.

Type (Song's Scale)

[Equal Temperament...User Octave Scale15]

Selects the type of scale (ꢀ“Type” Program P1: 1–1c).

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Enable Portamento SW

[Off, On]

Sequencer P3: MIDI Filter

Speciﬁes whether or not MIDI control message CC#65 Porta-

mento On/ Off will be received.

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.

3–3: MIDI 2 1–8 (MIDI Filter –2 T01–08)

3–4: MIDI 2 9–16 (MIDI Filter –2 T09–16)

These MIDI ﬁlter settings have no effect on the MIDI

0–1

messages that have already been recorded.

0–1a

0–1b

0–3a

These settings affect the MIDI messages that are trans-

mitted when you adjust program, pan, volume, porta-

mento and send 1/ 2 parameters of a track whose

“Status” (2–1a/ 2a) is set to BTH, EXT, or EX2.

3–3a

On (checked): Reception of MIDI data is enabled. Tracks

whose “Status” (2–1a/ 2a) is INT or BTH will receive these

types of MIDI messages on their respective channels. The

type of effects that are checked will be applied to the pro-

gram of each track when the TRITON STUDIO’s controllers

are operated or when MIDI data is received. (The effect

dynamic modulation function is not affected by these set-

tings.) Settings that regulate MIDI transmission/ reception

of the TRITON STUDIO itself are made in MIDI Filter (Glo-

bal P1: 1–1b).

3–3(4)a: Enable JS X as AMS, Enable JS+Y,

Enable JS-Y, Enable Ribbon

Enable JS X as AMS

[Off, On]

If the user-assignable controllers that can be ﬁltered in the

MIDI 3 and MIDI 4 pages are set to MIDI control changes,

ﬁltering will be performed for these control changes. In this

case, any control change ﬁltering that is being performed in

the MIDI 1 and MIDI 2 pages will be given priority. Further-

more, if the same control change is assigned to multiple con-

trollers for which there are ﬁlter settings in the MIDI 3 and 4

pages, checking any one of these will enable that control

change.

Allow incoming MIDI pitch bend messages (the X-axis of

the TRITON STUDIO’s joystick) to control the AMS

(ꢀ p .242) that is speciﬁed for JS X. (This is not a reception ﬁl-

ter for MIDI pitch bend messages.)

Enable JS+Y

[Off, On]

Speciﬁes whether or not MIDI control message CC#1 (the +Y

axis of the TRITON STUDIO’s joystick, or assigned to B-

mode of the REALTIME CONTROL knobs [1]–[4]) will be

received.

Off (Unchecked): Reception of MIDI data is disabled.

Enable JS-Y

[Off, On]

3–1: MIDI 1 1–8 (MIDI Filter –1 T01–08)

Speciﬁes whether or not MIDI control message CC#2 (the –Y

axis of the TRITON STUDIO’s joystick, or assigned to B-mode

of the REALTIME CONTROL knobs [1]–[4]) will be received.

3–2: MIDI 1 9–16 (MIDI Filter –1 T09–16)

0–1

Enable Ribbon

[Off, On]

0–1a

Speciﬁes whether or not MIDI control message CC#16 (the

TRITON STUDIO’s ribbon controller, or assigned to B-mode

of the REALTIME CONTROL knobs [1]–[4]) will be received.

0–1b

0–3a

3–1a

3–5: MIDI 3 1–8 (MIDI Filter –3 T01–08)

3–6: MIDI 3 9–16 (MIDI Filter –3 T09–16)

Here you can specify whether the A and B-mode effects of

the REALTIME CONTROL knobs [1]–[4] will be transmitted

and received. The A-mode MIDI controller messages for

each knob are ﬁxed. The B-mode messages can be set in P4:

Zone/ Ctrl, Controller page.

3–1(2)a: Enable Program Change, Enable After Touch,

Enable Damper, Enable Portamento SW

0–1

Enable Program Change

[Off, On]

0–1a

0–1b

0–3a

Speciﬁes whether or not MIDI program change messages

will be received.

Enable After Touch

[Off, On]

Speciﬁes whether or not MIDI after touch messages will be

received.

3–5a

Enable Damper

[Off, On]

Speciﬁes whether or not MIDI control message CC#64 Hold

(damper pedal) will be received.

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3–5(6)a: Enable Realtime Control Knob 1...4

Sequencer P4: Zone/ Ctrl

Enable Realtime Control Knob 1

[Off, On]

Speciﬁes whether or not the A-mode MIDI control message

CC#74 (the TRITON STUDIO’s low pass ﬁlter cutoff fre-

quency) and the B-mode MIDI control message will be

received.

4–1: Key Z 1–8 (Key Zone T01–08)

4–2: Key Z 9–16 (Key Zone T09–16)

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 1–16, and Top/ Bottom Slope settings

specify the range from the top/ bottom key until the original

volume is reached.

Enable Realtime Control Knob 2

[Off, On]

Speciﬁes whether or not the A-mode MIDI control message

CC#71 (the TRITON STUDIO’s low pass ﬁlter resonance or

high pass ﬁlter cutoff frequency) and the B-mode MIDI con-

trol message will be received.

Enable Realtime Control Knob 3

[Off, On]

These settings do not affect MIDI transmission/ recep-

tion. All note data that is received will be recorded into

the internal sequencer, and all note data from the inter-

nal sequencer or from the keyboard will be transmitted.

Speciﬁes whether or not the A-mode MIDI control message

CC#79 (the TRITON STUDIO’s ﬁlter EG intensity) and the

B-mode MIDI control message will be received.

Enable Realtime Control Knob 4

[Off, On]

0–1

Speciﬁes whether or not the A-mode MIDI control message

CC#72 (the release time of the TRITON STUDIO’s ﬁlter and

ampliﬁer EG’s) and the B-mode MIDI control message will

be received.

4–1a

0–1a

0–1b

0–3a

4–1b

3–7: MIDI 4 1–8 (MIDI Filter –4 T01–08)

3–8: MIDI 4 9–16 (MIDI Filter –4 T09–16)

0–1

0–1a

0–1b

0–3a

4–1a: Zone Map

This shows the range of notes and velocities that will be

sounded by each track 1–16.

The note and velocity ranges are shown as lines, and the

slope area within the range is shown in gray.

3–7a

Bottom Slope

Top Slope

Velocity zone

display

Bottom Key

Track 1

Top Key

Top Velocity

Top Slope

Key zone

display

Bottom Slope

Track 16

C-1

Bottom Velocity

. . . 16

Track

3–7(8)a: Enable SW1, Enable SW2,

Enable Foot Pedal/ Switch,

Enable Other Control Change

4–1(2)b: Top Key, Top Slope, Bottom Slope,

Enable SW1, Enable SW2

[Off, On]

Bottom Key

Speciﬁes whether or not the effect of the [SW1] and [SW2]

keys will be received.

Top Key

[C–1...G9]

The function of these keys can be set in P4: Zone/ Ctrl, Con-

troller page.

This is valid when the switches are set to SW1 Mod.:CC#80,

SW2 Mod.:CC#81 or Porta.SW:CC#65.

Speciﬁes the top key (upper limit) that will be sounded by

each track 1–16.

Top Slope

[00...72]

Speciﬁes the key range (12 is one octave) from the top key

until the original volume is reached.

Enable Foot Pedal/ Switch

[Off, On]

Speciﬁes whether or not the effect of the ASSIGNABLE

PEDAL/ SWITCH will be received. The function of this

switch is set in Global P2. This is valid when the switch is set

to a MIDI control change.

Bottom Slope

[00...72]

Speciﬁes the key range (12 is one octave) from the bottom

key until the original volume is reached.

Enable Other Control Change

[Off, On]

Bottom Key

[C–1...G9]

Speciﬁes whether or not MIDI controller messages other

than those included in MIDI Filter 1–4 will be received.

Speciﬁes the bottom key (lower limit) that will be sounded

by each track 1–16.

You can also enter a value for these parameters by play-

ing a note while you hold down the [ENTER] key.

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4–3: Vel Z 1–8 (Vel Zone T01–08)

4–7: Controller (Controller Setup)

Here you can set the functions that the [SW1] key, [SW2] key,

and the B-mode functions that the REALTIME CONTROL

knobs [1]–[4] will have in Sequencer mode.

4–4: Vel Z 9–16 (Vel Zone T09–16)

Here you can set the Top/ Bottom Velocity parameters to

specify the range of velocities that will be sounded by tracks

1–16, and Top/ Bottom Slope specify the range over which

the volume will be adjusted.

When these switches or knobs are operated during

recording, the MIDI messages that you assign here will

be recorded.

These settings do not affect MIDI transmission/ recep-

tion. All note data that is received will be recorded into

the internal sequencer, and all note data from the inter-

nal sequencer or from the keyboard will be transmitted.

0–1

0–1a

0–1b

4–7a

0–1

4–1a

4–7b

0–1a

0–1b

0–3a

4–3a

4–7a: Panel Switch Assign

Assigns functions to the [SW1] and [SW2] keys (“SW1, SW2

Assign List ” ꢀ p .249).

Since the functions assigned to these switches by the pro-

gram assigned to each track will no longer be valid, you can

make new assignments here.

4–3(4)a: Top Velocity, Top Slope, Bottom Slope,

Bottom Velocity

Top Velocity

[1…127]

SW1 (SW1 Assign)

SW1 Mode

[Off, ..., After Touch Lock]

[Toggle, Momentary]

Speciﬁes the maximum velocity that will be sounded by

each track 1–16.

SW2 (SW2 Assign)

SW2 Mode

[Off, ..., After Touch Lock]

[Toggle, Momentary]

Top Slope

[0…120]

Speciﬁes the range of values over which the volume will be

adjusted from the top velocity until the original volume is

reached.

ꢀProgram P1: 1–4a

4–7b: Realtime Control Knobs B-Assign

Bottom Slope

[0…120]

Speciﬁes the range of values over which the volume will be

adjusted from the bottom velocity until the original volume

is reached.

Here you can set the B-mode functions (mainly various con-

trol changes) that the REALTIME CONTROL knobs [1]–[4]

will have in Sequencer mode (“Realtime Control Knobs B –

Assign List ” ꢀ p .250). The f u n c tions you specify here will

operate when you rotate the REALTIME CONTROL knobs

[1]–[4] in B-mode.

Bottom Velocity

[1…127]

Speciﬁes the minimum velocity that will be sounded by

each track 1–16.

Since the functions assigned to these knobs by the program

assigned to each track will no longer be valid, you can make

new assignments here.

You can also enter a value for these parameters by play-

ing a note while you hold down the [ENTER] key.

Knob 1-B

[Off, ..., MIDI CC#95]

Knob 2-B

4–5: MOSS 1–8 (MOSS T01–08)

Knob 3-B

Knob 4-B

4–6: MOSS 9–16 (MOSS T09–16)

This page is displayed when the EXB-MOSS option has been

installed. For details refer to the owner’s manual included

with the EXB-MOSS.

ꢀProgram P1: 1–4b

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M 5–1: Page Menu Command

Sequencer P5: Track Edit

5–1G

5–1H

5–1I

0–1A

5–1A

5–1B

5–1C

5–1D

5–1E

5–1F

5–1N

5–1O

5–1P

0–1I

5–1: Track Edit

Here you can make settings for the currently selected track,

edit previously-recorded performance data, and perform

step recording.

When you wish to edit musical data or perform step record-

ing, specify the desired area. Then select the appropriate

page menu command.

5–1J

5–1K

0–1J

5–1Q

5–1L

5–1M

5–1A: Step Recording

Step recording allows you to specify the length and velocity

of each note numerically, and to input the pitches from the

keyboard. You can use the Rest button and Tie button to

input a rest or tie.

5–1

0–1a

5–1b

0–1b

If you use step recording to input data into a track that

already contains sequence data, all data will be erased

from the “From Measure” and subsequent measures. If

after inputting, you decide to revert to the prior data,

use the Compare function.

5–1a

5–1b

To input data with a continuously-changing value such as

pitch bend, it is best to use “Create Ctrl Data” (5–1L). To

input individual data events such as program changes, use

“Event Edit” (5–1B).

5–1a: Track data Map

1Use “Track Select” to select the track into which you

wish to input data, and use “From Measure” (5–1b) to

specify the measure at which you wish to begin input.

2When you select “Step Recording,” the following dialog

box will appear.

This area shows the presence or absence of performance

data, and indicates the range of editing, etc. (The track

selected by “Track Select” will be highlighted.)

Track1

Track16

Master Track

From Measure

To End of Measure

Performance data exists

No performance data

Pattern is used

Time signature

Length

(beats, clocks)

5–1b: Track Select, From Measure, To End of

Measure

Location within the

measure (beat, clock)

Note number

Velocity

Track Select

[Track01...Track16, Master Track]

Selects the track that you wish to edit (or copy from) or

record.

If you wish to select all tracks, it is not necessary to specify

them here. Check the “All Tracks” item within the dialog

box of the page menu command.

3In “Meter,” set the time signature.

This will show the time signature that has already been

set for the measure.

If you change the time signature setting, the time signa-

ture data of the measures you record will change, and all

tracks will change to the time signature you speciﬁed.

4In “Step Time,” specify the length (in terms of a note

value) of the basic interval at which you will input data.

From the popup menu at the left, select the note length in

a range of ꢅ (whole note) through (32nd note).

If you want the selected note value to be a dotted note or

a triplet, use the popup menu at the right to select a dot “.

(Dot)” or triplet “3 (Triplet).” To use the unmodiﬁed

value of the selected note, choose “– (Normal).”

Master Track: Edit the tempo or time signature of the master

track.

From Measure

[001…999]

To End of Measure

[001…999]

Speciﬁes the range of measures that you wish to edit (or

copy from) or step-record.

Use “From Measure” to specify the starting measure, and

“To End of Measure” to specify the ending measure.

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The following table shows the number of clocks repre-

sented by each “Step Time” selection.

(the LED will go dark) to cancel the pause mode and

resume input.

8When you are ﬁnished with step recording, press the

Done button. If you press the [COMPARE] key, you will

return to the condition of before you began step record-

ing.

5–1B: Event Edit

Here you can edit individual events of music data that were

input.

1Use “Track Select” to select the track that you wish to

edit, and use “From Measure” (5–1b) ﬁeld to specify the

measure at which you wish to begin editing.

5In “Note Duration,” specify the length that the note will

actually be held, relative to the “Step Time.” In general,

100% will be tenuto, 85% will be normal, and 50% will be

staccato.

6Use “Note Velocity” to specify the velocity value (key-

board playing strength) of the note data. With the

[PAUSE] key pressed, you can hold down the [ENTER]

key and play a note on the keyboard to specify the veloc-

ity value. If you set this to Key, the actual velocity at

which you played the key will be input.

If you selected Track01–16 in “Track Select,” selecting

this command will open the Set Event Filters dialog box.

If you selected Master Track in “Track Select,” this dia-

log box will not appear.

7Input the note events described below by playing notes

on the keyboard or by pressing the buttons in the lower

part of the dialog box.

•

Inputting notes

In the Set Event Filters dialog box you can select the

types of events (musical data) that will appear and can be

edited in the event edit window.

For “Note” you can set “Bottom” and “Top” to specify

the range of notes available for editing. These settings

can also be entered by holding down the [ENTER] key

and pressing a key. Normally you will leave these set at

C–1 and G9.

When you press a key on the keyboard, that note number

will be input as a note of the length speciﬁed in 4.

When you press a chord on the keyboard, those note

numbers will be input as chords of the length speciﬁed in

4. Since each of the note numbers you press before

releasing all of the keys will be input at the same loca-

tion, the notes will be input as a chord even if they are

actually played at different times.

“Control Change” lets you specify the control change

number. Normally you will leave this set at ALL.

You can also check various other events (“Pitch Bend,”

“Program Change,” “After Touch,” and “Poly After

Touch”).

Each time you press and release the keyboard, the loca-

tion will advance by the length speciﬁed in 4.

•

Inputting rests

Press the Rest button to input a rest of the length speci-

ﬁed in 4.

2Press the OK button to open the Event Edit dialog box.

Inputting a tie

If you press the Tie button without pressing the key-

board, the previously-input note will be tied, and length-

ened by the amount speciﬁed in 4.

If you press the Tie button while holding down a note,

the note you are playing will be tied, and lengthened by

the amount speciﬁed in 4.

You can even input notes as shown in the following dia-

gram.

Measure

ꢄ

ꢀ

Index no.

Location within the

measure (beat, clock)

Event data

ꢇ

ꢀ

3In the upper part of the dialog box, “Measure” and

“Index” show the measure that you are editing and the

events of the index numbers within the measure.

You can touch the scroll bar located at the right to move

to the event that you wish to edit.

Step Time =

ꢀ

Step Time =

ꢀ

Step Time =

ꢀ

Tie

Off

Release E (continue holding C)

Press G

Press E and C

4Select the event that you wish to edit, and use the VALUE

controller etc. to modify its value(s).

•

Deleting a note or rest

•

By modifying the value of the “BT” (Beat. Tick) location

within the measure, you can move the event within the

measure.

You can edit each event by modifying its data value(s).

When you select a note event, it will sound.

To delete a note or rest, press the StepBack button. 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

5You can press the buttons located at the bottom of the

If you wish to make sure of the next note before you actu-

ally input it, press the [PAUSE] key (the LED will light).

Now when you press a key, you will hear sound but the

note will not be input. Press the [PAUSE] key once again

dialog box to edit events as follows.

•

Inserting an event

Select the location “BT” at which you wish to insert an

event, and press the Insert button to insert an event.

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•

Deleting an event

Select the event that you wish to delete, and press the

Cut button to delete the event.

5–1D: Copy Track

This command copies musical data from the copy source

track to the speciﬁed track.

Be aware that when you execute the Copy Track command,

any track data that was in the copy destination track will be

erased.

Moving an event

You can use the Cut button and Insert button to move an

event (by “cut and paste”).

Use the Cut button to delete the event that you wish to

move, then use the Insert button to insert it at the

desired location.

1Select “Copy Track” to access the dialog box.

You can also move an event by modifying its “BT” value.

•

Copying an event

Select the event that you wish to copy, and press the

Copy button. Then select the copy destination and press

the Insert button to insert the event at that location.

2In “From,” select the copy source track. In “To,” select

the copy destination. (By default, “From” will be the

track you selected in “Track Select.”)

3To execute the Copy Track command, press the OK but-

ton. To cancel, press the Cancel button.

6When you are ﬁnished event editing, press the Done but-

ton. If you press the [COMPARE] key you will return the

data to the condition in which it was before you began

event editing.

The following table shows the types of musical data that can

be edited by “Event Edit” and the range of their values.

5–1E: Bounce Track

This command combines the musical data of the bounce

source and bounce destination tracks, and places the com-

bined data in the bound destination. All musical data in the

bounce source will be erased.

If MIDI control data existed in the bounce source track and

bounce destination track, unexpected results may occur dur-

ing playback after the bounce command is executed. To pre-

vent this from happening, use “Event Edit” (5–1B) or “Erase

Control Data” (5–1M) to edit the MIDI control data of the

two tracks before you use Bounce Track.

BAR (displayed only)

(Measure line)

Meter: 1/4...16/16 *¹

(Time signature)

C–1...G9 *²

(Note data)

V: 1...127 *²

(Velocity)

L: 000.000...15984.000

(Length: beats, clocks)

PAFT

C–1...G9

0...127

(Value)

(Polyphonic after (Note number)

touch)

CTRL

C: 0...101

0...127

(Control change) (Control change num- (Value)

ber)

PROG

Bank: I-A...I-F,

000...127,

P: 0...127,

1...128 (G, g(1)...g(d))

1Select “Bounce Track” to access the dialog box.

(Program change) G, g(1)...g(9) g(d), - - -,

E–A...E-G

(Program bank)

(Program number)

AFTT

(After Touch)

0...127

(value)

BEND

–8192...+8191

(Pitch bend)

(value)

2In “From,” specify the bounce source track. In “To” spec-

ify the bounce destination track. (By default, “From” will

be the track you selected in “Track Select.”)

3To execute the Bounce Track command, press the OK

button. To cancel, press the Cancel button.

*1 Be aware that because the time signature is recorded

in the master track, modifying it from any track will

affect the same measure of all tracks, causing them

all to be played in the modiﬁed time signature.

5–1F: Erase Measure

*2 Note data and velocity values can also be entered by

holding down the [ENTER] key and playing a note

on the keyboard.

This command erases the speciﬁed type(s) of musical data

from the speciﬁed range of measures. The Erase Measure

command can also be used to remove only a speciﬁc type of

data. Unlike the Delete Measure command, executing the

Erase Measure command does not cause the subsequent

measures of musical data to be moved forward.

Pattern numbers will be displayed in locations in which a

pattern has been “put” (placed). At the end of the track there

will be an indication of End of Track.

1Use “Track Select” to select a track.

2Select “Erase Measure” to access the dialog box.

5–1C: Erase Track

This command erases the data from the speciﬁed track.

However, it is not possible to erase the master track by itself.

1In “Track Select,” select the track that you wish to erase.

2Select “Erase Track” to access the dialog box.

3In “From Measure” select the ﬁrst measure to be erased,

and in “To End of Measure” select the last measure to be

erased. (By default, “From Measure” and “To End of

Measure” will be set to the range that you speciﬁed in the

Track Edit page.)

If you check “All Tracks,” the musical data of all tracks

will be erased.

4In “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, Control Change will erase control

change data, After Touch will erase both channel pres-

sure and polyphonic key pressure data, Pitch Bend will

erase pitch bend data, and Program Change will erase

program change data.

3To execute the Erase Track command, press the OK but-

ton. To cancel, press the Cancel button.

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5If you check “All Tracks,” the speciﬁed type of data will

be erased from all tracks.

Example: When measures 2 and 3 (3/4 time) of track 2 are deleted, the measures that were

at 4 and 5 are moved forward, and their time signature will change to 3/4.

6To execute the Erase Measure command, press the OK

button. To cancel, press the Cancel button.

1 (4/4)

2 (3/4)

3 (3/4)

4 (4/4)

5 (4/4)

Track 1

Track 2

Before Delete

Example: If measures 2–3 are erased, measures 2–3 will be blank.

Before Erase

After Erase

1 (4/4)

2 (3/4)

3 (3/4)

Track 2

Track 1

After Delete

4 (4/4)

5 (4/4)

No data

If in 4you check “All Tracks” and execute this opera-

tion, the speciﬁed measures of musical data will be

deleted from all tracks including the master track, and

the time signature and tempo will also move forward

by the number of measures that were deleted.

If control data extends across a line between measures

that were deleted and measures that were not deleted,

only the data within the range being deleted will be

erased. However if note data extends across two or

more measures, deleting any of the intervening mea-

sures will delete that note data from the following mea-

sures as well.

If control data extends across measures that were

erased and measures that were not erased, only the

data within the range being erased will be erased. How-

ever if note data extends across two or more measures,

deleting any of the intervening measures will delete

that note data from the following measures as well.

Note data can also be erased using “Shift/ Erase Note”

(5–1O). Use this command when you wish to erase a

speciﬁc range of notes, or to erase notes from a speciﬁc

“Beat.Tick.”

5–1H: Insert Measure

Control Change data can also be erased using “Erase

Control Data” (5–1M). Use this when you wish to erase

a speciﬁc type of control change, or to erase control

change data from a speciﬁc “Beat.Tick” range.

This command inserts the speciﬁed number of measures

into the speciﬁed track. When you execute the Insert Mea-

sure command, the musical data following the insert loca-

tion will be moved backward.

If musical data is inserted into a range of measure across

which note data has been tied, a note-off will be created

immediately before the inserted measure, and the subse-

quent portion of the note will be deleted.

5–1G: Delete Measure

This command deletes the speciﬁed measures.

When the Delete Measure command is executed, the musi-

cal data following the deleted measures will be moved

towards the begining of the sequence.

1In “Track Select,” specify the track into which you wish

to insert.

2Select “Insert Measure” to access the dialog box.

1Use “Track Select” to select the track.

2Select “Delete Measure” to access the dialog box.

3In “At Measure,” specify the measure location at which

the data will be inserted. (The measure you speciﬁed in

Track Edit page “From Measure” will be set as a default.)

4In “Length,” specify the number of measures that will be

inserted.

3In “From Measure” select the ﬁrst measure that you wish

to delete, and in “To End of Measure” select the last mea-

sure that you wish to delete. (By default, “From Mea-

sure” and “To End of Measure” will be the range that you

speciﬁed in the Track Edit page.)

5In “Meter,” specify the time signature of the measures

that will be inserted.

4If you wish to delete musical data from all tracks includ-

ing the master track, check “All Tracks.”

If you want the inserted measures to match the existing

time signature, specify **/**. With any setting other than

**/**, the time signature of the inserted measures will

change, and the speciﬁed time signature will apply to all

tracks for those measures.

If this is not checked, data will be deleted only from the

track that was selected by “Track Select.”

5To execute the Delete Measure command, press the OK

button. To cancel, press the Cancel button.

6If you wish to insert measures into all tracks including

the master track, check “All Tracks.” The musical data

following the inserted measures will playback in the

same way it did before the measures were inserted.

If “All Tracks” is unchecked, the measures will be

inserted only into the speciﬁed track. At this time, the

musical data following the inserted location will be

moved toward the end of the sequence by the number of

measures that were inserted. However, the time signa-

ture and tempo recorded in the master track and will not

change.

Example: When measures 3–5 are deleted, measures 6–8 are moved forward.

Before

Delete

After

Delete

If in 4you uncheck “All Tracks” and execute this oper-

ation, 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.

7To execute the Insert Measure command, press the OK

button. To cancel, press the Cancel button.

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5–1J: Copy Measure

Time signature = **/**

This command copies the measures of musical data speci-

ﬁed as the “From” source to the begining of the measure

speciﬁed as the “To” location.

When you execute the Copy Measure command, the exist-

ing track data at the copy destination will be rewritten.

Track 1 1 (4/4) 2 (4/4) 3 (3/4) 4 (5/4) 5 (2/4)

Before Insert

1 (4/4) 2 (4/4) 3 (3/4) 4 (5/4) 5 (2/4)

Insert two measures

Track 2

1Select the copy source song.

2Select “Copy Measure” to access the dialog box.

1 (4/4) 2 (4/4) 3 (3/4) 4 (5/4) 5 (2/4)

Track 2

Track 1

After Insert

Measures 4 and 5 will use the previously specified

time signature.

Time signature = 7/8

1 (4/4) 2 (4/4) 3 (3/4) 4 (5/4) 5 (2/4)

Track 1

Before Insert

Track 2 1 (4/4) 2 (4/4) 3 (3/4) 4 (5/4) 5 (2/4)

Insert two measures

3In From: “Track,” select the copy source track. (By

default, this will be the track you selected in “Track

Select.”)

1 (4/4) 2 (7/8) 3 (7/8) 4 (5/4) 5 (2/4)

Track 2

Track 1

If you check “All Tracks,” the musical data of all tracks

including the master track will be copied.

After Insert

4In “From Measure” and “To End of Measure,” specify

the range of copy source measures. (By default, “From

Measure” and “To End of Measure” will be the range that

you speciﬁed in the Track Edit page.)

5In “To: Song,” specify the copy destination song. In

“Track” (when “All Tracks” is unchecked) specify the

copy destination track. In “Measure,” specify the ﬁrst

measure where the copied measures will be inserted.

6To execute the Copy Measure operation, press the OK

button. To cancel, press the Cancel button.

Measures 2 and 3 will be 7/8, and measures 4 and 5

will be the previously specified time signature.

5–1I: Repeat Measure

This command repeatedly inserts the speciﬁed measures for

the speciﬁed number of times. When you execute the Repeat

Measure command, the measures will be inserted following

the measure speciﬁed by “To End of Measure,” and musical

data following the inserted data will be moved backward. It

is convenient to use this command when you have a song

that you playback with “Track Play Loop” (0–5a/ 6a) turned

on, and wish to expand it into musical data.

Example: When you copy measures 5–7 of track 1 to the third measure of track 2,

measures 3–5 of track 2 will be rewritten.

Track 1

(source)

1 (4/4)

2 (4/4)

3 (4/4)

4 (3/4)

5 (3/4)

6 (3/4)

7 (4/4)

1Use “Track Select” to select the track whose measures

you wish to repeat.

2Select “Repeat Measure” to access the dialog box.

Track 2

(destination)

5–1K: Move Measure

This command moves measures of musical data to a speci-

ﬁed destination. When you execute the Move Measure com-

mand, musical data following the move source will be

moved forward according to the number of measures

moved, and musical data following the move destination

will be moved backward correspondingly.

3In “From Measure” and “To End of Measure,” specify

the range of measures that will be repeated. (By default,

“From Measure” and “To End of Measure” will be set to

the range you speciﬁed in the Track Edit page.)

4In “Times,” specify the number of repetitions. For exam-

ple if you set “From Measure” to 001, “To End of Mea-

sure” to 004, and “Times” to 2, the musical data of

measures 1–4 will be inserted into measures 5–8. The

result will be that measures 1–4 will be played twice.

5If you wish to repeat the musical data of all tracks includ-

ing the master track, check “All Tracks.”

1Select “Move Measure” to access the dialog box.

6To execute the Repeat Measure command, press the OK

button. To cancel, press the Cancel button.

2In From: “Track,” select the move source track. (By

default, this will be the track you selected in “Track

Select.”)

If you execute the Repeat Measure operation on measures 1–4 with “Time” = 2,

measures 1–4 will be inserted into measures 5–8.

Before

Repeat

Track 1

If you check “All Tracks,” musical data of all tracks

including the master track will be moved.

Measure

3In “From Measure” and “To End of Measure,” specify

the range of measures that will be moved. (By default,

“From Measure” and “To End of Measure” will be the

range that you speciﬁed in the Track Edit page.)

4In “To: Track” (if “All Tracks” is unchecked), specify the

move destination track. In “Measure,” specify the ﬁrst

measure of the move destination.

After

Repeat

Measure

5To execute the Move Measure command, press the OK

button. To cancel, press the Cancel button.

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5–1L: Create Ctrl Data (Create Control Data)

5–1M: Erase Ctrl Data (Erase Control Data)

This command gradually varies continuous-type data (e.g.,

control change, after touch, pitch bend, tempo) in the speci-

ﬁed area.

This command erases data such as control changes, after

touch, pitch bend, or tempo in the speciﬁed range.

1In “Track Select,” select the track from which you wish

to erase control data.

If you wish to erase tempo data, select Master Track. In

this case, the “Kind” item in step 4will be Tempo.

2Select “Erase Ctrl Data” to access the dialog box.

1In “Track Select,” select the track on which you wish to

perform the Create Control Data command.

If you wish to modify tempo data, select Master Track as

the track. In this case, the step 4item “Kind” will be set

to “Tempo.”

2Select “Create Ctrl Data” to access the dialog box.

3Specify the range from which you wish to erase control

data.

In “From Measure” to “To End of Measure” specify the

measures, and in “Beat.Tick” specify the beat and clock.

(By default, “From Measure” and “To End of Measure”

will be the range that was speciﬁed in the Track Edit

page.)

3Specify the range into which the control data will be

inserted.

In “From Measure” and “To End of Measure” specify

the measures, and in “Beat.Tick” specify the beat and

clock. (By default, “From Measure” and “To End of Mea-

sure” will be set to the range you speciﬁed in the Track

Edit page.)

4“Kind” to the type of musical data (event) that you wish

to erase.

Control change: Control change data will be erased. In

this case, use “#” to specify the control change number.

After Touch: Aftertouch data will be erased.

Pitch Bend: Pitch bend data will be erased.

5To execute the Erase Control Data command, press the

OK button. To cancel, press the Cancel button.

4“Kind” to the type of musical data (event) that you wish

to create.

Control change: Control change data will be inserted. In

this case, use “#” to specify the control change number.

After Touch: Aftertouch data will be inserted.

Pitch Bend: Pitch bend data will be inserted.

5In “Start Value,” select the starting value of the control

data. In “End Value,” select the ending value of the con-

trol data. By default, the “Start Value” will be set to the

value of the existing data at the start location. If you wish

to create control data that changes smoothly from the

starting location, you can leave the “Start Value”

unchanged, and set only the “End Value.”

If you wish to erase all control change data from speci-

ﬁed measures, you can also use “Erase Measure” (5–1F)

and set “Kind” to Control Change. However, this Erase

Control Data command allows you to specify the range

using “Beat.Tick,” and also to erase only speciﬁc types

of control change data.

6To execute the Create Control Data command, press the

OK button. To cancel, press the Cancel button.

5–1N: Quantize

This command corrects the timing of musical data that

already exists in the sequencer. When you execute the Quan-

tize operation, the musical data will be affected as follows:

Example: The controller is aftertouch. Starting location is 3:48, ending location is 4:24,

and end value is set to 100. This will cause the aftertouch value to begin

changing from 3:48, and reach a value of 100 at 4:24.

•

When you execute Quantize on note data, the timing of

the note-on will be corrected, but the length (duration of

the note) will not be affected.

Start location

End location

After touch

127

100

End Value

•

If the Quantize resolution is set to Hi, the timing will be

adjusted to units of the base resolution (ꢀ/ 192), so note

data will not be affected. However, continuous

controller data such as joystick or after touch which

occupies a large amount of memory will be processed so

that two or more data events of an identical type existing

at a single interval of the timing resolution will be

combined into a single event, thus conserving memory.

Similarly, two or more data events of an identical type

existing at the identical timing will be combined into one,

also conserving memory.

Previous data

Start Value

default value

Location

3:00

3:24

3:48

3:72

4:00

4:24

4:48

When you execute Create Control Data, a large amount

of sequencer memory will be consumed. For this reason

it may not be possible to execute this command if there

is a limited amount of memory remaining. In such

cases, ﬁrst use “Quantize” (5–1N) to quantize the data

and remove unnecessary control data. Alternatively,

you could quantize the data that was inserted by the

Create Control Data command.

1In “Track Select,” specify the track.

2Select “Quantize” to access the dialog box.

3Specify the range that will be quantized.

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In “From Measure” and “To End of Measure,” specify

the measures. In “Beat.Tick” specify the beat and clock.

(By default, “From Measure” and “To End of Measure”

will be the range that you speciﬁed in the Track Edit

page.)

5–1O: Shift/ Erase Note

This command shifts (moves) or erases the speciﬁed note

numbers in a speciﬁed track and range of measures.

1In “Track Select,” select the track on which you wish to

execute the Shift/ Erase Note command.

2Select “Shift/Erase Note” to access the dialog box.

4In “Kind,” select the type of musical data (events) that

you wish to quantize.

All: Quantization will be applied to all performance data.

Note: Quantization will be applied only to note data. Use

“Bottom” and “Top” to specify the range of notes. “Bot-

tom” speciﬁes the lowest note that will be affected, and

“Top” speciﬁes the highest note. You can use this when

you want to quantize only a speciﬁc note or notes (for

example, just the snare sounds of a drum track). If you

want to quantize all notes, set these parameters C–1 and

G9 respectively. These note settings can also be input by

holding down the [Enter] key and playing a note on the

keyboard.

Control Change: Quantization will be applied to control

changes. If you want to quantize only a speciﬁc control

change, specify the number (“No.”). If you want to quan-

tize all control changes, select All.

After Touch: Quantize both Channel Pressure and Poly-

phonic Key Pressure messages.

3Specify the range in which you wish to shift or erase note

numbers.

In “From Measure” and “To End of Measure,” specify

the measures. In “Beat.Tick,” specify the beat and clock.

(By default, “From Measure” and “To End of Measure”

will be the range that you speciﬁed in the Track Edit

page.)

4Specify the range of notes that you wish to shift or erase.

“Note Range: Bottom” speciﬁes the lower limit, and

“Top” speciﬁes the upper limit. If you wish to edit all

notes, set “Bottom” to C–1 and “Top” to G9. These set-

tings can also be made by holding down the [ENTER]

key as you play a note.

Pitch Bend: Pitch bend data will be quantized.

Program Change: Program change data will be quan-

tized.

5In “Resolution,” specify the timing resolution to which

the data will be corrected.

•

Shifting notes

By setting a lower resolution you can save more memory,

but the timing of the playback may not be acceptable.

6In “Offset,” specify the number of clock ticks by which

the data will be moved forward or backward relative to

the standard timing. A setting of 96 will be ꢃ , and 48 will

be ꢁ . Positive (+) settings will adjust the data forward,

and negative (–) settings will adjust the data backward.

This allows you to simulate “pushing” or “dragging” the

beat.

7In “Intensity,” specify the degree of sensitivity to which

the timing will be corrected; i.e., how close to the loca-

tions speciﬁed by 5and 6the data will be moved.

With a setting of 0, no correction will take place. With a

setting of 100, the data will be moved all the way to the

timing intervals speciﬁed by 5and 6.

5In “Shift Note,” specify the amount by which you wish

to move the note.

The amount of shift is set in semitone steps over a range

of –127–+127. +1 will shift the note a semitone upward.

6Select either “Replace” to move the note numbers, or

“Create” to generate additional notes.

For example if you are editing a track that uses a drum

program, you can use “Replace” to exchange the current

snare sound for a different snare sound assigned to a dif-

ferent key, or use “Create” to add a sound effect at a dif-

ferent note # to the snare sound. Alternatively, you can

use “Create” to add an octave doubling to an existing

guitar phrase, etc.

7To execute the Shift Note command, press the OK but-

ton. To cancel, press the Cancel button.

8To execute the Quantize command, press the OK button.

To cancel, press the Cancel button.

•

Erasing notes

5Check “Erase Note.”

* By varying the “Offset” and “Intensity” settings you can

If you wish to erase all note data in the speciﬁed range of

measures, you can also use the “Erase Measure” com-

mand (5–1F) and set “Kind” to Note. However, this

Shift/ Erase Note command lets you specify the

“Beat.Tick” range, and to erase only speciﬁc ranges of

note data.

create quantize effects such as the following.

ꢃ

Original

100%

Quantize Resolution =

Offset = 0, Intensity = 100%

ꢃ

6To execute the Erase Note command, press the OK but-

ton. To cancel, press the Cancel button.

50%

Quantize Resolution = ꢃ

Offset = 0, Intensity = 50%

100%

+48

Quantize Resolution = ꢃ

Offset = +48, Intensity = 100%

+48

75%

+48

Quantize Resolution = ꢃ

Offset = +48, Intensity = 75%

+48

100%

Quantize Resolution = ꢃ

Offset = –24, Intensity = 100%

–24

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5–1P: Modify Velocity

5–1Q: Set Song Length

This command modiﬁes the velocity values of notes in the

speciﬁed area so that they will change over time according

to a selected curve.

This command changes the length of the speciﬁed song.

When it is executed, the length of the master track will

change, and the number of measures played will change.

1In “Track Select,” specify the track whose velocity will

be modiﬁed.

1Select “Set Song Length” to access the dialog box.

2Select “Modify Velocity” to access the dialog box.

2In “Length,” specify the length of the song.

3To execute the Set Song Length command, press the OK

button. To cancel without executing, press the Cancel

button.

Be aware that if you shorten the song, data will also be

deleted from the tracks other than the master track.

3Specify the range in which note velocity will be modiﬁed.

“From Measure” and “To End of Measure” specify the

measure, and “Beat.Tick” specify the beat and clock. (By

default, “From Measure” and “To End of Measure” will

be set to the range that you speciﬁed in the Track Edit

page.)

5–2: Track Name

Here you can assign a name to each track.

4Specify the range of notes that will be affected by the

Modify Velocity command. Note Range “Bottom” is the

lower limit, and “Top” is the upper limit. If you wish to

edit all notes, set “Bottom” to C–1 and “Top” to G9.

These settings can also be made by holding down the

[ENTER] key as you play a note on the keyboard.

5In “Velocity Start Value” specify the value at which the

velocity data will start, and in “End Value” specify the

ﬁnal velocity value. These settings can also be made by

holding down the [ENTER] key as you play a note on the

keyboard.

5–1

0–1a

5–1b

0–1b

5–2a

6In “Intensity,” specify the degree to which the velocity

data will be adjusted toward the curve you specify in 7.

With a setting of 0 [%], the velocity will not change. With

a setting of 100 [%], the velocity will be exactly as

described by the curve.

5–2a: Track Name

7“Curve”* lets you select from six types of curve to specify

how the velocity will change over time.

8To execute the Modify Velocity operation, press the OK

button. To cancel, press the Cancel button.

Track Name

[TRACK 01...TRACK 16]

Press the text edit button to access the dialog box, and input

the desired name. Up to 16 characters may be used. (ꢀBG

p.53, 57)

* The six curves are as follows.

For a Start Velocity of 1 and End Velocity of 127

Curve 1

Curve 2

Curve 3

127

Velocity

Start

Measure

End

Measure

Start

Measure

End

Measure

Start

Measure

End

Measure

Curve 4

Curve 5

Rndm

127

Velocity

RANDOM

Start

Measure

End

Measure

Start

Measure

End

Measure

Start

Measure

End

Measure

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Pattern (Pattern Bank)

[Preset, User]

Sequencer P6: Pattern/ RPPR

Selects the type of pattern.

If Preset is selected, it will not be possible to record. You will

be able to select and execute the “Copy Pattern,” “Bounce

Pattern,” “Put to Track,” and “Copy to Track” page menu

commands.

On the TRITON STUDIO 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.

Pattern Select

[P000...149, U00...U99]

Preset patterns cannot be edited, but you may copy a preset

pattern to a user pattern, and edit.

Selects a pattern. User patterns can be renamed in the Pat-

tern Name page.

User patterns can be created by realtime recording (includ-

ing recording that uses the arpeggiator), step recording, the

Get From Track command (obtaining data from a track), or

the Copy Pattern command (copying from another pattern)

(ꢀBG p.86).

ꢀ (Tempo)

[040...240, EXT]

Speciﬁes the playback tempo of the pattern. (ꢀ0–1a).

Metronome Sound

[Only REC, REC & Play, Off]

Speciﬁes whether the metronome will sound during record-

ing or playback. (ꢀ0–8b, “Sound,” “Metronome Setup”)

These patterns can be assigned to each key by the RPPR

(Realtime Pattern Play/ Recording) function and played by

pressing a single key, and the resulting performance can be

recorded on the sequencer (ꢀRPPR Setup page).

Reso (Resolution)

[Hi, 3 … ꢀ ]

Speciﬁes how the timing of the data being recorded into the

pattern will be corrected. (ꢀ0–1a “Reso (Resolution).”)

Remove Data

[Off, On]

6–1: Pattern Edit

Here you can record a pattern, edit it, and assign it to a track

in a song.

On (checked): Unwanted performance data can be

removed during pattern recording. The procedure is the

same as explained in “Remove Data” of Loop All Tracks.

(ꢀ0–8a)

6–1

6–1a

6–1c: USED IN SONG TRACK, USED IN RPPR

6–1b

USED IN SONG TRACK

This area indicates the song tracks in which the selected pat-

tern is used.

6–1c

USED IN RPPR

This area indicates the RPPR in which the selected pattern is

used. The assigned key and the speciﬁed track are shown.

How to record a user pattern

6–1a: Location, Song Select, Track Select

1Use “Song Select” to select the song in which you want to

create a user pattern.

2Use “Track Select” to select the sound that you will

record.

Location

[01...99]

Displays the current measure location of the selected pat-

tern.

The pattern you record will sound according to your

choice in “Track Select.”

Song Select

[000...199: name]

3Use “Pattern Bank” and “Pattern Select” to select User

pattern and the desired pattern number.

4Select the page menu command “Pattern Parameter,”

and in the dialog box, specify the number of measures

and time signature of the pattern.

Selects a song.

The user pattern will be created in the song you select.

Track Select

[Track01...Track16, Master Track]

Selects the track that will be used to record/ play the pattern

data. The pattern data will be recorded/ played using the

settings of the track you select. The area at the right displays

the program bank, number, and name for the selected track.

5Check the tempo in “ꢀ”.

6If you want to record in realtime, set “Reso” to specify

the resolution, and press the SEQUENCER [REC/

WRITE] key and then the [START/ STOP] key to begin

recording.

When you ﬁnish recording to the end of the measures

speciﬁed by “Pattern Parameter,” you will return to the

ﬁrst measure, and can continue recording while adding

more material. (ꢀ”Loop All Tracks” 0–8a)

If you want to perform step recording, select the page

menu command “Step Recording (Loop Type)” to access

the dialog box, and record.

6–1b: Pattern, Pattern Select, Tempo, Metronome

Sound, Reso, Remove Data

If you wish to record pattern data, use “Pattern” and “Pat-

tern Select” to select a user pattern and pattern number.

Next, use the “Pattern Parameter” page menu command to

set the number of measures in the pattern and its time signa-

ture. Then you can perform realtime recording in the Pattern

Edit page, or step recording by using the “Step Recording

(Loop Type)” page menu command. Finally, use page menu

commands as desired to perform event editing or other

types of editing.

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6–1D: Erase Pattern

M 6–1: Page Menu Command

This command erases the data from the selected pattern.

1Use “Pattern” and “Pattern Select” to specify the pattern.

2Select “Erase Pattern” to access the dialog box.

6–1F

6–1G

6–1H

6–1I

0–1A

6–1A

6–1B

6–1C

6–1D

6–1E

0–1I

3If you check “All Patterns,” all user patterns in the song

will be erased.

6–1A: Step Recording (Loop Type)

Here you can perform step recording into a pattern.

This is available when a user pattern is selected.

If “All Patterns” is not checked, only the pattern speci-

ﬁed in 1will be erased.

4To execute the Erase Pattern command, press the OK

button. To cancel, press the Cancel button.

1In “Pattern” and “Pattern Select,” specify the pattern.

By default, the pattern length is one measure. If you wish

to change the number of measures in the pattern, set the

“Pattern Parameter” (6–1C).

2Select “Step Recording (Loop Type)” to access the dialog

box.

6–1E: Copy Pattern

This command copies the settings and musical data of the

selected pattern to another pattern.

User patterns belong to a particular song, but you can use

the Copy Pattern command to use the same pattern in

another song.

Time signature

Also, while preset patterns cannot be edited, you can copy a

preset pattern to a user pattern and then edit and save it as a

user pattern. Be aware that when you execute the Copy Pat-

tern operation, the pattern settings and musical data of the

copy destination will be erased.

Length

(beats, clocks)

1Select “Copy Pattern” to access the dialog box.

Location within the

Note number

Velocity

measure (beat, clock)

3The remaining steps are the same as when step recording

on a track. Refer to steps 3and following in “Step

Recording” (5–1A). However, step recording a pattern

differs from step recording a track in that when you reach

the end of the pattern, you will return to the beginning

and continue recording, in this way continuing to add

more data.

2In From (Song***): “Pattern,” specify the copy source

pattern. (By default, this will be the song and pattern that

was selected in the Pattern Edit page.)

3In To: “Song” and “Pattern,” specify the copy destina-

tion song and pattern. For “Pattern,” only user patterns

U00–U99 can be speciﬁed.

6–1B: Event Edit

4To execute the Copy Pattern command, press the OK

button. To cancel, press the Cancel button.

Here you can edit individual events of the musical data in a

pattern.

Use “Pattern” and “Pattern Select” to specify the pattern,

and then select this command.

The remaining steps are the same as when Event Editing a

track. ꢀ“Event Edit” (5–1B).

6–1F: Bounce Pattern

This command combines the musical data of the bounce

source pattern and bounce destination pattern, and places

the combined musical data in the bounce destination. The

time signature and length of the pattern following execution

will be according to the settings of the bounce destination.

Unlike the Track Bounce operation, the musical data of the

bounce source will not be erased.

6–1C: Pattern Parameter

This command speciﬁes the number of measures and the

time signature of the selected pattern.

If MIDI control data exists in the selected pattern and in the

bounce destination pattern, the resulting playback following

the bounce operation may produce unexpected results. We

recommend that you use “Event Edit” (6–1B) to prepare the

MIDI control data of the two patterns before executing the

Bounce Pattern command.

1Use “Pattern” and “Pattern Select” to specify the pattern.

2Select “Pattern Parameter” to access the dialog box.

1Use “Pattern” and “Pattern Select” to specify the bounce

source pattern.

2Select “Bounce Pattern” to access the dialog box.

3In “Length,” specify the number of measures in the pat-

tern.

4In “Meter,” specify the time signature of the pattern.

However, this time signature is only temporary, and

when you “put” or “copy” the pattern in a track of a

song, the pattern will play according to the time signa-

ture of that measure.

5To execute the Pattern Parameter settings, press the OK

button. To cancel, press the Cancel button.

3In From (Song***) “Pattern,” select the bounce source

pattern. (By default, the song and pattern that are

selected in the Pattern Edit page will be chosen.)

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4In To: “Song” and “Pattern,” select the bounce destina-

tion song and pattern. For “Pattern,” only user patterns

U00–U99 can be speciﬁed.

If you press the SEQUENCER [START/ STOP] key

while the dialog box is open, the selected pattern will

play back.

5To execute the Bounce Pattern command, press the OK

button. To cancel, press the Cancel button.

2In “Pattern” and “Pattern Select,” select the “put” source

pattern. (By default, this will be the pattern selected in

the Pattern Edit page)

3In “To Track,” select the “put” destination track.

4In “Measure,” specify the ﬁrst measure of the “put” des-

tination.

6–1G: Get From Track

This command takes musical data from a track and loads it

into the speciﬁed pattern.

1Use “Pattern” and “Pattern Select” to specify the pattern.

2In “Pattern Parameter” (6–1C), specify the pattern length

of the “get” destination.

5To execute the Put to Track command, press the OK but-

ton. When you execute the command, “Measure” will

automatically count up. If you wish to, you can continue

“putting” the pattern. To exit the command, press the

Exit button.

3Select “Get From Track” to access the dialog box.

6–1I: Copy To Track

This command copies the speciﬁed area of musical data

from the speciﬁed pattern to a track as musical data.

Unlike the Put To Track command, this command actually

writes the musical data of the pattern into the track, so that

you can edit the copied data in the track. Even if you later

edit the copy source pattern, the musical data of the song

will not be affected.

4In “Song,” select the “get” source song.

5In “Track,” select the “get” source track.

In “Measure,” specify the ﬁrst measure of the “get” source.

7To execute the Get From Track command, press the OK

button. To cancel, press the Cancel button.

When you execute the Copy to Track command, the musical

data will be affected as follows.

6–1H: Put To Track

This command places a pattern into a track.

•

Musical data previously existing in the copy destination

measures will be erased.

Unlike the “Copy to Track” (6–1I), this command only places

the pattern number in the song, so that when playback

reaches that point, the pattern will be recalled. The musical

data of the pattern will not actually exist in the track.

By creating patterns that contain frequently-used phrases or

drum patterns, and then placing them on the tracks, you can

conserve memory.

•

The musical data that is copied will playback according

to the time signature specified at the copy destination

measures.

Example: Copy the musical data of pattern 41 to measure 2

Be aware that when you edit a pattern, all locations in the

song where that pattern has been placed will be affected.

Before Copy

After Copy

Pattern 41

When you execute the Put to Track command, the musical

data will be affected as follows.

•

Musical data previously existing at the “put” destination

will be erased.

The procedure is the same as for the Put to Track command.

ꢀ“Put To Track” (6–1H).

•

The pattern that you “put” will playback according to

the time signature that is specified by the measures of

the “put” destination.

•

Control data such as pitch bend etc. (but not including

volume data) previously existing in the track will be

reset immediately before the measure at which the

pattern was “put.”

6–2: Pattern Name

6–1

If you wish to use control data such as pitch bend in the

measures in which a pattern is “put,” you must ﬁrst

write the control data into the pattern.

6–1a

6–1b

To delete a pattern that has been placed in a track you can

use “Erase Measure” (5–1F), specifying the area in which

the pattern was “put,” and setting “Kind” to All.

6–2a

Example: Pattern 20 has been Put at measures 2, 4, and 6 of track 10. When those measures

are reached, pattern 20 is called and its data is played.

Track 10

(Drums)

6–2a: Pattern name

Pattern 20

Pattern name

[U00...U99]

1Select “Put to Track” to access the dialog box.

Here you can rename the pattern. Press the text edit button

to access the dialog box, and input the name. Up to 16 char-

acters can be input. (ꢀBG p.53, 57)

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6–3: RPPR Setup

6–3b: Keyboard & Assigned drawing

Here you can make settings for the RPPR (Realtime Pattern

Play/ Recording) function. RPPR lets you assign patterns

from a song to individual keys, and then playback patterns

simply by pressing individual notes on the keyboard. The

results can be recorded to the sequencer.

This shows the selected key, and the keys to which a pattern

has been assigned by the RPPR function. (Assignments are

not possible for the keys displayed in gray.)

Unassignable keys Assigned keys

Unassigned keys

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.

Selected key

The arpeggiator is not operated by patterns played

back by RPPR. When RPPR is on, keys for which no

pattern is assigned will sound the track selected by

“Track Select.” At this time, the arpeggiator will operate

if either arpeggiator A or B is selected for that track and

turned on. RPPR will not be triggered by notes gener-

ated by the arpeggiator.

6–3c: RPPR Setup

KEY (Key Select)

[C#2...C8]

Speciﬁes the key to which you want to assign an RPPR pat-

tern.

The following parameters will apply to the key that you

select here.

This can also be selected by holding down the [ENTER] key

and playing a note on the keyboard.

When Local Control is OFF (“Local Control On” Global

P1: 1–1a), the keyboard will not trigger RPPR pattern

playback. Notes received at MIDI IN on the channel of

the track currently selected by “Track Select” will trig-

ger patterns. If you have recorded only the trigger notes

on an external sequencer and wish to use the playback

from the external sequencer to trigger RPPR patterns on

TRITON STUDIO, set Local Control OFF.

If you want the note data generated by RPPR to be

recorded by the external sequencer, set Local Control

ON, and turn off the echo back function of the external

sequencer. (ꢀ p .267)

Assign

[Off, On]

On (checked): When you playback the key speciﬁed by

“KEY,” the pattern selected in “Pattern” will be triggered.

Off (unchecked): That key will sound the currently selected

track at the corresponding pitch, just as in normal Sequencer

mode.

Pattern (Pattern Bank)

Pattern Select

[Preset, User]

[P000...149, U00...99]

In the RPPR Setup page, RPPR is turned on automati-

cally. This will be the same result as when the RPPR

check box (0–1a) in each page is checked.

Selects the RPPR pattern for the key selected in “KEY.” If the

selected user pattern contains no musical data, there will be

no sound when you press that key.

6–1

Track

[Track 01...Track16: name]

6–3a

Selects the track that will be used for the RPPR pattern

selected for the “KEY.” When you play the key, the pattern

will be played according to the settings of the track you

select here. Track settings are made in P0: Play/ REC, P2: Trk

Param, P3: MIDI Filter, and P4: Zone/ Ctrl. When you record

in realtime with the RPPN function turned on, the data will

be recorded on the track you select here. (ꢀBG p.94)

The line below displays the program bank/ name and MIDI

channel (Ch) that are speciﬁed for the “Track.”

6–3b

6–3c

Revert

When you press this button, the “Pattern (Pattern Bank),”

“Pattern Select,” and “Track” settings of the last-edited

“KEY” for which “Assign” was checked will be copied to

these parameters of the currently selected “KEY”

6–3a: Song Select, Track Select, Tempo

Song Select

[000...199: name]

Selects the desired song.

The RPPR settings will be assigned to the song you select

here.

Example: Assigning preset patterns P00, P01, and P02 to

“KEY”

Before you begin, assign a drum program such as INT-A036

to track 1.

Track Select

[Track01...Track16, Master Track]

1Set “KEY” to C#2, and check “Assign.” Set “Pattern (Pat-

tern Bank)” to Preset, “Pattern Select” to P00, and

“Track” to Track01.

Selects the track that will be played by keys that are not

assigned to RPPR.

Select the track that you want to play from the keyboard.

ꢀ (Tempo)

[040...240, EXT]

Speciﬁes the playback tempo of the patterns. (ꢀ0–1a)

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2Set “KEY” to D2, and press the Revert button.

The “Pattern (Pattern Bank),” “Pattern Select,” and

“Track” settings that you speciﬁed in step 1will be cop-

ied automatically.

3Edit only “Pattern Select.” Select “Pattern Select,” and

press the [ ] key to select P01: Pop&Balad 2/Std.

4Set “KEY” to D#2, and press the Revert button.

The “Pattern (Pattern Bank)” P01: Pop&Balad 2/Std you

selected in step 3, as well as the “Pattern Select” and

“Track” settings, will be copied automatically.

5As you did in step 3, set “Pattern Select” to P02:

Pop&Balad 3/Std.

Sync

[Off, Beat, Measure, SEQ]

Speciﬁes the way in which the pattern playback will be syn-

chronized when you press the speciﬁed “KEY.”

Off: The pattern will begin playing at the moment you press

the note.

Beat: The pattern will synchronize to the beats of the pattern

that was started by the ﬁrst key (i.e., the ﬁrst note-on that

occurs from a condition where no notes of the keyboard are

pressed). This setting is suitable when you wish to play

phrase patterns in unison.

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.

By using “Revert” in this way, you can efﬁciently specify

“Pattern (Pattern Bank),” “Pattern Select,” and “Track” set-

tings for each “KEY” when creating RPPR data. This is par-

ticularly convenient when, as in the above example, the

patterns that you want to assign to the keys are numbered

consecutively (or are nearby each other), and use the same

track.

Sync settings

Key 1 on Key 2 on

Key 1 off

Song

Mode

[Once, Manual, Endless]

Patterns 1 and 2 are set to

Mode=Manual, and have

identical Sync settings

Speciﬁes the way in which the pattern assigned to the speci-

ﬁed “KEY” will be played.

Sync: OFF

Pattern 1

Once: When you press the key, the complete pattern will

playback once to the end and then stop.

Manual: The pattern will continue repeating as long as you

continue holding the key, and will stop as soon as you

release the key.

Endless: The pattern will continue repeating even after you

release the key. To stop the pattern playback, press any note

below C2, or press the same key once again.

Pattern 2

Sync: Beat

Pattern 1

Pattern 2

Same key, or C2

Key-off

Key-on

START

Key-off

STOP

Sync: Measure

Pattern 1

STOP

Once

Pattern 2

START

Manual

Endless

Sync: SEQ

Pattern 1

STOP

Pattern 2

Shift

[–12...+12]

•

When Beat or Measure are selected, pattern playback

will begin when you press the first key. The second and

subsequent patterns that are triggered from the

keyboard will synchronize to the pattern that was

started by the first key; with a setting of Beat they will

synchronize in steps of a beat, and with a setting of

Measure they will synchronize in steps of a measure.

When SEQ is selected, the pattern will playback in

synchronization with the measures of the sequencer

song. The pattern will synchronize with the currently-

playing song, so you must start the song before you play

notes on the keyboard.

Beat, Measure, and SEQ will cause the pattern to start

immediately if you play the key within a thirty-second

note of the timing of the respective beat or measure, but

if you play the key later than this, the start of the pattern

will be delayed by a beat.

Adjusts the playback pitch of the pattern for the speciﬁed

“KEY” in semitone steps over a range of ±1 octave.

With a setting of 0, the pattern will be played at its original

pitch.

•

Stopping playback of a RPPR pattern

By pressing C2 (or any note lower than C2), all the patterns

being played by RPPR will stop.

The patterns of keys whose “Sync” setting is Off will stop

immediately, but the playback of other keys will stop at the

beginning of the next beat or measure. Pattern playback of

keys whose “Sync” setting is other than Off can be stopped

immediately by rapidly pressing C2 or any lower note twice

in succession.

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7–1(2)a: Arpeggiator Assign, Arpeggiator Run A, B

Arpeggiator Assign [Off, A, B]

Sequencer P7: Arpeggiator

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. This allows you to

apply different arpeggio patterns to two sounds that have

been split across the keyboard, or use velocity to switch

between two different arpeggio patterns, etc.

In Sequencer mode, the musical data generated by the

arpeggiator during song track or pattern realtime-recording

can be recorded. While you record, you can modify the

arpeggio pattern and parameters, and adjust the [GATE]

knob and [VELOCITY] knob etc.

This assigns arpeggiator A or arpeggiator B to each track 1–

8, 9–16. When the ARPEGGIATOR [ON/ OFF] key is turned

on, the arpeggiator speciﬁed for each track will run, subject

to the “Arpeggiator Run A, B” settings and setting here.

Off: The arpeggiator will not operate.

A: Arpeggiator A will operate. Use the Arpeggiator A page

to select the arpeggio pattern and set the parameters.

B: Arpeggiator B will operate. Use the Arpeggiator B page to

select the arpeggio pattern and set the parameters.

For tracks that you wish to realtime-record, select either

arpeggiator A or B. If you specify an arpeggiator for two or

more tracks, the arpeggiator will play each of the tracks you

specify.

It is not possible to set the tempo of the arpeggiator and

the sequencer independently.

You can set A and B to two different MIDI channels, and

control one from the keyboard and the other from an exter-

nal MIDI device connected to MIDI IN. You can also use

multi-track recording (Multi REC) to simultaneously record

the note data that is generated from the two arpeggiators.

When “MIDI Clock” (Global P1: 1–1a) is Internal, the

arpeggiator can be synchronized to the internal sequencer.

(ꢀBG p.138)

•

When you turn on the arpeggiator and press the

SEQUENCER [START/ STOP] key, the arpeggiator will

synchronize to the timing of the sequencer.

Example 1)

On tracks 1 and 2, set “MIDI Channel” (2–1a) to 01 and

“Status” (2–1a) to INT. Assign arpeggiator A to track 1

and arpeggiator B to track 2, and check “Arpeggiator

Run A, B” (7–1a). In “Track Select,” choose Track01.

With the ARPEGGIATOR [ON/ OFF] key OFF, play the

keyboard and tracks 1 and 2 will sound simultaneously.

When you turn on the ARPEGGIATOR [ON/ OFF] key

and play the keyboard, arpeggiator A will operate for

track 1 and arpeggiator B will operate for track 2.

•

When you press the SEQUENCER [START/ STOP] key,

the arpeggiator and sequencer will both stop. If you

wish to stop only the arpeggiator, press the

ARPEGGIATOR [ON/ OFF] key to turn off.

When the arpeggiator “Key Sync” is off, you can turn on

the ARPEGGIATOR [ON/ OFF] key and play the keyboard

to start the arpeggiator running during the pre-count before

realtime recording begins, so that the arpeggiator perfor-

mance will be recorded from the beginning of the pattern at

the same time that recording begins.

Arpeggiator

Assign

Trigger

= Ch1

Arpeggiator

Pattern - A

Pattern - B

Track1 MIDI Ch=1ch Status=INT

Track2 MIDI Ch=1ch Status=INT

Arpeggiator

Trigger

= Ch1

When “MIDI Clock” is External MIDI or External

mLAN, the MIDI realtime clock messages transmitted

from the external MIDI device connected to MIDI IN or

the mLAN connector can perform the same type of con-

trol.

Even in this case, you can start/ stop using the

SEQUENCER [START/ STOP] key of the TRITON STU-

DIO’s sequencer.

Pattern - B

Example 2)

For tracks 1, 2 and 3, set the “MIDI Channel” (2–1a) to

01, 02, and 03 respectively, and set “Status” (2–1a) to INT.

Assign arpeggiator A to tracks 1 and 2, and arpeggiator B

to track 3. Check the “Arpeggiator Run A, B” (7–1a) set-

ting.

•

In “Track Select,” choose Track01.

Playing the keyboard when the ARPEGGIATOR [ON/

OFF] key is off will play the sound assigned to track 1.

Playing the keyboard when the ARPEGGIATOR [ON/

OFF] key is on will cause arpeggiator A to operate for

tracks 1 and 2, and produce sound for both tracks.

In “Track Select,” choose Track02.

Playing the keyboard when the ARPEGGIATOR [ON/

OFF] key is off will play the sound assigned to track 2.

Playing the keyboard when the ARPEGGIATOR [ON/

OFF] key is on will cause arpeggiator A to operate for

tracks 1 and 2, and produce sound for both tracks.

In “Track Select,” choose Track03.

7–1: Setup 1–8 (Setup T01–08)

7–2: Setup 9–16 (Setup T09–16)

7–1

0–1a

5–1b

0–1b

Playing the keyboard when the ARPEGGIATOR [ON/

OFF] key is off will play the sound assigned to track 3.

Playing the keyboard when the ARPEGGIATOR [ON/

OFF] key is on will cause arpeggiator B to operate for

track 3, and play the sound assigned to track 3.

7–1a

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•

Alternatively, you could choose Track01 in “Track

Select” to run arpeggiator A for tracks 1 and 2, and use

an external MIDI device connected to the TRITON

STUDIO’s MIDI IN to send note data to MIDI channel 3

to play arpeggiator B.

7–3: Arpegg. A (Arpeggiator A)

7–4: Arpegg. B (Arpeggiator B)

In the Arpegg. A page you can make settings for arpeggiator

A, and in the Arpegg. B page you can make settings for

arpeggiator B.

Arpeggiator

Assign

Arpeggiator

Pattern - A

Trigger

Pattern - A

Pattern - B

Track1 MIDI Ch=1ch Status=INT

Track2 MIDI Ch=2ch Status=INT

Track3 MIDI Ch=3ch Status=INT

Ch1, Ch2

The “Copy Arpeggiator” (7–1A) page menu command

can also be used to copy arpeggiator settings from

another mode such as Program mode.

Pattern - B

Arpeggiator

Trigger

= Ch3

The arpeggiator cannot be triggered by the notes

played by the sequencer.

7–1

0–1a

If the track “Status” (2–1a/ 2a) is set to INT or BTH,

tracks 1–16 to which arpeggiator A or B are assigned

will be sounded by the note data generated by the

arpeggiator, regardless of the “MIDI Channel” (2–1a/

2a) setting of that track. If the track “Status” is set to

BTH, EXT, or EX2, the track will transmit MIDI note

data on the “MIDI Channel” of that track.

5–1b

0–1b

7–3a

In this case, arpeggiator A or B will be triggered by the

“MIDI Channel” of any track 1–16 to which the corre-

sponding arpeggiator is assigned.

If the “Local Control On” (Global P1: 1–1a) is turned

OFF, the arpeggiator will not be triggered by note data

from the keyboard. It will be triggered by note data

received at MIDI IN. If you wish to record just the trig-

ger notes on an external sequencer and run the TRITON

STUDIO’s arpeggiator in this way, turn Local Control

OFF.

If you want the note data generated by the arpeggiator

to be recorded on the external sequencer, turn Local

Control ON, and turn off the echo back function of the

external sequencer. (ꢀ p .267)

7–3(4)a: Arpeggiator–A(B) Setup

Pattern

Octave

Resolution

Gate

[P000...P004, U000(I-A/ B)...U506(User)]

[1, 2, 3, 4]

[ ꢁ ꢂ , ꢁ , ꢃ ꢂ , ꢃ , ꢀ ꢂ , ꢀ ]

[000...100(%), Step]

[001...127, Key, Step]

[–100...+100(%)]

[Off, On]

Velocity

Swing

Sort

Arpeggiator Run A, B

Latch

[Off, On]

When the ARPEGGIATOR [ON/ OFF] key is on, the arpeg-

giator(s) that are checked here will function for the track(s)

to which they are assigned by “Arpeggiator Assign.”

When the arpeggiator is on, A and B can be turned on/ off

independently.

Key Sync.

Keyboard

[Off, On]

These are the arpeggiator parameters for the song.

ꢀ“Program 7–1: Arpegg. Setup (Arpeggiator Setup)”

M 7–1: Page Menu Command

7–5: Scan Zone (Scan Zone A/ B)

Speciﬁes the range of notes and velocities that will trigger

0–1A

0–1B

0–1C

0–1D

0–1E

0–1F

7–1A

0–1I

0–1J

each arpeggiator A and B.

7–1

0–1a

5–1b

0–1b

7–1A: Copy Arpeggiator

7–5a

This command copies arpeggiator settings.

ꢀ“Combination 7–1A: Copy Arpeggiator.”

7–5b

7–5a: Zone Map

This shows the Scan Zone settings for arpeggiators A and B.

(ꢀCombination “Zone Map” 7–4a)

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7–5b: Scan Zone A/ B

Sequencer P8: Insert Effect

Here you can make insert effect settings, and specify the bus

etc. for the program used by each track 1–16.

Top Key

[C–1...G9]

Bottom Key

[C–1...G9]

ꢀFor details on insert effects, refer to p.178 “8. Effect

Guide.”

Specify the range of notes (keys) that will trigger arpeggia-

tor A. “Top Key” is the upper limit, and “Bottom Key” is the

lower limit.

8–1: Routing 1–8 (Routing T01–08)

Top Velocity

[001...127]

Bottom Velocity

8–2: Routing 9–16 (Routing T09–16)

Specify the bus to which the program oscillator(s) of each

track 1–16 will be sent. You can also set the amount of signal

that will be sent to the master effects.

Specify the range of velocities that will trigger arpeggiator

A. “Top Velocity” is the upper limit, and “Bottom Velocity”

is the lower limit.

8–1

8–1a

Top Key

[C–1...G9]

[001...127]

Bottom Key

Top Velocity

Bottom Velocity

5–1b

0–1b

0–3a

Specify the range of notes (keys) and velocities that will trig-

ger arpeggiator B (ꢀA:).

8–1b

The value of these parameters can also be input by

holding down the [ENTER] key and playing a note on

the keyboard.

8–1a: Routing Map

This shows the status of the insert effects: the insert effect

routing, the names of the selected effects, the on/ off status,

and chaining.

The effect type, on/ off, and chain settings can be made in

the Insert FX page (8–2).

8–1(2)b: BUS Select (IFX/ Indiv.Out BUS Select),

Send1 (MFX1), Send2 (MFX2)

BUS Select (IFX/ Indiv.Out BUS Select)

[DKit, L/ R, IFX1...5, 1...4, 1/ 2, 3/ 4, Off]

These settings specify the bus to which the program oscilla-

tor(s) of each track 1–16 will be sent.

The status of the settings can also be viewed in the “Routing

Map” (ꢀCombination P8–1: Routing).

When 1/2 or 3/4 are selected, the program of the corre-

sponding track 1–16 will be output in stereo from

AUDIO OUTPUT (INDIVIDUAL) 1 and 2 or 3 and 4. If

you use CC#10 (pan) or AMS to control the panning of

the program oscillator, the new pan setting will be

applied at the next note-on. Unlike the case when you

select L/R to output the sound from (MAIN) L/ MONO

and R, the pan of a sounding note cannot be varied in

realtime.

If you wish to vary the pan of a sounding note in real-

time, and output the result from AUDIO OUTPUT

(INDIVIDUAL) 1 and 2 or 3 and 4, set “BUS Select” to

IFX1 (or IFX2–IFX5), select 000: No Effect for “IFX1”

(or IFX2–IFX5) (8–3), and select either 1/2 or 3/4 for

“BUS Select” (8–3) after the signal passes through IFX.

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Send1 (MFX1)

Send2 (MFX2)

[000...127]

8–3: Insert FX

Here you can select the type of the insert effects, turn them

on/ off, and make chain settings.

Here you can adjust the send levels from tracks 1–16 to mas-

ter effects 1 and 2. This is valid when “BUS Select” is set

either to L/R or Off. If IFX 1, 2, 3, 4, or 5 is selected, the send

level to the master effects 1 and 2 is set by the “Send 1” and

“Send 2” parameters located in the Insert FX page, after the

signal passes through IFX 1–5.

8–1

These settings have no effect if “BUS Select” is set to 1, 2, 3,

4, 1/2 or 3/4.

8–3a

The send 1 and 2 settings you make here will be used when

the song is played or recorded from the beginning. If you

change the settings while recording, the change will be

recorded as part of the musical data, and the send amount

will change when the data is played back. You can also

change these settings during playback. However if send 1

and 2 data has been recorded, the settings will change

accordingly.

8–3a: IFX1, 2, 3, 4, 5

If “Status” (2–1a/ 2a) is either INT or BTH, CC#93 and

#91 can be received to control send 1 and 2 respectively

and change their settings. When you switch songs or

return to the beginning of a song, tracks whose “Sta-

tus” is EXT, EX2 or BTH will transmit these settings via

MIDI. This data will be transmitted on the MIDI chan-

nel of each track as set by “MIDI Channel” (2–1a/ 2a).

The actual send level is determined by multiplying the

value of these parameters with the send level settings of

the oscillator(s) of the program used by the track

(“Send1” and “Send2,” Program P8: 8–1d).

IFX1, 5

[000...089]

[000...102]

[Off, ON]

[Off, On]

IFX2, 3, 4

IFX1, 2, 3, 4, 5 On/ Off

Chain

Pan(CC#8) (Post IFX PanCC#8) [L000...C064...R127]

BUS Sel. (BUS Select) [L/ R, 1, 2, 3, 4, 1/ 2, 3/ 4, Off]

Send1

Send2

[000...127]

These functions are the same as in Program mode. (ꢀPro-

gram 8–2a)

M 8–1: Page Menu Command

However unlike in Program mode, the “Ctrl Ch” (8–4a – 8a)

is used as the MIDI channel that controls insert effect

dynamic modulation (Dmod) and the “Pan (CC#8),” “Send

1,” and “Send 2” that follows the insert effect. The control

changes used are the same as in Program mode.

The pan (CC#8), send 1 and 2 settings you make here will be

used when the song is played or recorded from the begin-

ning. If you change the settings while recording, the changes

will be recorded as part of the musical data, and the settings

will change when the data is played back. You can also

change these settings during playback. However if pan

(CC#8), send 1, or 2 data has been recorded, the settings will

change accordingly.

0–1A

0–1B

8–1A

8–1B

8–1C

0–1I

0–1J

8–1A: Copy Insert Effect

ꢀ“Program P8: 8–1A: Copy Insert Effect.”

However, the MIDI control channel speciﬁed in “Ctrl Ch” of

the IFX 1–5 page will not be copied.

If “Status” (2–1a/ 2a) is either INT or BTH, CC#8,

CC#93, and CC#91 can be received to control the pan

following the insert effect, send 1, or send 2 respec-

tively, and change their settings. When you switch

songs or return to the beginning of the song, tracks

whose “Status” is BTH, EXT, or EX2 will transmit these

settings via MIDI. This data will be transmitted on the

MIDI channels speciﬁed in the IFX 1–5 pages (8–4 – 8–

8).

8–1B: Swap Insert Effect

ꢀ“Program P8: 8–1B: Swap Insert Effect.”

However, the MIDI control channel speciﬁed in “Ctrl Ch” of

the IFX 1–5 page will not be swapped.

8–1C: DrumKit IFX Patch

ꢀ“Combination P8: 8–1C: DrumKit IFX Patch.”

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8–4: IFX 1

8–5: IFX 2

8–6: IFX 3

8–7: IFX 4

8–8: IFX 5

Sequencer P9: Master Effect

ꢀFor details on the master effects, refer to p.182 “8. Effect

Guide.”

9–1: Master FX

Set the parameters for the effects selected for IFX 1–5 in the

Insert FX page (ꢀ p .187–).

Here you can select the type of master effects, turn them on/

off, and make chain and master EQ settings. These parame-

ters are the same as in Program mode. ꢀ“Program 9–1: Mas-

ter FX (Master Effects)”

8–1

8–4a

9–1

9–1a

9–1c

9–1b

8–4(~8)a: Ctrl Ch

[Ch01...16, All Routed]

Selects the MIDI channel that will control effect

dynamic modulation (Dmod), pan following the insert

effect (CC#8), Send 1 (CC#93), and Send 2 (CC#91).

M 9–1: Page Menu Command

0–1A

9–1A

9–1B

0–1I

An asterisk “*” will appear at the right of the channel num-

ber Ch01–16 for tracks that are routed through these IFX. If

you have routed multiple tracks that have differing MIDI

channel settings, you can specify here which of these chan-

nels will be used to control the effect.

0–1J

All Routed: Control can be performed from any of the MIDI

channels of the tracks that are routed.

9–1A: Copy Master Effect

ꢀ“Program P9: 9–1A: Copy Master Effect.”

However, the MIDI control channel speciﬁed in “Ctrl Ch” of

the MFX 1 and 2 pages will not be copied.

If you have selected DKit as the “BUS Select” (8–1b/

2b) of a track for which a drum program is selected, the

MIDI channel of that timbre will be valid if All Routed

is selected for any one of IFX 1–5, regardless of the

“BUS Select” (Global P5: 5–2b) setting of the drum kit,

or of the setting of the “DrumKit IFX Patch” page

menu command.

9–1B: Swap Master Effect

ꢀ“Program P9: 9–1B: Swap Master Effect.”

However, the MIDI control channel speciﬁed in “Ctrl Ch” of

the MFX 1 and 2 pages will not be swapped.

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9–2: MFX 1

9–3: MFX 2

Here you can set the parameters of the MFX 1 and 2 effects

that were selected in the Master FX page (ꢀ p .187–).

9–1

9–2a

9–2(3)a: Ctrl Ch

Ctrl Ch

[Ch01...16, Gch]

Speciﬁes the MIDI channel that will control dynamic

modulation (Dmod) for the master effects. If Gch is

selected, the global MIDI channel “MIDI Channel”

(Global P1: 1–1a) will be used.

9–4: Master EQ

The master EQ is a three-band stereo EQ. It is used to per-

form overall equalizing (tonal adjustment) on the sound

from the L/ R bus immediately before it is output to AUDIO

OUTPUT (MAIN OUT) L/ MONO and R (ꢀ p .239).

0–1A

9–4a

9–4a: Ctrl Ch

Ctrl Ch

[Ch01...16, Gch]

Speciﬁes the MIDI channel that will control dynamic

modulation (Dmod) for the master EQ. If Gch is

selected, the global MIDI channel “MIDI Channel”

(Global P1: 1–1a) will be used.

The MEQ High Gain and MEQ Low gain can be controlled

by assigning a modulation source to the “Low Gain Mod-

Src:” and the “High Gain Mod-Src:” functions on this page.

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4. Sampling mode

Program, Combination, and Sequencer modes

An overview of sampling on the TRITON STUDIO

1. A performance that uses the various functions of each

mode (ﬁlters, effects, arpeggiator, sequencer, etc.) can be

resampled. (ꢀProgram: p.4, Combination: p.36,

Sequencer: p.49, 56)

On the TRITON STUDIO, 48 kHz stereo 16-bit samples from

an external device connected to the AUDIO INPUT jacks, S/

P DIF IN jack, or mLAN connector (if the EXB-mLAN

option is installed) can be recorded into the internal sample

memory (RAM) or to the internal hard drive. At this time,

analog signals will be converted into digital signals, and

digital signals will be recorded while still in digital form.

A performance using the TRITON STUDIO’s ﬁlters, effects,

arpeggiator, and sequencer can be resampled.

2. External audio sources can be sampled from the various

input jacks (see “Sampling mode” paragraphs 1, 2, and 3,

above). At this time, you can mix your playing on the

TRITON STUDIO with the external audio, or monitor

your playing on the TRITON STUDIO while sampling

only the external audio from the input jacks. You can also

add the master effects when sampling.

The TRITON STUDIO comes with 16 Mbytes of sample

memory (RAM) and an internal hard disk. (ꢀFor the capac-

ity of the hard disk, refer to BG p.153)

3. In Sequencer mode, you can sample an external audio

source while the sequencer song plays back, and the

appropriate note data will automatically be created in a

track. This lets you sample vocals or guitar while the

sequencer is running, just as though you were using a

multi-track recorder. (In-Track Sampling function)

The 16 Mbytes of sample memory (RAM) allow you to sam-

ple approximately 2 minutes 54 seconds in mono, or approx-

imately 1 minute 27 seconds in stereo. By adding additional

72-pin SIMM boards, you can expand the memory to a max-

imum of 96 Mbytes (when the standard 16 Mbytes are

replaced by three 32 Mbyte SIMM boards). In this case, you

will be able to record up to six samples that are each approx-

imately 2 minutes 54 seconds each for mono (or approxi-

mately 1 minute 27 seconds for stereo). (ꢀFor details on the

72-pin SIMM boards that can be used, and how to install

them, refer to p.286)

When sampling to the hard drive, a single sample ﬁle can be

up to 80 minutes long for either stereo or mono (mono:

approximately 440 Mbyte, stereo: approximately 879

Mbyte). This will create a WAVE ﬁle.

The TRITON STUDIO supports a wide range of sources and

formats as described below.

Samples recorded in Sampling mode, or in the Program,

Combination, and Sequencer modes can be used as wave-

forms for the tone generator.

Samples recorded to sample memory (RAM) can be used as

tone generator waveforms.

Samples recorded to the hard disk (WAVE ﬁles) can be

loaded into sample memory (RAM) and used as tone gener-

ator waveforms. WAVE ﬁles can also be written to the

CDRW-1 option (if installed) or a CD-R/ RW drive con-

nected to the SCSI connector, to create an audio CD.

Individual samples (WAVE ﬁles) from the hard disk up

to 16 Mbyte in size for mono or 32 Mbyte for stereo (if

the sample memory has been expanded to 32 Mbyte or

more) can be loaded into sample memory (RAM).

Sampling mode

1. An analog audio signal from a mic or audio device con-

nected to the AUDIO INPUT jacks can be converted into

a digital signal and sampled. An insert effect can also be

applied while sampling.

Editing in Sampling mode

In Sampling mode, sample data created via sampling or

loaded from media (including WAVE or AIFF formats) can

be assigned to indexes (zones) to create a multisample. One

multisample can contain multiple indexes.

A multisample you create can easily be converted into a pro-

gram (ꢀ“Convert MS to Program” 0–1G). When a multi-

sample is converted, the ﬁlter, amp, and effect settings will

automatically be created with the program. The program

can also be used in Combination mode or Sequencer mode.

A sample can also be used as a drum sample in a drum kit.

2. A digital audio signal from a digital audio device con-

nected to the S/ P DIF jack can be sampled directly. An

insert effect can also be applied while sampling. Sample

rates of 48 kHz and 96 kHz are supported for the S/ P DIF

input and output. 96 kHz sample rate data will be con-

verted into 48 kHz when it is sampled.

3. A digital audio signal from a digital audio device con-

nected to the mLAN connector (if the EXB-mLAN option

is installed) can be sampled directly. An insert effect can

also be applied while sampling.

4. The analog audio output signal from an audio CD

inserted into the CDRW-1 option (if installed) is inter-

nally connected to the AUDIO INPUT jacks. The CD can

be played back on the TRITON STUDIO, and the analog

audio signal converted into a digital signal and sampled.

(If you are using a CD-R/ RW drive connected to the SCSI

connector, use a cable to connect it to the AUDIO INPUT

jacks.)

Multisample

Index003

Index001

Top Key

Index002

Top Key

Index004

Top Key

Index 001

0000:

Index 002

Index 003

Index 004

5. A digital audio signal from an audio CD played back on

the CDRW-1 option (if installed) or a CD-R/ RW drive

connected to the SCSI connector can be sampled directly

(the Ripping function).

0001:

Sample B

0002:

0003:

Sample A

Sample C

Sample D

Multisample

Sample

Program OSC (Single/Double)

Program OSC (Drums)

6. Resampling can be performed by applying insert effects

to one or more existing samples, and once again sam-

pling them internally. You can select either “Auto,” where

insert effect processing will be performed automatically

on the sample you specify, or “Manual,” where you can

manually apply an insert effect and play the sample man-

ually for resampling.

Drum Kit

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Regardless of the page you are in, the selected multi-

sample or sample will sound when you play the key-

board, allowing you to hear the edited content of that

page.

Sampling P0: Recording

Here you can set the input level and make other basic set-

tings for sampling (sample recording), and make basic set-

tings for multisamples and samples.

When you turn off the power, all multisample and sam-

ple data in Sampling mode will be lost. Before you turn

off the power, be sure to save important data to ﬂoppy

disk, hard disk, CD-R/ RW or external SCSI device

(ꢀBG p.60).

Normally you will record samples in this page.

When the TRITON STUDIO is turned on, memory will

contain no multisamples or samples, so you will ﬁrst

need to load previously-saved data before you can

playback or edit it.

0–1: Recording

Here you can select the multisample that you wish to record,

specify the index sample, make settings, select the memory

bank, and adjust the ﬁnal level of the input signal.

There is no Compare function that allows you to restore

sample data to the state it was in before it was edited. If

you wish to preserve the unedited state of the data, use

“Copy MS” (0–1E) or “Copy Sample” (0–1B) etc. to

make a copy of the multisample or sample before you

begin editing.

0–1

0–1a

0–1b

In some of the page menu commands in P1 or P2, you

can uncheck the “Overwrite” item in the dialog box so

that the unedited sample data will be preserved even

after you execute the command (ꢀ1–1: Page Menu

Command “About Overwrite”).

0–1c

0–1d

When executing a sample edit operation or when you

ﬁnish recording a stereo sample, you may hear a slight

noise. This does not affect the audio data that has been

edited or sampled.

0–1a: MS, Index, Keyboard & Index

MS (Multisample Select)

[000...999]

Cautions regarding sample data

•

The sample data memory areas Bank 1–6 each contain

16 Mbyte. Of this 16 Mbyte (8,388,608 samples), sixteen

samples (the first and last eight samples) are used as

internal work area.

Selects the multisample.

Each multisample consists of the samples for one or more

indexes (an “index” is a range or zone of keys).

This parameter can also be set from P1–P3.

The first and last samples of each sample are used as

internal work area. These two samples are added

automatically when a sample is recorded or when an

.AIFF or .WAVE file is loaded. This means that if you

record a sample of one second, this will result in 48,000

samples of data, but four samples will be added to this,

so that sample memory (RAM) will actually contain

48,004 samples of data.

To create a new multisample,

1Press the “MS” popup button to access the popup menu,

and select a number for which the multisample name is

blank.

Alternatively, use the numeric keys [0]–[9] to specify a

new multisample number, and press the [ENTER] key.

When you select a new multisample number, the “Create

New Multisample” dialog box will appear.

If “Auto Optimize RAM” (Global P0: 0–3b) is on, and

the writing destination for sampling data is RAM, the

sample memory (RAM) will automatically be opti-

mized after the data has been written. This is turned on

by default, but you may switch it on/off as necessary.

(ꢀ“Optimize RAM” 0–1M)

2If you wish to create a stereo multisample, check “Ste-

reo.”

3To create the multisample, press the OK button. To can-

cel, press the Cancel button.

A multisample will be created as follows (example).

Mono type 001: NewMS_ _ _ _ _ _001

Stereo type 001: NewMS_ _ _ _ _ _001-L

001: NewMS_ _ _ _ _ _001-R

Index

[xxx (001...128)/ yyy (001...128)]

Selects the index for which you wish to sample.

Each zone in a multisample is called an “index.” For exam-

ple on the 61 note keyboard, a multisample could be divided

into six zones of one octave (12 keys) each. Each of these

zones is referred to as an “index.” You will assign a sample

to each of these indexes.

xxx: The selected index. Choose the desired index.

yyy: The total number of indexes in the multisample.

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You can also select an index by holding down the

[ENTER] key and playing a note on the keyboard. The

index that includes this note will be selected. The key

you specify will be the base key, and will be displayed

in gray in “Keyboard & Index” (ꢀ“Keyboard &

Index”).

----: ---No Assign----: No sample is assigned to the index.

There will be no sound when you play the keyboard.

To record a sample, select a vacant sample such as 0000:.

When you record a sample, data will be loaded into the

selected sample. The sample name (such as

NewSample_0000) will be shown beside the number. This

sample name can be modiﬁed using the “Rename Sample”

(0–1C) page menu command.

You can also record a sample even when ----:---No Assign---

- is displayed. In this case, a sample number will be selected

automatically.

Even if you record to a sample that already contains data,

the selected sample will not be overwritten –the data will

automatically be sampled to a vacant sample, and the newly

recorded sample will replace the previous sample in the

index. If you wish to delete a sample, execute the “Delete

Sample” (0–1A) page menu command.

This parameter can also be set from P1: Sample Edit, P2:

Loop Edit, or P3: Multisample. Sampling and editing in the

respective page will apply to the index that you select here.

When the power is turned on, this index will default to 001/

001. This indicates that only one index exists. To increase the

number of indexes, use “Create” in this page. When you

press the Create button, indexes will automatically be

added from the left-most zone, as 002/002, 003/003, ... (The

position, zone width, and original key location of the index

that is created when you press the Create button can be set

in Create Zone Preference (0–3a, 3–2a). You are also free to

modify the zone width and original key location later.)

When you press the popup button, the thousand sam-

ples that include the selected sample will be displayed.

To select the thousand’s place, use the VALUE control-

lers.

Keyboard & Index

Original Key (currently selected Original Key is reversed)

Index zone (currently selected Index is reversed)

OrigKey (Original Key)

[C–1...G9]

Index01 Index02 Index03 Index04 Index05

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

“OrigKey” of F2. When the zone of the index is C2–B2,

pressing the F2 key would playback the sample at its origi-

nal pitch. Pressing F#2 would playback the sample a semi-

tone higher. Pressing E2 would playback the sample a

semitone lower. The pitch of this sampled sound will change

in semitone steps between C2 and B2, centered at F2.

The original key location can also be viewed in “Keyboard &

Index.”

C4 key

Keyboard range

Lowest note of the

displayed keyboard

Highest note of the

displayed keyboard

By holding down the [ENTER] key and playing a note, you can select the corresponding

index, and the specified key will be the base key and will be shown in gray.

This displays the zones and original keys of the selected

multisample. The black triangle shows the keyboard range,

and the white triangle shows the C4 key. The note numbers

at left and right show the keyboard note range that is dis-

played.

If “Constant Pitch” (3–1b) is checked, the sample will

be sounded at its original pitch by all notes in the zone.

The base key (displayed in gray)

TopKey (Top Key)

[C–1...G9]

•

In P1: Sample Edit you can press the SAMPLING

[START/ STOP] key to play the sample of the selected

“Index” in one-shot mode from “Edit Range Start”–“Edit

Range End.” At this time, the sample will sound at the

pitch of the base key.

Playback in the grid display of P1 and P2 will be

according to the playback pitch of the base key selected

here, and the specified tempo BPM/ resolution (set in P1

and P2).

Speciﬁes the highest key in the zone of the index. The zone

is deﬁned by this “Top Key.”

For example, suppose that you set a “TopKey” of B2 for

index 001/ 002, and a “TopKey” of B3 for index 002/ 002.

This means that the zone of index 001 will be B2 and lower,

and the zone of index 002 will be C3–B3.

•

Range

This indicates the zone (area) that was determined by the

“TopKey” setting.

The sample selected by “Sample Select” will sound in this

area. The zone for each index can also be viewed in “Key-

board & Index.”

The “Pitch BPM Adjust” (3–1A) function is based on the

playback pitch of the base key you specify here.

You can use the “Keyboard Display” (0–1J) page menu com-

mand to change the displayed range of the keyboard.

Create

0–1b: Sample Select, OrigKey, TopKey, Create

This creates an index. Use this when you wish to add a sam-

ple to a multisample.

Here you can set the sample, original key, and range of the

selected index.

When you press the Create button, a new index will be cre-

ated according to the Create Zone Preference (0–3a, 3–2a)

parameters “Position,” “Zone Range,” and “Original Key

Position.” If you wish to delete an index or exchange

indexes, use P3: Multisample.

Sample Select

[----: ---No Assign----, 0000...3999]

Selects a sample that you sampled or loaded in Disk mode,

and play a note within the index range to sound that sam-

ple.

If when you execute “Create” (0–1b, 3–1c) or “Insert”

(3–1c) it is not possible to create a new index according

to your Create Zone Preference settings, one of the follow-

ing dialog boxes will appear. If you wish to create a

new index, perform the following procedure.

This parameter can also be set from P1–P3 (Multisample

pages). Sampling and editing in the respective page will

apply to the sample you select here.

•

Set Top Key: Select “Index” 001, set “Position” (0–3a,

3–2a) to Left (to Selected Index), and execute “Create”

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or “Insert” to open the dialog box. So that a new index

can be created at the left of index 1, re-set the “Top

Key” setting, and press the OK button.

0–1c: REC Sample Setup

Here you can select the memory bank into which you will

sample, specify the sampling time, and select either mono or

stereo sampling.

Save to

[RAM, DISK]

Speciﬁes the destination to which the data will be written

during sampling.

RAM: The sound will be sampled into sample memory

(RAM).

A sample written into sample memory can be heard imme-

diately in Sampling mode.

•

Set Zone Range: If you execute “Create” when it is not

possible to create a new index according to the Create

Zone Preference settings, the following dialog box will

appear. This dialog box will also appear if you execute

“Insert” when it is not possible to create a new index

with the contents of the “Cut” or “Copy” (3–1c). Re-set

the “Zone Range” (0–3a, 3–2a), and press the OK

button.

Data written into sample memory (RAM) will be lost

when the power is turned off, so you must save it if you

want to keep it.

DISK: The sound will be sampled into the internal hard disk

or into a hard disk (sold separately) connected to the SCSI

connector.

Use the page menu command “Select Directory” (0–1N) to

select the writing-destination drive and directory, and to

specify the ﬁlename.

When you sample, a WAVE ﬁle will be created.

To hear the results of sampling, you can either load the ﬁle

in Disk mode into sample memory (RAM), or use the page

menu command “Select Directory” etc. to select the ﬁle, and

then press the SAMPLING [START/ STOP] key.

Stereo

indication will appear here if you have selected a

stereo multisample or sample, or if you recorded a sample

with “Sample Mode” (0–1c) set to Stereo.

About stereo multisamples and stereo samples

Stereo multisamples: Under the following conditions, two

multisamples will be handled as a stereo multisample.

A hard disk sample (WAVE ﬁle) as large as 16 Mbyte for

mono or 32 Mbyte for stereo (if sample memory has

been expanded to 32 Mbyte or more) can be loaded into

sample memory (RAM).

•

If you checked “Stereo” when creating a new

multisample (i.e., selected a new multisample in “MS”

0–1a)

•

If you executed the “MS Mono To Stereo” (0–1H) page

menu command

If you sampled with “Sample Mode” (0–1c) set to Stereo

It is not possible to record a sample directly onto CD-R/

RW.

Nor do we recommend recording a sample directly

onto a removable disk.

In these cases, a stereo multisample will be created automat-

ically using the following criteria.

1. The last two characters of the two multisample names

will be -L and -R respectively, and the earlier portion of

the names are identical.

Bank (RAM BANK)

[RAM1...RAM6]

Speciﬁes the RAM bank and sample number into which the

data will be written during sampling. This can be speciﬁed if

RAM is selected for “Save to.”

Sample memory (RAM) consists of six banks, each with 16

Mbytes. The TRITON STUDIO comes with one 16 Mbyte of

DRAM SIMM board. In this state, RAM1 will always be

selected for “Bank (RAM Bank),” and RAM2, 3, 4, 5, and 6

cannot be selected.

2. The two multisamples will have the same number of

indexes, and their zone settings are identical.

Stereo samples: Under the following condition, two sam-

ples will be handled as a stereo sample.

•

When the samples were recorded with a “Sample

Mode” (0–1c) setting of Stereo.

By adding additional DRAM SIMM boards, you can expand

the memory to a maximum of 96 Mbytes (when three 32

Mbyte SIMM boards are installed). (ꢀ p .286)

•

If you executed the “Sample Mono To Stereo” (0–1I)

page menu command

In these cases, a stereo multisample will be created automat-

ically using the following criteria.

How installed SIMM’s relate to available banks

1. The last two characters of the sample name will be -Land

-R respectively, and the earlier portion of the names are

identical.

SIMM

Slot No. capacity

SIMM

RAM

Bank

Time

Slot 1

Slot 2

Slot 3

16 Mbyte

32 Mbyte

16 Mbyte

32 Mbyte

16 Mbyte

32 Mbyte

16 Mbyte: approximately 2 minutes

54 seconds (mono)

2. Two samples that satisfy condition 1. for stereo multisam-

ples are selected.

1, 2

approximately 1 minute

27 seconds (stereo)

Stereo multisamples and samples are distinguished

internally by their multisample name or sample name.

If you use “Rename MS” (0–1F) or “Rename Sample”

(0–1C) etc. to modify the multisample name or sample

name, please pay attention to the above conditions.

96 Mbyte: approximately 2 minutes

54 seconds (mono) x 6

3, 4

total of approximately 17

minutes 28 seconds

approximately 1 minute

27 seconds (stereo) x 6

As a condition of a stereo sample, the sampling rates

must be identical. You can verify the sampling rate of a

sample by using the page menu command “Rate Con-

vert” (1–1K). Be aware that if you use “Rate Convert” to

convert the -L and -R samples to differing sampling

rates, they will not be handled as a stereo sample.

5, 6

total of approximately 8

minutes 44 seconds

The TRITON STUDIO is shipped with a 16 Mbyte

SIMM installed in Slot 1. This allows you to select only

RAM1 for “Bank (RAM Bank).”

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For example if Slot 1 contains the factory-installed 16

Mbyte SIMM, and you have installed a 32 Mbyte SIMM

in Slot 2 and a 16 Mbyte SIMM in Slot 3, you will be

able to select RAM1 (16 Mbyte), RAM3 (16 Mbyte),

RAM4 (16 Mbyte), and RAM5 (16 Mbyte) for “Bank

(RAM).” Each bank is 16 Mbytes.

(If a 32 Mbyte SIMM is installed in each Slot1, Slot2,

and Slot3, all banks can be selected, and the total size

will be 96 Mbytes.)

Example 1: Sampling a monaural source connected to AUDIO

INPUT 1 without applying internal effects

“Input”

(0–2a)

Analog

L000

127

Input1 “Pan”

Input1 “Level”

Input1 “BUS(IFX/ indiv.)Select” (0–2a)

L/R

“Source BUS”

(0–2b)

L/R

“Resample”

(0–2b)

Manual

“Recording Level [dB]”

“Sample Mode”

(0–1d) The desired level

(0–1c) L-Mono

Sample Time

[min sec]

Speciﬁes the time that you wish to sample. This can be set in

0.001 second increments. This parameter indicates amount

of remaining memory in the selected memory bank (the

available sampling time). If you record a sample in this con-

dition ([REC]→[START]→[STOP]), the change in time will

be displayed automatically.

If you have sufﬁcient memory, it is a good idea to set an

ample “Sample Time,” and to use the “Truncate” (1–1A, 2–

1A) page menu command after you sample to delete

unwanted portions of the sample and reduce it to the mini-

mum size necessary. You can also press the SAMPLING

[START/ STOP] key to stop recording after you have

recorded the desired material (ꢀFor details on the sampling

procedure, refer to BG p.37, 102).

Example 2: Stereo-sampling a monaural source connected to

AUDIO INPUT 1 and processed by internal insert effect IFX1

052: Reverb Hall

“Input”

(0–2a)

Analog

C064

127

Input1 “Pan”

Input1 “Level”

Input1 “BUS(IFX/ indiv.)Select” (0–2a)

IFX1

“Source BUS”

“Resample”

(0–2b)

L/R

(0–2b)

Manual

IFX1(P8)

Select and assign 052: Reverb Hall

“Recording Level [dB]”

“Sample Mode”

(0–1d) The desired level

(0–1c)

Stereo

Example 3: Sampling a stereo source connected to AUDIO

INPUT 1, 2 without applying internal effects

If the writing destination (“Save to”) is RAM, the maximum

value will be calculated from the space remaining in the

selected bank. If the writing destination (“Save to”) is DISK,

the maximum value will be calculated from the space

remaining in the disk speciﬁed by “Select Directory.” A max-

imum of 80 minutes can be sampled in one sample ﬁle for

either mono or stereo (mono: approximately 440 Mbyte, ste-

reo: approximately 879 Mbyte).

“Input”

(0–2a)

Analog

L000

127

Input1 “Pan”

Input1 “Level”

Input1 “BUS(IFX/ indiv.)Select” (0–2a)

L/R

Input2 “Pan”

(0–2a)

R127

127

Input2 “Level”

(0–2a)

If the writing destination is (“Save to”) is RAM, and

“Auto Optimize RAM” (Global P0: 0–3b) is not

checked, unused sample RAM will accumulate,

decreasing the amount of available sample memory

(RAM). If this occurs, execute the page menu command

“Optimize RAM” (0–1M) to reclaim unused RAM.

The remaining amount of RAM can be checked in Sam-

pling mode P0: Memory Status.

Input2 “BUS(IFX/ indiv.)Select” (0–2a)

L/R

“Source BUS”

(0–2b)

L/R

“Resample”

(0–2b)

Manual

“Recording Level [dB]”

“Sample Mode”

(0–1d) The desired level

(0–1c) Stereo

Example 4: Stereo-sampling a stereo source connected to

AUDIO INPUT 1, 2 and processed by internal insert effect

IFX1 008: St.Graphic 7EQ

The remaining amount of memory will depend on the fol-

lowing conditions:

“Input”

(0–2a)

Analog

L000

127

Input1 “Pan”

Input1 “Level”

1. The amount of memory that is installed.

2. Whether the sample is stereo or mono. When the “Sam-

ple Mode” (0–1c) is set to Stereo, the memory capacity

will be halved.

Input1 “BUS(IFX/ indiv.)Select” (0–2a)

IFX1

R127

127

Input2 “Pan”

(0–2a)

Input2 “Level”

(0–2a)

3. The time speciﬁed for “Pre Trigger REC” (0–2b: a func-

tion that automatically samples the sound even before

you begin sampling) will be subtracted from the amount

of memory that actually remains.

Input2 “BUS(IFX/ indiv.)Select” (0–2a)

IFX1

L/R

“Source BUS”

“Resample”

IFX1(P8)

(0–2b)

Manual

Select and assign 008: St.Graphic 7EQ

Sample Mode

[L-Mono, R-Mono, Stereo]

“Recording Level [dB]”

(0–1d) The desired level

(0–1c) Stereo

Speciﬁes the channel(s) that you want to sample, and specify

whether a mono or stereo sample will be created.

The sound that is sent to the internal L and/ or R bus or the

internal Indiv. 1 and/ or 2 bus you specify as the “Source

BUS” (0–2b) will be sampled.

L-Mono: The sound of the internal L channel or internal

Indiv. 1 channel speciﬁed by “Source BUS” will be sampled

in mono.

“Sample Mode”

If you want to sample a digital source connected to S/ P

DIF IN or to the EXB-mLAN option, set “Input” (0–2a)

to S/P DIF or mLAN. If S/P DIF is selected, make set-

tings for the L channel in Input1, and settings for the R

channel in Input2.

When stereo sampling ends, you may hear noise in the

audio output, but this does not affect the sound that

was sampled.

R-Mono: The sound of the internal R channel or internal

Indiv. 2 channel speciﬁed by “Source BUS” will be sampled

in mono.

Stereo: The sound of the internal L and R channels or the

internal Indiv. 1 and 2 channels speciﬁed by “Source BUS”

will be sampled in stereo. When you sample in stereo, a ste-

reo multisample and samples will be created.

For details on settings for resampling, refer to “Resam-

ple” (0–2b).

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0–1A: Delete Sample

0–1d: Recording Level [dB]

This command deletes all samples, the currently selected

sample, or unused samples (samples not mapped to a multi-

sample).

Recording Level

[–inf, –72.0... 0.0...+18.0]

This adjusts the signal level at the ﬁnal stage of sampling.

When you sample, make sure that the level is as high as pos-

sible without allowing the level meter to indicate “CLIP!!.”

This setting can also be made in the P0–2: Input/ Setup page.

When you press the SAMPLING [REC] key you will enter

sampling standby mode. Use the slider to adjust the signal

level.

1Select “Delete Sample” to access the dialog box.

Initially set this to 0.0, and make adjustments so that the

level is as high as possible without exceeding 0 dB in the bar

display. If 0 dB is exceed, the display will indicate “CLIP!”

This means that the level of the sampling signal is too high,

so use the slider to adjust the level.

2Use the radio buttons to specify which samples will be

deleted.

Selected: The currently selected sample will be deleted.

The sample assignment for “Index” (0–1a) will change to

---No Assign---.

Unmapped Samples: All samples that are not mapped

(used) in a multisample or drum kit will be deleted.

All Samples: All samples in memory will be deleted. The

sample assignments of all multisamples will change to ---

No Assign---.

In order to sample with the widest possible dynamic

range when sampling from the AUDIO INPUT 1,2

jacks, adjust the rear panel [LEVEL] knob to the maxi-

mum level that does not cause “ADC OVERLOAD !!”

(0–2b) to appear. Then set “Level” (0–2a) to 127, and

adjust “Recording Level” (0–1d, 0–2c) to the maximum

level that does not cause “CLIP!!” to appear.

3To execute the Delete Sample command, press the OK

button. To cancel, press the Cancel button.

Adjusting “Recording Level” will not affect the sound

that is output, but will affect the data that is sampled.

For this reason, it is possible that distortion can be

heard in the sampled sound even though you did not

hear distortion while sampling.

If the sample data (waveform data) of the sample you

delete is being used by another sample, the sample data

itself will not be deleted. Only the sample will be deleted.

0–1B: Copy Sample

If the sound is still distorted even if you lower the

“Recording Level,” when analog signal is input, it is

possible that distortion is occurring in the input stage of

the AUDIO INPUT, or that distortion is being caused by

the settings of the internal effect.

Excessive signal levels in the input stage of the AUDIO

INPUT can be veriﬁed in the P0: Input Setup page. If an

indication of “ADC OVERLOAD !!” appears above the

“Recording Level” bar display, the distortion is due to

excessive levels in the input stage of the AUDIO

INPUT. Adjust the rear panel [LEVEL] knob until the

“ADC OVERLOAD !!” display no longer appears.

If there is still distortion even after [LEVEL] knob has

been lowered, it is possible that the distortion is being

caused by the settings of the internal effect. Lower the

“(Input 1, 2) Level” (0–2a), or adjust the effect settings.

This command copies the currently selected sample to

another sample.

The copy destination sample number will automati-

cally be included in the resulting sample name. If neces-

sary, use “Rename Sample” (0–1C) to rename it. When

doing so, make sure that the name is not identical to

any other sample name. (The sample name is used to

distinguish stereo samples. ꢀ p .90)

1Use “Sample Select” (0–1b) to select the copy-source sam-

ple.

2Select “Copy Sample” to access the dialog box.

"Source BUS" (0-2b)

= L/R

ADC OVERLOAD !!

ADC

"Input(SAMPLING)"

(0–2a)

Insert

Effects

CLIP !!

L-Mono

R-Mono

AUDIO INPUT 1, 2

CDRW-1(Audio L, R)

Stereo

LEVEL

Analog to

"Level" "Pan"

[127=0dB]

(MIN...MAX)

"Sample Mode" (0–1c)

Digital

Converter

"Recording Level" (0–1d)

[–inf ... 0.0dB ... +18.0dB]

3Specify the sample number of the copy destination.

When copying a stereo sample, specify both the L

and R channels for the copy destination sample number.

4If you check “with Sample Data”: Executing the copy

will simultaneously copy the sample data (waveform

data) as well. The copy source and copy destination sam-

ples will exist as completely independent samples. For

example, you would use this when you wish to start with

the same sample data, and edit it separately in P1: Sam-

ple Edit to create two or more different types of sample.

If you do not check “with Sample Data”: Executing the

copy will not copy the sample data (waveform data). The

newly created sample will share the sample data of the

copy source sample. For example, you would use this

when you wish to use P2: Loop Edit to create two or

more versions of the same sample data with different

loop addresses. Sample memory area will not be con-

sumed by this type of copy. If you use P1: Sample Edit to

edit the sample data, the results will affect all samples

that share this sample data.

Insert

Effects

L/MONO AUDIO

OUTPUT

S/P DIF IN (L, R)

EXB-mLAN (1, 2)

"Level" "Pan"

[127=0dB]

Insert

Effects

"Level" "Pan"

[127=0dB]

CDRW-1 (Audio L, R) :

When the option card is installed

BUS(IFX/Indiv.) Select

(0-2a) = L/R or IFX1-5

If you have sampled at a low input level, you can execute

Normalize in “Normalize/Level Adj.” (1–1I) to amplify

the level to the maximum possible without clipping.

M 0–1: Page Menu Command

0–1A

0–1B

0–1C

0–1D

0–1E

0–1F

0–1G

0–1H

0–1I

0–1J

0–1K

0–1L

0–1M

0–1N

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0–1E: Copy MS (Copy Multisample)

Sample Memory

Sample Data

This command copies the selected multisample to another

multisample.

0000: NewSample_0000

0001: NewSample_0001

"Copy Sample"

with Sample Data

Sample Data

The copy destination multisample number will auto-

matically be included in the resulting multisample

name. If necessary, use “Rename MS” (0–1F) to rename

it. When doing so, make sure that the name is not iden-

tical to any other multisample name. (The multisample

name is used to distinguish stereo multisamples.

ꢀ p .90)

Sample Memory

Sample Data

0000: NewSample_0000

0001: NewSample_0001

"Copy Sample"

1Use “MS (Multisample Select)” (0–1a) to select the copy-

source multisample.

2Select “Copy MS” to access the dialog box.

5To execute the Copy Sample command, press the OK

button. To cancel, press the Cancel button.

0–1C: Rename Sample

3Specify the copy destination multisample number.

When copying a stereo multisample, copy both

the L and R channels of the copy destination multisample

number.

4To execute the Copy Multisample command, press the

OK button. To cancel, press the Cancel button.

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.)

This command lets you modify the name of the currently

selected sample.

1Use “Sample Select” (0–1b) to select the sample whose

name you want to edit.

2Select “Rename Sample” to access the dialog box.

3Press the text edit button to open the text edit dialog box,

and input the desired sample name (up to sixteen charac-

ters).

0–1F: Rename MS (Rename Multisample)

If the multisample is stereo and a stereo sample is

selected, you can input up to fourteen characters for the

sample name. This is because the last two characters are

reserved for -L and -R. If you rename up to fourteen char-

acters of the sample of either the L or the R channel, the

other sample will automatically be renamed.

This command modiﬁes the name of the currently selected

multisample.

1Use “MS (Multisample Select)” (0–1a) to select the multi-

sample whose name you want to edit.

2Select “Rename MS” to access the dialog box.

4To execute the Rename Sample command, press the OK

button. To cancel, press the Cancel button.

0–1D: Delete MS (Delete Multisample)

This command deletes the currently selected multisample or

all multisamples.

3Press the text edit button to move to the text edit dialog

box, and input a multisample name of up to sixteen char-

acters.

1Use “MS (Multisample Select)” (0–1a) to select the multi-

sample that you want to delete.

2Select “Delete MS” to access the dialog box.

If the selected multisample is stereo, up to four-

teen characters can be input as the multisample name.

This is because the last two characters are reserved for -L

and -R. If you rename up to fourteen characters of the

multisample of either the L or the R channel, the other

multisample name will automatically be renamed.

4To execute the Rename Multisample command, press the

OK button. To cancel, press the Cancel button.

3All Multisamples: Check this if you wish to delete all

multisamples.

0–1G: Convert MS To Program

4Delete Samples too?: Check this if you also wish to

delete the samples included in the deleted multisam-

ple(s). However, samples that are mapped to (used by)

other multisamples or drum kits will not be deleted.

5To execute the Delete Multisample command, press the

OK button. To cancel, press the Cancel button.

(Convert Multisample To Program)

This command converts the selected multisample into a pro-

gram.

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 MS Bank,” “Low MS Bank” (Program P1:

1–2a) to select a RAM bank, so that a multisample that you

created in Sampling mode can be used in the program, and

then to make program settings to specify how the multisam-

ple will be sounded.

Even if you also choose to delete the samples that are

included in the deleted multisample(s), any sample

data (waveform data) used by these samples that is

shared with other samples will not be deleted. Only the

sample itself will be deleted.

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However by executing the “Convert MS To Program” com-

mand, you can quickly and easily convert the Sampling

mode settings into a new program, without having to make

any Program mode settings as described above.

0–1H: MS Mono To Stereo/ MS Stereo To Mono

(Change Multisample Type)

This command converts a mono multisample to stereo, or a

stereo multisample to mono. If the selected multisample is

mono, the dialog box will allow you to execute “MS Mono

To Stereo.” If the selected multisample is stereo, the dialog

box will allow you to execute “MS Stereo To Mono.”

1Use “MS (Multisample Select)” (0–1a) to select the multi-

sample that you want to convert to a program.

2Select “Convert MS To Program” to access the dialog

box.

1Use “MS (Multisample Select)” (0–1a) to select the multi-

sample that you want to change to stereo or mono.

2Choose either “MS Mono To Stereo” or “MS Stereo To

Mono” to access the dialog box.

3Press the text edit button to access the text edit dialog

box, and input a multisample name of up to sixteen char-

acters. By default, the multisample name will be speci-

ﬁed automatically.

4If “Use Destination Program Parameters” is unchecked:

Executing the command will replace the multisample of

the convert destination program with the multisample

selected here, and will initialize the remaining program

parameters. The sound that you hear in Sampling mode

will be accurately reproduced by the program.

3To execute the Change Multisample Type command,

press the OK button. To cancel, press the Cancel button.

When you execute this command, the multisample type

and sample assignment will change as follows.

MS Mono To Stereo

•

The selected multisample will be converted to stereo.

The last two characters of the multisample name will

be overwritten as -L.

A mono multisample will be converted into a program

with an “Oscillator Mode” (Program P1: 1–1a) of Single,

and a stereo multisample will be converted into a Dou-

ble program.

If “Use Destination Program Parameters” is checked:

Executing this command will replace the multisample of

the convert destination program with the multisample

selected here, and will not initialize the remaining pro-

gram parameters. Use this setting if you wish to use the

parameter settings of an existing preset program, etc.

•

An identical multisample will be newly created, but

with the last two characters of the multisample name

overwritten as -R.

•

Mono samples assigned to the original multisample

will be assigned to both -L and -R multisamples.

If samples assigned to the original multisample are

part of a stereo pair of samples, the -L and -R samples

will be assigned to the -L and -R multisamples.

: MS Stereo To Mono

•

The selected multisample will be converted to mono.

The -L or -R at the end of the multisample name will

be deleted.

If you check “Use Destination Program Parameters,”

be aware of the following points.

•

If the selected multisample is mono, the “Oscillator

Mode” of the convert destination program must be

Single. Conversely, if the selected multisample is

stereo, the “Oscillator Mode” of the convert

destination program must be Double. If you attempt to

execute this command when these conditions are not

satisfied, a message will indicate “Oscillator Mode

conflicts.” You will need to change the “Oscillator

Mode” setting of the convert destination program.

Multisamples that are stereo pairs of the selected

multisample will be deleted.

0–1I: Sample Mono To Stereo (Change Sample Type)

This command converts a mono sample to stereo. This can

be executed when a mono sample is selected.

1Use “Sample Select” (0–1b) to select the sample that you

want to change to stereo.

2Select “Sample Mono To Stereo” to access the dialog

box.

•

If the selected multisample is stereo, the stereo

position of the multisample in Sampling mode can be

reproduced by setting the convert destination program

to the following pan settings: “Amp 1 Pan” L000, and

“Amp 2 Pan” R127 (Program P4: Amp 1 Lvl/ Pan page

and Amp 2 Lvl/ Pan page).

3To execute the Change Sample Type command, press the

OK button. To cancel, press the Cancel button.

When you execute this command, the sample type will

change as follows.

5In To “Program,” select the convert destination program.

When the edit cell is selected, you can use the numeric

keys [0]–[9], the [VALUE] dial, the [VALUE] slider, and

[

] [ ] keys to make a selection. When you press the

•

The selected sample will become a stereo sample. “–L”

will be overwritten into the last two characters of the

sample name.

An identically named sample will be created with “–R”

as the last two characters of the sample name.

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”.

popup button, the Bank/ Program Select menu will

appear. Here you can select a program by bank.

It is recommended that you use bank INT-E as the pro-

gram bank for Sampling mode.

•

6To execute the Convert Multisample To Program com-

mand, press the OK button. To cancel, press the Cancel

button.

•

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•

The stereo sample that was created will be assigned

automatically.

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.

0–1J: Keyboard Display

This command selects the range of the keyboard display.

Normally you will select 88Key Normal (A0–C8).

1Select “Keyboard Display” to access the dialog box.

Move 0003 to 0001

Example)

If there is no empty sample number and forward move-

ment is not possible, samples will be renumbered down-

ward.

2Use the radio buttons to select the displayed range.

3To execute the Keyboard Display command, press the

OK button. To cancel, press the Cancel button.

0–1K: Move Sample

This command lets you move the currently selected sample

to the speciﬁed number (i.e., to change the sample number),

or to rearrange the sample numbers so that they start from

0000 after samples have become discontinuous as a result of

creating or editing. (ꢀFollowing illustration)

Move 3996 to 3999

0–1L: Move MS (Move Multisample)

When you reassign the sample numbers, the sample num-

bers within the multisamples and drum kits that use these

sample will also be automatically reassigned. (This means

that the samples of the multisamples and drum kits need not

be reassigned following this operation.)

This command lets you move the currently selected multi-

sample to the speciﬁed number (i.e., to change the multi-

sample number), or to rearrange the multisample numbers

so that they start from 000 after multisamples have become

discontinuous as a result of creating or editing. (ꢀFollowing

illustration)

When you reassign the multisample numbers, the multisam-

ple numbers within the programs that use these multisam-

ples will also be automatically reassigned. (This means that

you do not need to reselect the multisamples in Program

mode following this operation.)

1Use “Sample Select” (0–1b) to select the copy source sam-

ple.

2Select “Move Sample” to access the dialog box.

1Use “MS (Multisample Select)” (0–1a) to select the multi-

sample that you wish to move.

2Select “Move MS” to access the dialog box.

3Use To “Sample” to specify the move destination sample

number.

When moving a stereo sample, you must move

the samples individually.

If you wish to reassign (pack) all sample numbers start-

ing at 0000, check “Optimize Empty Sample No.”

4If “Adjust Sample Assign in Drum Kit” is checked, and

if the samples being moved are mapped to (used by) a

drum kit, those sample numbers will also be automati-

cally modiﬁed. Normally you will leave this checked.

3In To “Multisample,” specify the move destination mul-

tisample number.

When moving a stereo multisample, you will

need to move each part separately.

Samples mapped to (used by) multisamples will be auto-

matically changed to the new sample numbers regardless

of this setting.

If you wish to rearrange all multisamples consecutively,

check “Optimize Empty Multisample No.”

4If “Adjust Multisample Assign in Program” is checked

and if the multisamples being moved are used in pro-

grams, the multisample numbers of the programs will

also be reassigned automatically. Normally you will

leave this checked.

5To execute the Move Sample operation, press the OK

button. To cancel without executing, press the Cancel

button.

5To execute the Move Multisample command, click the

OK button. If you decide not to execute, click the Cancel

button.

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Example)

If data already exists at the move destination multisam-

If you check “Take No.,” a two digit “take number” will

be added at the end of the ﬁlename when it is saved. The

number will automatically increment each time you sam-

ple. When sampling repeatedly, this is convenient since it

allows each ﬁle to be saved with a different ﬁlename.

If “Take No.” is not checked, up to eight character can be

entered in the “Name” ﬁeld. If “Take No.” is checked, up

to six characters can be entered.

ple number, the multisample will not be overwritten;

instead, all subsequent multisamples will be renumbered

upward.

5Press the Done button to complete the settings.

Playing back a WAVE ﬁle

1Select “Select Directory” to access the dialog box.

2Use “Drive select,” the Open button, and the Up button

to select the drive and directory, and select the WAVE ﬁle

(44.1 kHz or 48 kHz) that you want to play.

3Press the SAMPLING [START/ STOP] key.

The selected WAVE ﬁle will play.

Move 003 to 001

Example)

If there is no empty multisample number and forward

movement is not possible, multisamples will be renum-

bered downward.

4Press the SAMPLING [START/ STOP] key once again to

stop.

If the WAVE ﬁle is mono, the same sound will be output

to L and R.

While a WAVE ﬁle is playing back, the TRITON STU-

DIO will not produce sound in response to your key-

board playing or to note data received at MIDI IN. Also,

the arpeggiator will stop.

Move 996 to 999

0–1M: Optimize RAM

This command optimizes the sample memory (RAM).

When you execute the optimize command, any memory

areas containing unused data will be rearranged, allowing

you to utilize all of the remaining memory.

If you run out of memory, try executing “Optimize RAM.”

The remaining amount of RAM can be checked in P0: Mem-

ory Status.

0–2: Input/ Setup

Here you can select the input source for analog/ digital

audio signals, and specify the input level, bus, and the send

levels to the master effects. You can also set-up for record-

ing.

1Select “Optimize RAM” to access the dialog box.

0–1

0–2a

2Press the OK button to execute the optimize command,

or press the Cancel button to cancel without executing.

If “Auto Optimize RAM” (Global P0: 0–3b) is checked,

RAM will be optimized automatically.

0–2b

0–2c

0–1N: Select Directory

This command lets you specify the save-destination disk

(hard disk), directory, and ﬁlename for the WAVE ﬁle that

will be created by sampling. You can also use this “Select

Directory” command to listen to audio from a WAVE ﬁle

that was saved to disk.

0–2a: Input (SAMPLING)

The settings you make here are valid only in Sampling

mode. These settings will also be valid when you move

from Sampling mode to Global mode.

External audio input settings for the TRITON STUDIO

outside of Sampling mode are made in “Input (COMBI,

PROG, SEQ, S.PLAY, DISK)” (Global P0: 0–3a).

The “Select Directory” command is available when “Save

to” is set to DISK.

Specifying the save-destination for a WAVE ﬁle

1Select “Save Directory” to access the dialog box.

Input

[Analog, S/ P DIF, mLAN]

Speciﬁes the external audio source for input to the TRITON

STUDIO.

Analog, S/P DIF, and mLAN each have their own inde-

pendent settings. After setting this “Input” parameter

to select one of these sources, make settings for the var-

ious Input1 and Input2 parameters. Multiple external

audio input sources can be input simultaneously.

Drive select

2Use “Drive select” to select the drive into which the data

will be written during sampling.

3Use the Open button and Up button to move between

directories.

4In the “Name” ﬁeld, specify a name for the WAVE ﬁle

that will be written during sampling.

Analog: The analog audio output from a device connected

to the AUDIO INPUT 1 and AUDIO INPUT 2 jacks can be

input to the TRITON STUDIO.

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If the CDRW-1 option is installed, you can use P5: Audio CD

to play back an audio CD. In this case as well, the audio will

be input to the TRITON STUDIO as speciﬁed by the settings

you make here. The L channel corresponds to Input 1, and

the R channel corresponds to Input 2.

S/P DIF: The digital audio output from an instrument or

DAT etc. connected to the S/ P DIF IN jack can be input to

the TRITON STUDIO. The L channel of the S/ P DIF input

will be input as speciﬁed by the Input1 setting below, and

the R channel as speciﬁed by the Input2 setting.

to the L/R bus, and the sound played by the TRITON STU-

DIO from its keyboard or from MIDI input etc. and sent to

the L/R bus, will be sampled. You will also use the L/ R set-

ting when sampling a sound processed by an insert effect.

Indiv.1/2: The sound being sent to the INDIVIDUAL 1, 2, or

1/ 2 buses will be sampled.

The external audio signal(s) (speciﬁed by “Input” 0–2a) sent

to the 1, 2, or 1/ 2 buses, and the sound played by the TRI-

TON STUDIO from its keyboard or from MIDI input etc. and

sent to the INDIVIDUAL 1, 2, or 1/2 buses, will be sampled.

Sample rates of 48 kHz and 96 kHz are supported for S/ P

DIF input and output. This is speciﬁed by “S/P DIF Sample

Rate” (Global P0: 0–2a). 96 kHz sample rate data will be con-

verted to 48 kHz when it is sampled.

mLAN: The digital audio output of an instrument or other

device connected to the mLAN connector (when the EXB-

mLAN option is installed) can be input to the TRITON STU-

DIO.

Trigger

[Sampling START SW, Note On, Threshold]

Speciﬁes how sampling will be initiated.

Sampling START SW: Pressing the SAMPLING [REC] key

will cause the TRITON STUDIO to enter sampling-standby

mode, and sampling will begin when you press the SAM-

PLING [START/ STOP] key.

1Press the SAMPLING [REC] key to enter sampling-

standby mode.

2Use the “Recording Level [dB]” slider to adjust the sam-

pling level.

In the Global mode P0: mLAN Input page you must specify

the audio source that will be input. (ꢀGlobal P0: 0–5)

In order to select mLAN, the EXB-mLAN option must

be installed, and you must set “System Clock” (Global

P0: 0–2a) to mLAN.

3Sampling will begin when you press the SAMPLING

[START/ STOP] key. (If you are using the “Metronome

Precount” function, pressing the SAMPLING [START/

STOP] key will cause sampling to begin after the metro-

nome sounds a count-down. If Metronome Setup “BUS

(Output) Select” (0–3c) is set to L/R, the metronome will

stop sounding at the moment that sampling begins.

4To stop sampling, press the [START/ STOP] key once

again. Sampling will also stop automatically if it contin-

ues to the speciﬁed “Sample Time” (0–1c).

Input1:

Input2:

Level

[0...127]

Speciﬁes the level of the external audio signal that will be

input (selected by “Input” 0–2a). Normally you will set this

at 127.

The analog audio signals from the AUDIO INPUT 1, 2

jacks and from the CDRW-1 option are converted by a

AD converter from analog to digital signals. This

parameter sets the level of the signal immediately after

it has been converted into digital form. If the sound is

distorted even though this level setting is very low, it is

possible that the sound is distorting earlier than the AD

converter. Try adjusting the [LEVEL] knob or the out-

put level of the external audio source.

If you want to apply an effect etc. to an existing sample and

automatically create a new sample (Resampling), set “Trig-

ger” to Sampling START SW, and set “Resample” (0–2b) to

Auto. (ꢀ“Resample” Auto)

Note On: Sampling will begin when you play the keyboard

after having pressing the SAMPLING [REC] key and then

the SAMPLING [START/ STOP] key.

Sampling will also begin if a MIDI note-on is received

(instead of playing the keyboard).

Pan

[L000...C064...R127]

1Perform steps 1and 2, above.

Speciﬁes the panning of the external audio signal being

input (speciﬁed by “Input”). When inputting a stereo audio

source, you will normally set Input1 to L000 and Input2 to

R127. (For example settings, ꢀ p .91, BG p .37, 102)

2Press the SAMPLING [START/ STOP] key.

3When you play the keyboard or when a MIDI note-on is

received, sampling will start automatically.

4To stop sampling, perform step 4, above.

BUS (IFX/ Indiv.) Select

Threshold: Sampling will begin automatically when the

input level exceeds the speciﬁed “Level.”

[L/ R, IFX1...5, 1...4, 1/ 2, 3/ 4, Off]

Speciﬁes the bus to which the external audio signal will be

sent.

L/R: The external audio signal will be sent to the L/ R bus.

Normally you will select L/R.

IFX1...5: The external audio signal will be sent to the corre-

sponding IFX1–5 bus. Select this when you want to apply an

insert effect while sampling. (“2 –3. Sa m pling mode ”

ꢀ p .180)

1Press the SAMPLING [REC] key to enter sampling-

standby mode.

2Use the “Recording Level [dB]” slider to adjust the sam-

pling level.

Be careful of the change in the monitoring volume.

(“Recording Level [dB]” 0–1d)

1...4, 1/2, 3/4: The external audio signal will be sent to the

corresponding bus(s) 1–4. (“2 –3. Sa m pling mode ” ꢀ p .180)

Off: The external audio signal will not be input.

3Adjust the “Level” setting. The black triangles at both

sides of the “Recording Level [dB]” level bar display will

indicate the “Level” value. Normally you will set this to a

low a level as possible without allowing sampling to be

triggered by noise.

4Press the SAMPLING [START/ STOP] key. When the

input level exceeds the “Level” you speciﬁed, sampling

will begin automatically.

0–2b: Recording Setup

Source BUS

[L/ R, Indiv.1/ 2]

Selects the source that you want to sample. The sound being

sent to this bus will be sampled.

L/R: The sound being sent to the L/R bus will be sampled.

The external audio signal(s) (speciﬁed by “Input” 0–2a) sent

5To stop sampling, press the [START/ STOP] key once

again. Alternatively, sampling will end automatically if it

continues to the time speciﬁed for “Sample Time” (0–1c).

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Metronome Precount

[Off, 4, 8, 3, 6]

Level

[–63dB ... 0dB]

Speciﬁes whether the metronome will sound a countdown

when you use “Trigger” Sampling START SW to begin

sampling.

When sampling with “Trigger” set to Threshold, this speci-

ﬁes the level at which sampling will begin. This can be set

only when “Trigger” is set to Threshold. (ꢀRefer to step 3

of the “Trigger” Threshold procedure.)

This can be set only if “Trigger” is set to Sampling START

SW.

ꢀ (Tempo)

[040...240]

Off: Sampling will begin immediately when you press the

SAMPLING [START/ STOP] key from recording-standby

mode.

4, 8, 3, 6: When you press the SAMPLING [START/ STOP]

key from recording-standby mode, the metronome will

count the speciﬁed number of beats at the “ꢀ (Tempo)”

tempo, and then sampling will begin. If you set this to 4,

sampling will begin on the count of 0 after a pre-count of 4–

3–2–1–0.

This sets the tempo of the count-down when “Metronome

Precount” is used.

The tempo speciﬁed here will also be used when the LFO or

delay time of the insert effect is controlled by the BPM/

MIDI SYNC function during sampling (ꢀ p .248). This can

also be set by the [TEMPO] knob.

Pre Trigger REC

[000...500ms]

If you want a portion of sound immediately before the start

of sampling to be included in the recorded sample, set this

parameter to specify the length.

The output destination and level of the metronome

sound are speciﬁed by Metronome Setup (0–3c).

When sampling with “Trigger” Threshold, sampling will

start when the input signal exceeds the “Level” threshold

level. However if the “Level” setting causes a portion of the

attack to be lost, you can set the “Pre Trigger REC” parame-

ter to capture the early attack as well.

Resample

[Manual, Auto]

Speciﬁes how resampling will occur.

This can be set only if “Trigger” is set to Sampling START

SW.

When sampling with “Trigger” Sampling START SW, it is

best to use “Metronome Precount” so that the instrumental

performance etc. is sampled in tempo. If the performance is

ahead of the tempo, this Pre Trigger REC parameter lets you

sample without losing any of it.

The process of sampling a sample (or samples) is called “res-

ampling.”

You can apply effects to a sample and then resample it, or

resample a performance of samples that you play.

Manual: This is the normal method. Use this when you want

to sample an external input sound. If a sample is already

assigned, the sample assigned for playing from the keyboard

will be resampled together with the external input sound.

If you increase this setting, you will always be sampling

an unneeded portion ahead of the desired sample. Nor-

mally you should set this to 000 ms, and specify the

minimum required length when necessary.

Auto: The sample assigned to the index will be resampled

automatically. Use this when you want to apply an effect to

an existung sample and resample the results.

ADC OVERLOAD !!

The “ADC OVERLOAD !!” indication will appear if the sig-

nal level from AUDIO INPUT 1 and 2 exceeds the maximum

level. If this occurs, adjust the [LEVEL] knob or the output

level of the external sound source (ꢀ“Recording Level [dB]”

0–1d).

1Set “Key” to the keyboard location where the sample you

that you want to resample is assigned.

Sampling will not be possible if you specify a key to

which a sample has not been assigned.

2If you want to apply an effect, go to the P8: Routing page

and set “BUS (IFX) Select” (8–1b) to IFX1–5 to specify

the insert effect that you want to use. Then set “Source

BUS” (0–2b) to L/R.

0–2c: Recording Level [dB]

Recording Level [dB]

[–inf, –72.0... 0.0...+18.0]

3Press the SAMPLING [REC] key to enter record-ready

mode.

ꢀ0–1d

4When you press the SAMPLING [START/ STOP] key, the

current sample will play back automatically, and the res-

ampling will begin. If you play the keyboard at this time,

the sound you play will be resampled together with the

source sample.

0–3: Preference

0–1

5When the sample assigned to the “Key” has played back

for its full length, resampling will end automatically.

Alternatively, you can stop resampling by pressing the

SAMPLING [START/ STOP] key once again.

0–3a

0–3b

When resampling ends, the “BUS (IFX) Select” (8–1b)

setting will automatically be reset to L/R. Please be

aware of this if you want to resample once again.

The parameters of the newly created sample will be

automatically set the same as the source sample when

played back.

0–3c

Key

[C–1...G9]

When “Resample” is set to Auto, this speciﬁes the note to

which the sample to be resampled is assigned.

This can be set only if “Trigger” is set to Sampling START

SW.

(ꢀFor the resampling procedure, refer to “Resample”

Auto.)

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The “Auto +12 dB On” setting is set separately for each

mode: Program, Combination, Sequencer, and Sam-

pling.

0–3a: Create Zone Preference

These settings deﬁne the initial state of the indexes that are

created when you press the Create button (0–1b, 3–1c). Each

new index will be created according to the settings you

make here, but you are free to modify the settings later.

0–3c: Metronome Setup

BUS(Output) Select

[L/ R, 1, 2, 3, 4]

Position

Speciﬁes the output destination of the metronome sound

played by “Metronome Precount” (0–2b).

[Right (to Selected Index), Left (to Selected Index)]

Speciﬁes whether the new index will be created at the right

or left of the selected index.

L/R: The metronome will be output from OUTPUT (MAIN)

L/ Mono, R, and the headphones.

1, 2, 3, 4: The metronome will be output from OUTPUT

(INDIVIDUAL) 1, 2, 3, or 4 respectively.

Right (to Selected Index): The new index will be created at

the right of the currently selected index.

Left (to Selected Index): The new index will be created at

the left of the currently selected index.

Level

[000...127]

Speciﬁes the level of the metronome sound played by “Met-

ronome Precount”

Zone Range

[1 Key...127 Keys]

Speciﬁes the key range of the newly created index.

1Key: Each individual note of the keyboard will be an index.

The sample of an index will sound at its original key when

you play that note. This setting can be used similarly to pad

(keyboard) type samplers.

2 Keys–127 Keys: The sample will change pitch in semitone

steps across the speciﬁed number of keys, centered on the

original key “OrigKey” (0–1b, 3–1b). If “Constant Pitch” (3–

1b) is checked, the pitch will not change.

0–4: Memory Status

0–1

0–4a

Original Key Position

[Bottom, Center, Top]

0–4b

Speciﬁes where the original key will be located in the zone

(speciﬁed by “Zone Range”) for a newly created index.

Bottom: The lowest key in the zone will be the original key.

Center: The middle key in the zone will be the original key.

Top: The top key in the zone will be the original key.

0–4a: Free Sample Memory

0–3b: REC Sample Preference

This shows the remaining amount of memory (the time

available for sampling, the size of the sample ﬁles that can

be loaded in Disk mode, or the size available for editing) in

RAM banks 1–6. The amount is shown in seconds, bytes,

and a percentage (%). The display will depend on the

amount of memory that is installed (ꢀ“RAM Bank” 0–1c).

Auto Loop On

[Off, On]

On (checked): The recorded sample will automatically be

played with looping turned on (ꢀ“Loop” (2–1c)).

Auto +12 dB On

[Off, On]

This setting is used when you sample into sample memory

(RAM) with “Save to” (0–1c) set to RAM. This setting is not

used if “Save to” is set to DISK.

On (checked): The “+12 dB” (2–1c) setting will automati-

cally be turned on for the samples you record. Samples for

which “+12 dB” is on will play approximately +12 dB louder

than if the “+12 dB” setting was off.

0–4b: Free Number

This shows the number of multisamples and samples that

can be handled, and the maximum number of samples that

can be used by multisamples. The remaining number and

percentage (%) relative to this maximum is also displayed.

When you rip audio from an audio CD in the P5: Audio

CD page, “+12 dB” will be turned off even if “Auto +12

dB On” is turned on.

Multisample(MS)

Sample

[0000...0999/ 1000 000...099%]

[0000...4000/ 4000 000...100%]

[0000...3999/ 4000 000...099%]

You will normally turn this off (unchecked) when you sam-

ple an external audio source in Sampling mode, or apply

insert effects to a sample and resample it. (In Sampling

mode, the power-on default for this setting is Off.)

Sample in MS

When you are sampling more than one external audio

source, or an audio source mixed with your keyboard per-

formance, set “Recording Level” to approximately –12.0

(dB) so that the recording level will be the optimum level

that does not cause clipping. This will allow the sampled

data to be recorded at the ideal level, but the playback level

will be lower than it was during sampling. In such cases you

can check “Auto +12 dB On” when you resample, so that

“+12 dB” (2–1c) will be turned on, causing the playback

level to be the same as the level during sampling.

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1–1c: Sample waveform display, Edit Range Start,

Sampling P1: Sample Edit

Edit Range End, Use Zero, Grid, ZOOM

Here you can edit sample data (waveform data). Editing

operations such as deleting unwanted portions of the wave-

form, reversing the waveform, or lowering the sampling fre-

quency can be performed in detail while viewing the

“sample waveform display.”

Sample waveform display

This displays the waveform of the selected sample. The hor-

izontal axis is the sample address (time axis), and the verti-

cal axis is the sample level.

1–1: Sample Edit

1–1

The thick line above the display border indicates the portion

of the entire sample waveform that is displayed. As you

zoom-in on the time axis, this will indicate which portion of

the entire waveform is currently being viewed. If a stereo

multisample or sample is selected, the L channel sample

data of the multisample will be displayed in the upper half,

and the R channel sample data in the lower half.

1–1a

1–1b

Edit Range Start

Edit Range End

[0000000...]

1–1c

This speciﬁes the range (start address and end address) of

the sample that will be edited by page menu commands.

(This is shown in sample address units.)

The range you specify here will be highlighted in the “sam-

ple waveform display.”

1–1a: MS, Index, Keyboard & Index

MS (Multisample Select)

[000...999]

To audition the selected range, press the SAMPLING

[START/ STOP] key. The sample in the area between

“Edit Range Start” and “Edit Range End” will sound at

the pitch of the currently selected key (displayed in

gray) (ꢀ“Keyboard & Index” 0–1a).

Selects the multisample that contains the sample you wish

to edit (ꢀ0–1a).

Index

[xxx (001...128)/ yyy (001...128)]

Selects the index of the sample you wish to edit. Your edit-

ing will affect the sample of the index that you select here,

and the waveform will appear in the “sample waveform dis-

play” (ꢀ0–1a).

Use Zero

[Off, On]

On (checked): When setting “Edit Range Start” and “Edit

Range End,” it will be possible to select these only to loca-

tions where the waveform level is ±0 (i.e., where the wave-

form crosses the center line of the “sample waveform

display”). You can use the [VALUE] slider, [VALUE] dial,

and [ ] [ ] keys [0]–[9] to automatically search for zero-

cross addresses. By using the numeric keys you can search

for the zero-cross address nearest to the value that you

input.

An index can also be selected by holding down the

[ENTER] key and playing a note on the keyboard. The

index that includes this note will be selected. The key

you played will be the base key, and will be displayed

in gray in “Keyboard & Index” (ꢀ“Keyboard & Index”

0–1a).

Off (unchecked): “Edit Range Start” and “Edit Range End”

can be set in increments of one. This is the normal setting.

Keyboard & Index

(ꢀ0–1a)

Grid

[040 BPM...480 BPM]

1–1b: Sample Select, Range

(ꢀ2–1c)

This has no relation to the setting of the [TEMPO] knob.

Sample Select

Range

[----: ---No Assign----, 0000...3999]

[C–1...B9 — C–1...B9]

ZOOM

This shows the sample number and name for the selected

index, and the range. If you modify “Sample,” the sample

you specify here will be assigned to this index (ꢀ0–1b). The

range of the index is shown at the right.

These buttons let you zoom-in and zoom-out the “sample

waveform display” along the horizontal axis (sample

addresses) or vertical axis (sample level).

Zoom-in vertically

Zoom-out horizontally

Zoom-in horizontally

1x horizontal zoom-in

Maximum

horizontal zoom-out

Zoom-out vertically

By zooming-in on the horizontal direction, you can move

from the overall display where the waveform is shown as a

solid line (1X magniﬁcation) to 2X or 4X magniﬁcation.

(With 1X magniﬁcation, the display resolution of the LCD

will be the same as the resolution of the sample addresses.

100

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For example if you change the sample address by one, the

vertical line in the LCD that indicates the sample address

will move in steps of one pixel.) In the vertical axis, you can

zoom-in from 1X (full range display) to 512X (or 1024X in

the case of stereo display).

Zoom-In/ zoom-out will occur starting at the “Edit Range

Start” or “Edit Range End” points you specify. (If a different

parameter is selected when you zoom-in or -out, the zoom-

in/ out will be based on the last-selected point. If you re-

select the “Edit Range Start” or “Edit Range End” points

when the display is zoomed in or out, the display range will

be adjusted so as to show the selected point.)

When “Overwrite” is checked: When the command is exe-

cuted, the edited sample will be overwritten onto the origi-

nal sample (number). The original sample will be modiﬁed.

Normally, you will leave “Save to No.” at its default

setting, and execute without checking “Overwrite.”

When you execute, both the data before and after edit-

ing will be preserved, and the sample number of the

edited data will be assigned as the sample of that index.

Loop Start Address “LoopS” and End Address “End”

(2–1c) must be located at least eight addresses apart. If

as a result of executing “Truncate” (1–1A), “Cut” (1–

1B), or “Rate Convert” (1–1K), the Loop Start Address

and End Address would be separated by less than eight

addresses, the display will indicate “Sample length is

shorter than minimum.” Please set the “Edit Range

Start” and “Edit Range End” appropriately.

If the zoom ratio is low (1X or less), the “sample wave-

form display” may differ slightly from the displayed

waveform before and after waveform editing, but this

does not affect the playback sound. If this occurs, rais-

ing the zoom ratio will make the display accurate.

1–1A

1–1B

1–1C

1–1D

1–1E

1–1F

1–1G

1–1H

1–1I

M 1–1: Page Menu Command

When using the page menu commands “Truncate”–

“Volume Ramp” to edit the waveform data of a sample,

ﬁrst use “Edit Range Start” and “Edit Range End” to

select the range that will be edited, and then choose and

execute the desired page menu command.

1–1J

1–1K

1–1L

There is no compare function that lets you return the

edited result to the state before editing. If you wish to

preserve the unedited sample, uncheck the “Over-

write”^*1item in the dialog box of each page menu com-

mand before you execute.

1–1A: Truncate

This command deletes unwanted data that lies beyond the

“Edit Range Start” and “Edit Range End.” Use this com-

mand when you wish to delete silence at the beginning or

end of the waveform data.

To edit the “Start” (start address) location at which the

sample data (waveform data) will begin playing, the

“LoopS” (loop start address), or “End” (end address),

use P2: Loop Edit. If the above parameters are located

within an area of sample addresses that are deleted or

moved by your editing, they will automatically be

moved.

If you wish to delete unneeded (unplayed) sample data

after setting the Start Address “Start,” Loop Start

Address “LoopS” and End Address “End” (2–1c), use

the “Truncate” page menu command found in P2: Loop

Edit.

Remarks on editing stereo samples

•

For stereo samples, the L channel and R channel samples

are edited simultaneously. If you wish to edit only the L

channel or R channel, select a mono multisample, and

select either the L channel or R channel sample for

editing.

1Use “Sample Select” (1–1b) to select the sample that you

wish to edit, and use “Edit Range Start” and “Edit Range

End” to specify the editing range.

•

For stereo samples, the display will indicate “Save to

No.(L)” and “(R).” These respectively specify the

writing-destination sample numbers for the L and R

channels.

If you “Copy” a mono sample into the buffer, and then

“Insert,” “Mix,” or “Paste” it to a stereo sample, the data

will be inserted, mixed, or pasted into both the L and R

sides. (The result is that a stereo sample will be created.)

If you “Copy” a stereo sample into the buffer, and then

“Insert,” “Mix,” or “Paste” it to a mono sample, the L-

and R-side data in the buffer will be mixed to mono, and

then inserted, mixed, or pasted. (The result is that a mono

sample will be created.)

You can press the SAMPLING [START/ STOP] key to

hear the portion that will be left by the “Truncate” com-

mand.

2Select “Truncate” to access the dialog box.

You can also use these commands if you wish to mono-

mix a stereo sample and use it as a mono sample. How-

ever, be aware that once a sample has been mixed to

mono, it is no longer possible to return it to a stereo sam-

ple.

3The editing range will be shown in Range “Start” and

“End.”

4Use the radio buttons to select the portion that will be

deleted.

^*1: About “Overwrite”

Front & End: The sample data that lies before the “Edit

Range Start” and after the “Edit Range End” will be

deleted.

Front: The sample data that lies before the “Edit Range

Start” will be deleted.

When “Overwrite” is unchecked: When the command is

executed, the edited sample will be saved in a different sam-

ple number. The unedited sample will remain without

change.

101

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End: The sample data that lies after the “Edit Range End”

will be deleted.

2Select “Clear” to access the dialog box.

5In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be

selected.

The sample number cannot be speciﬁed if “Overwrite” is

checked (ꢀ p .101).

For stereo samples, use “Save to No.(L)” and

“(R)” to specify the save-destination of the L and R chan-

nels.

3The range to be edited is shown by Range “Start” and

“End.”

4In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be

selected.

6To execute the Truncate command, press the OK button.

To cancel, press the Cancel button.

The sample number cannot be speci ﬁ ed if “Overwrite ” is

checked (ꢀ p .101).

For stereo samples, use “Save to No.(L)” and

“(R)” to specify the save-destination of the L and R chan-

nels.

1–1B: Cut

This command deletes the data between the “Edit Range

Start”–“Edit Range End.” Sample data located after the

deleted portion will be moved toward the begining of the

sample.

5To execute the Clear command, press the OK button. To

cancel, press the Cancel button.

1–1D: Copy

This command copies the sample data from the area

between “Edit Range Start”–“Edit Range End” into the sam-

ple data buffer. This data can then be used by the “Insert,”

“Mix” or “Paste” commands.

1Use “Sample Select” (1–1b) to select the sample that you

wish to edit, and use “Edit Range Start” and “Edit Range

End” to specify the editing range.

When you execute “Copy,” the data that is copied into

the buffer actually consists only of the copy-source

sample number, the “Edit Range Start” and “Edit

Range End” locations and not the data itself. Do not

delete the copy-source sample until you ﬁnish execut-

ing the “Insert,” “Mix,” or “Paste” command.

You can press the SAMPLING [START/ STOP] key to

hear the portion that will be deleted by the “Cut” com-

mand.

2Select “Cut” to access the dialog box.

1Use “Sample Select” (1–1b) to select the sample that you

wish to edit, and use “Edit Range Start” and “Edit Range

End” to specify the editing range.

3The range to be edited is shown by Range “Start” and

“End.”

4In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be

selected.

You can press the SAMPLING [START/ STOP] key to

hear the portion that will be copied by the “Copy” com-

mand.

2Select “Copy” to access the dialog box.

The sample number cannot be speci ﬁ ed if “Overwrite ” is

checked (ꢀ p .101).

For stereo samples, use “Save to No.(L)” and

“(R)” to specify the save-destination of the L and R chan-

nels.

5To execute the Cut command, press the OK button. To

cancel, press the Cancel button.

3The range to be copied is shown by Range “Start” and

“End.”

4To execute the Copy command, press the OK button. To

cancel, press the Cancel button.

1–1C: Clear

This command converts the data between “Edit Range

Start”–“Edit Range End” to zero values. Sample data before

and after the edited range will not move.

1–1E: Insert

The sample data that was copied into the buffer by the

“Copy” command will be inserted, starting at the “Edit

Range Start” address. Any data that was located after this

point will be moved toward the end of the sample.

From the

buffer

1Use “Sample Select” (1–1b) to select the sample that you

wish to edit, and use “Edit Range Start”–“Edit Range

End” to specify the editing range.

1Use “Sample Select” (1–1b) to select the sample that you

wish to edit, and set “Edit Range Start” to specify the

starting address. The “Edit Range End” setting is

ignored.

You can press the SAMPLING [START/ STOP] key to

hear the portion that will be changed to zero-level by

the “Clear” command.

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2Select “Insert” to access the dialog box.

Pasting to a sample that contains sample data

From the

buffer

Use “Sample Select” (1–1b) to select the sample that you

wish to edit, and set “Edit Range Start” to specify the

starting address. The “Edit Range End” setting is ignored.

3To “Start” will indicate the starting address at which the

data will be inserted.

4In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be

selected.

2Select “Paste” to access the dialog box.

The sample number cannot be speci ﬁ ed if “Overwrite ” is

checked (ꢀ p .101).

For stereo samples, use “Save to No.(L)” and

“(R)” to specify the save-destination of the L and R chan-

nels.

5To execute the Insert command, press the OK button. To

cancel, press the Cancel button.

3To “Start” will indicate the starting address at which the

data will be pasted.

4In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be

selected.

If the buffer into which data was placed by the “Copy”

command contains no data, the display will indicate

“Source sample is empty.”

The sample number cannot be speci ﬁ ed if “Overwrite ” is

checked (ꢀ p .101).

1–1F: Mix

For stereo samples, use “Save to No.(L)” and

“(R)” to specify the save-destination of the L and R chan-

nels.

This command mixes the sample data that was placed in the

buffer by “Copy” with the selected sample data. Mixing will

begin at the “Edit Range Start” address.

5To execute the Paste command, press the OK button. To

cancel, press the Cancel button.

From the

buffer

If the buffer into which data was placed by the “Copy”

command contains no data, the display will indicate

“Source sample is empty.”

Pasting to a sample that contains no sample data

1Use “Sample Select” (1–1b) to select the sample that you

wish to edit, and set “Edit Range Start” to specify the

starting address. The “Edit Range End” setting is

ignored.

1Select the vacant sample number that you wish to paste.

If you select ----:---No Assign---- for “Sample” and then

access the dialog box for this command, a vacant sample

number will be selected automatically.

2Select “Mix” to access the dialog box.

The “Edit Range Start” and “Edit Range End” settings

will be ignored, and will have no effect. The beginning

of the sample will be placed at address 0.

2Select “Paste” to access the dialog box.

3To “Start” will indicate the starting address at which the

data will be mixed.

4In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be

selected.

The sample number cannot be speci ﬁ ed if “Overwrite ” is

checked (ꢀ p .101).

For stereo samples, use “Save to No.(L)” and

“(R)” to specify the save-destination of the L and R chan-

nels.

3In “Save to No.,” specify the save destination sample

number. If you wish to change it, re-specify the desired

number.

For stereo samples, use “Save to No.(L)” and

“(R)” to specify the save-destination of the L and R chan-

nels.

5To execute the Mix command, press the OK button. To

cancel, press the Cancel button.

4To execute the “Paste” command, press the OK button.

To cancel without executing, press the Cancel button.

If the buffer into which data was placed by the “Copy”

command contains no data, the display will indicate

“Source sample is empty.”

1–1H: Insert Zero

This command inserts zero-level sample data (silence),

beginning at the “Edit Range Start” address. The data that

previously occupied that location will be moved toward the

end of the sample.

1–1G: Paste

Beginning at the “Edit Range Start” address, this command

places the sample data that was loaded into the buffer by

“Copy.” The original data will be deleted, and overwritten

by the sample data from the buffer.

Size

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.

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1Use “Sample Select” (1–1b) to select the sample that you

wish to edit, and set “Edit Range Start” to specify the

starting address. The “Edit Range End” setting is

ignored.

be an increase of approximately 4X, and +18 dB will be

approximately 8X. Conversely, each decrease of –6 dB

will halve the level, so that –6 dB will be 1/ 2X and –12

dB will be approximately 1/ 4X. Executing the “Level”

command with positive (+) settings may cause the

sound to clip (i.e., distort at the point that ampliﬁcation

beyond the maximum level is impossible). Once the

sample data has been boosted beyond the clipping

point, re-executing this command with negative (–) set-

tings of “Level” will simply lower the overall level of

the clipped signal –the waveform will remain distorted.

Also, if executing “Level” with negative (–) settings

causes any portion of the sample data to reach a zero

level, the zero data will not return to its original state

even if you re-execute “Level” with positive (+) set-

tings.

2Select “Insert Zero” to access the dialog box.

3To “Start” will indicate the starting address at which the

data will be inserted.

4In “Size,” specify the length of the data that will be

inserted.

5In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be

selected.

5In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be

selected.

The sample number cannot be speci ﬁ ed if “Overwrite ” is

checked (ꢀ p .101).

The sample number cannot be speci ﬁ ed if “Overwrite ” is

checked (ꢀ p .101).

For stereo samples, use “Save to No.(L)” and

“(R)” to specify the save-destination of the L and R chan-

nels.

For stereo samples, use “Save to No.(L)” and

“(R)” to specify the save-destination of the L and R chan-

nels.

6To execute the Insert Zero command, press the OK but-

ton. To cancel, press the Cancel button.

6To execute the Normalize/ Level Adjust command, press

the OK button. To cancel, press the Cancel button.

1–1I: Normalize/ Level Adj.

Be aware that if sample data of an extremely low level

is normalized, any noise included in the sample will

also be ampliﬁed.

This command uniformly modiﬁes the data values (volume)

of the data between the “Edit Range Start”–“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.

1–1J: Volume Ramp

This command modiﬁes the data values (volume) between

the “Edit Range Start” and “Edit Range End.” You can make

the volume gradually increase (Fade In) or decrease (Fade

Out) from the “Edit Range Start” to the “Edit Range End.”

Normalize

Fade In

Level Adjust –6dB

Fade Out

Fade In

1Use “Sample Select” (1–1b) to select the sample that you

wish to edit, and use “Edit Range Start” and “Edit Range

End” to specify the editing range.

1Use “Sample Select” (1–1b) to select the sample that you

wish to edit, and use “Edit Range Start” and “Edit Range

End” to specify the editing range.

You can press the SAMPLING [START/ STOP] key to

hear the portion that will be normalized or level-

adjusted.

You can press the SAMPLING [START/ STOP] key to

hear the portion on which “Volume Ramp” will be exe-

cuted.

2Select “Normalize/Level Adj.” to access the dialog box.

2Select “Volume Ramp” to access the dialog box.

3The range to be edited is shown by Range “Start” and

“End.”

4If you check “Normalize” and execute, the data will be

normalized. In this case, the “Level” setting will be

ignored.

3The range to be edited is shown by Range “Start” and

“End.”

4Use the radio buttons to select the type of volume ramp.

Fade In: The volume at Range “Start” will be zero, and

will gradually increase toward “End.”

If you wish to specify “Level” to modify the level of the

sample data, do not check “Normalize.”

Fade Out: The volume will gradually decrease from the

Range “Start” volume until it reaches zero at “End.”

Each increase of +6 dB will approximately double the

height of the waveform shown in the LCD. +12 dB will

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5In “Curve,” specify the way in which the volume will

change.

Linear: The volume will change linearly. For normal

fade-in or fade-out, select Linear.

Power: The volume will change non-linearly. When you

use “Mix” (1–1F) to combine a faded-in waveform with a

different faded-out waveform (i.e., crossfade), using a

Linear fade-in/ out may produce an impression that the

volume has dropped in the middle of the curve. In such

cases, use Power to perform the fade-in/ out.

6In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be

selected.

1Use “Sample Select” (1–1b) to select the sample that you

wish to edit.

2Select “Reverse” to access the dialog box.

The sample number cannot be speci ﬁ ed if “Overwrite ” is

checked (ꢀ p .101).

For stereo samples, use “Save to No.(L)” and

“(R)” to specify the save-destination of the L and R chan-

nels.

3In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be

selected.

The sample number cannot be speci ﬁ ed if “Overwrite ” is

checked (ꢀ p .101).

For stereo samples, use “Save to No.(L)” and

“(R)” to specify the save-destination of the L and R chan-

nels.

7To execute the Volume Ramp command, press the OK

button. To cancel, press the Cancel button.

1–1K: Rate Convert

4To execute the Reverse command, press the OK button.

To cancel, press the Cancel button.

This command lowers the sampling rate (frequency) of the

sampled data by 2/ 3, 1/ 2, 1/ 3, 1/ 4, or 1/ 6. The sampling

frequency of input is ﬁxed at 48 kHz, but you can use this

command to create “down-sampling” effects. The sample

data is thinned to convert it into sample data of a lower sam-

pling frequency.

The “Rate Convert” command is always executed on all

waveform data of the selected sample, regardless of the

“Edit Range Start” and “Edit Range End” settings.

When you execute this command, all of the sample data

will be rewritten to reverse its direction. The P2: Loop

Edit also contains a “Rev” (2–1c) command, which sim-

ply reverses the playback direction without affecting

the sample data itself.

0–1A

0–1B

0–1C

0–1D

0–1E

0–1F

0–1G

0–1H

0–1I

1Use “Sample Select” (1–1b) to select the sample that you

wish to edit.

2Select “Rate Convert” to access the dialog box.

0–1J

1–1M

1–1N

1–1M: Grid

3The sampling rate of the selected sample is shown at the

right of “Rate.” At the right of the “->” you can select the

desired amount of the sampling rate conversion: 2/3, 1/2,

1/3, 1/4 1/6. The sampling rate following conversion will

be displayed in Hz.

4In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be

selected.

This command displays a grid in the “sample waveform dis-

play.”

When you set the Grid to On and execute this command,

vertical dotted lines will appear in the “sample waveform

display” according to the speciﬁed resolution (“Resolution”)

and tempo (“Grid” 1–1c, 2–1c). Use the grid when you wish

to cut the sample data or determine waveform starting loca-

tions based on BPM values or beats.

The sample number cannot be speci ﬁ ed if “Overwrite ” is

checked (ꢀ p .101).

For stereo samples, use “Save to No.(L)” and

“(R)” to specify the save-destination of the L and R chan-

nels.

The vertical dotted lines will be shown starting at the

“Start” (when Loop is off) or “Loop Start” (when Loop

is on) (P2: Loop Edit) addresses, and are calculated

according to the playback when the sample is played by

the currently selected key (displayed in gray) (ꢀ“Key-

board & Index” 0–1a).

5To execute the Insert Zero command, press the OK but-

ton. To cancel, press the Cancel button.

This command cannot be executed on a sample whose

sampling rate is 11.025 kHz or less.

Stereo samples must have the same sampling rate.

Although it is possible to select mono multisamples for

-L and -R and convert their sampling rate separately,

they can no longer be handled as a stereo sample in this

case.

1Use “Sample Select” (1–1b) to select a sample.

2Select “Grid” to access the dialog box.

1–1L: Reverse

This command reverses the sample data (i.e., exchanges the

beginning and end).

The “Reverse” command is always executed on all wave-

form data of the selected sample, regardless of the “Edit

Range Start” and “Edit Range End” settings.

3Use the On/Off Radio buttons to switch the grid on or

off.

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4In “Resolution,” select the desired resolution for the

grid. The grid that appears will be determined by this

setting and by the “Grid” (1–1c, 2–1c) setting in the page.

5To execute the settings, press the OK button. To cancel,

press the Cancel button.

When you press the Play button located beside this

parameter, the entire sample will be played. When the

sample has played to the end, playback will stop auto-

matically. If you want to stop playback mid-way through

the sample, press the Play button once again.

If you select one side of a stereo sample, it will

automatically be detected as a stereo sample, and the

other side of the sample will also be processed by the

Link command.

1-1N: Link

This command connects the currently selected sample with

another sample.

If the “Front” Sample is mono and the Rear Sample is ste-

reo, the L and R of the “Rear” Sample will be mixed to

mono before linking.

SOUND A

SOUND B

If the “Front” Sample is stereo and the “Rear” Sample is

mono, the identical sample will be placed in L and R of

the “Rear” Sample before linking.

LINK

4Use “Rear Sample No.”- Sound B in the above example -

to select the sample number that will be linked.

When the command is executed, this sample will be

placed in back.

SOUND A

SOUND B

When you press the Play button located beside this

parameter, the entire sample will be played. When the

sample has played to the end, playback will stop auto-

matically. If you want to stop playback mid-way through

the sample, press the Play button once again.

5In “Crossfade Length,” specify the length over which the

crossfade will occur. If you specify a % value, the propor-

tion in relation to the entire “Front” Sample will be calcu-

lated automatically. If you specify 50%, the last half of the

“Front” Sample will crossfaded.

The volume of the two samples can be changed gradually at

the transition to gradually mix the samples with each other.

This is called crossfade, and can be used to produce a natu-

ral-sounding transition between the two sounds.

SOUND A

SOUND B

If the rear sample is short, the “Crossfade Length” can-

not be set any longer than the length of the “Rear ”sam-

ple. In this case, it will not be possible to specify a value

up to 100%.

CROSSFADE LINK

If you set “Crossfade Length” to other than 0, XFade-

Play button will be displayed. By holding down one of

these buttons, you can play back just the crossfaded

portion of the front or rear sample. Playback will stop

after the length speciﬁed by “Crossfade Length.” To

stop playback, press the XFadePlay button once again.

If you do not want to cross-fade, set this to 0.

Volume

SOUND A

SOUND B

Time

Crossfaded portion

(Sound A gradually diminishes,

and sound B gradually increases)

Crossfaded portion

(This is called the “Crossfade

Length”)

“Link” will be executed for all of the selected sample data,

regardless of the “Edit Range Start” and “Edit Range End”

settings.

After selecting a sample in step 1, you can set “Edit

Range Start” and specify the beginning of the crossfade

while viewing the waveform. Set “Edit Range End” to

the end of the sample. If you specify these, “Crossfade

Length” will indicate the length determined by “Edit

Range Start” and “Edit Range End.”

1Use “Sample Select” (1–1b) to select the sample that will

be placed in front by the Link command.

2Select “Link” to access the dialog box.

6In “Curve,” specify how you want the volume to change

in the crossfaded portion.

Linear: The volume will change linearly.

Power: The volume will change non-linearly. In some

cases, “Linear” may sound as though the volume dimin-

ishes in the middle of the curve. If this occurs, use

“Power.”

3The sample number selected for “Front Sample No. ” -

Sound A in the above example - will be displayed. When

the command is executed, this sample will be placed in

front.

7In “Save to No.,” specify the save destination sample

number. An unused sample number will be selected by

default.

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The sample number cannot be speci ﬁ ed if “Overwrite ” is

checked (ꢀ p .101).

For stereo samples, use “Save to No.(L)” and

“(R)” to specify the save-destination of the L and R chan-

nels.

Sampling P2: Loop Edit

2–1: Loop Edit

8To execute the Link command, press the OK button. To

cancel without executing, press the Cancel button.

Here you can specify the portion of the sample that will be

played back, set sample parameters, and edit the sample.

Sample parameters that were loaded into internal sampling

memory in Disk mode can also be edited in the same way.

You can make detailed edits in single-sample steps while

watching the sample waveform display.

If you link samples of different sampling rates (such as

created by “Rate Convert” ꢀ1–1K), the newly created

sample will have the sampling rate of the “Front” sam-

ple.

One vacant sample is used in order to execute Link. Be

aware that if there are no vacant samples, an error will

occur.

2–1

2–1a

0–1G

0–1H

0–1I

0–1K

0–1L

0–1M

2–1b

0–1J

1–1M

1–1N

2–1c

2–1a: MS, Index, Keyboard & Index

MS (Multisample Select)

[000...999]

Selects the multisample whose loop and other sample

parameters you wish to edit (ꢀ0–1a).

Index

[xxx (001...127)/ yyy (001...127)]

Selects the index whose loop and other sample parameters

you wish to edit. Your edits will apply to the sample of the

index selected here, and the waveform will appear in the

“sample waveform display” (ꢀ0–1a).

You can also select an index by holding down the

[ENTER] key and playing a note on the keyboard. The

index that includes this note will be selected. The note

you played will be the base key, and will be shown in

gray in “Keyboard & Index.” (ꢀ“Keyboard & Index” 0–

1a)

Keyboard & Index

(ꢀ0–1a)

2–1b: Sample Select, Range

Sample Select

[----: ---No Assign----, 0000...3999]

Range

[C–1...G9 — C–1...G9]

This selects the sample of the index. If you change “Sample

Select,” the sample you specify will be assigned to this index

(ꢀ0–1b). The sample you select here will appear in the

“sample waveform display.”

The range of the index is displayed at the right.

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+12 dB

[Off, On]

2-1c: Sample waveform display, Start, LoopS, End,

Loop, Rev, +12 dB, Loop Lock, Loop Tune, Use

Zero, Grid, ZOOM

On (checked): The sample playback level will be approxi-

mately +12 dB louder than if this setting were Off

(unchecked).

Off (unchecked): The sample will play back at the normal

level. This is the same standard level as the playback level

for ROM multisamples and drum samples.

Changing this on/ off setting will not affect the sample data

that appears in the sample waveform display.

Sample waveform display

The waveform of the “Sample Select” is displayed here (ꢀ1–

1c).

Start (Start Address)

[0000000...]

This setting will automatically be turned on if you check

“Auto +12 dB On” (Sampling: 0–3b, Program, Combination,

Sequencer: “Select Bank & Smpl. No.”) when you sample.

Speciﬁes the starting address for sample playback (This

value is in units of a sample address).

LoopS (Loop Start Address)

[0000000...]

This parameter is unique to the TRITON STUDIO. This

setting will be preserved when you save the data as a

KORG format sample ﬁle (.KSC, .KMP, .KSF). However,

devices other than the TRITON STUDIO that support

the KORG sample format such as the TRITON, TRITON-

Rack, TRITON Le, and TRINITY will ignore this setting.

(As of March 2002.) (“Data compatibility ” ꢀ p .279)

“+12 dB” will be turned off when you load an AKAI,

AIFF, or WAVE format sample in Disk mode.

Speciﬁes the loop start address for sample playback. This is

valid when Loop is On. This value is in units of a sample

address (ꢀ“S.Offset” Program P1: 1–2a).

End (End Address)

[0000000...]

Speciﬁes the ending address for sample playback (This

value is in units of a sample address).

Loop Start Address and End Address must be located at

least eight addresses apart. This setting will be applied

automatically when you set the addresses.

This parameter is ignored when you use the Disk mode

page menu command “Export Smpl AIF/ WAV” (0–2H)

to export an AIFF or WAVE format sample ﬁle.

Loop (Loop On)

[Off, On]

Loop Lock

[Off, On]

Speciﬁes whether or not the sample will be looped.

This ﬁxes the length of the loop being edited.

On (checked): When played, the sample will continue loop-

ing from “LoopS” to “End”; e.g., “Start”→ “End”→

“LoopS”→ “End”→ “LoopS”→ ...

Off (unchecked): The sample will playback once from

“Start”→ “End” (one-shot playback).

On (checked): When the “LoopS” or “End” address is

edited, the “End” or “LoopS” will be automatically adjusted

so that the distance between “LoopS” and “End” (i.e., the

loop length) does not change. This is convenient when you

are creating a rhythm loop to match a speciﬁc tempo.

If you sample with “Auto Loop On” (0–3b) checked, this

item will automatically be checked.

Loop Tune

[–99...+99]

When looping is on (“Loop” is checked), you can adjust the

playback pitch of the loop from “LoopS” to “End” over a

range of ±99 cents. When you loop data that was sampled

from a musical instrument etc., the pitch of the looped por-

tion may sometimes be incorrect. Use this parameter to com-

pensate for such cases.

"One"

"Two"

Start

LoopS

End

"One" - "Two" - "Two" - "Two" - ...

"One" - "Two"

Use Zero

[Off, On]

On (checked): “Start,” “End” and “LoopS” can be set these

only to locations where the waveform level is ±0 (i.e., “zero-

cross” addresses where the waveform crosses the center line

of the “sample waveform display”). (ꢀ1–1c)

Off (unchecked): “Start,” “End” and “LoopS” can be set in

steps of one unit. This is the normal setting.

"One"

"Two"

Start

End

Grid

[040 BPM...480 BPM]

LoopS

This displays vertical dotted lines in the “sample waveform

display” to indicate the resolution and tempo. Use this when

you wish to cut or edit the sample data based on a BPM

value or beat. If you turn the page menu command “Grid”

(1–1M) On and execute, a grid will be displayed. The spac-

ing of the grid is determined by the “Resolution” setting of

the “Grid” page menu command, relative to the playback

pitch of the base key (the key displayed in gray in “Key-

board & Index” 0–1a) at the tempo value you specify here.

"One" - "Two" - "One" - "Two" - "One" - "Two" - ...

"One" - "Two"

"One"

"Two"

LoopS

Start

End

The grid will begin at the “Start” address (when loop-

ing is off) or at the “Loop Start” address (when looping

is on).

"Two" - "One" - "Two" - "One" - "Two" - "One" -...

"Two"

This has no connection with the [TEMPO] knob.

ZOOM

Rev (Reverse)

[Off, On]

This allows you to zoom-in/ out in horizontal and vertical

directions of the “sample waveform display” (ꢀ1–1c).

On (checked): The sample will be played backward, from

“End” (end address) to “LoopS” (loop start address).

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M 2–1: Page Menu Command

0–1G

0–1H

0–1I

2–1B

2–1C

2–1D

0–1K

0–1L

For these commands, no Compare function is available

that would let you return to the prior state after execut-

ing the command. If you want to retain the original

sample when you edit, uncheck the “Overwrite” box in

the dialog box of the page menu command.

0–1J

1–1M

2–1A

0–1M

For notes about using “Overwrite” and on editing ste-

reo samples, refer to “1–1: Page Menu Command.”

2–1B: Time Slice

Time Slice detects the attacks (e.g., kick and snare) within a

rhythm loop sample (a sample that loops a drum pattern,

etc.), and automatically divides the sample into individual

percussion instrument notes. The divided percussion instru-

ment notes will be created as individual samples, and auto-

matically assigned as a multisample and program. Song

performance data corresponding to the divided samples will

also be created, so that in Sequencer mode you can adjust

the tempo of the song to change only the tempo of the

rhythm loop without affecting the pitch. The performance

data that is created will use notes D2 and above, corre-

sponding to the newly created samples of individual percus-

sion instruments.

0–1A

0–1B

0–1C

0–1D

0–1E

0–1F

0–1G

0–1H

0–1I

0–1J

1–1M

2–1A

2–1A: Truncate

This command deletes unwanted data that lies outside of

the “Start (Start Address),” “LoopS (Loop Start Address),”

and “End (End Address)” (2–1c). After setting the start

address, loop start address, and end address of the sample,

use this command to delete unwanted sample data.

In addition to changing only the tempo of the rhythm loop

without affecting the pitch, this makes it possible for you to

exchange note numbers, change the timing, or edit the

sequence data to freely create new rhythm loops, or even

recreate the original loop.

Time Slice also allows you to change the pitch of the track

without affecting the tempo for new creative possibilities.

This command can also be executed on a stereo sample.

1Use “Sample Select” (2–1b) to select the sample that you

want to edit, and use “Start (Start Address)” or “LoopS

(Loop Start Address)” and “End (End Address)” to spec-

ify the region that you want to edit.

Original rhythm sample: Sample0

120BPM

2Select “Truncate” to access the dialog box.

Kick

Snare

Kick

Snare

Execute the Time Slice command

3Range “Start” and “End” will show the range of data that

will be edited.

4Use the radio buttons to select the portion that will be

deleted.

Sample1

Sample3

Sample4

Sample5

Sample2

Front & End: The sample data that lies before the Range

“Start” (start address or loop start address) and after the

Range “End” (end address or loop start address) will be

deleted.

Front: The sample data that lies before the Range “Start”

(start address) will be deleted.

A multisample and program will be

created automatically

End: The sample data that lies after the Range “End”

(end address) will be deleted.

5In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be

selected.

Play in Sequencer mode

120BPM

The sample number cannot be speci ﬁ ed if “Overwrite ” is

checked (ꢀ p .101).

For stereo samples, use “Save to No.(L)” and

“(R)” to specify the save-destination of the L and R chan-

nels.

6To execute the Truncate command, press the OK button.

To cancel, press the Cancel button.

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For example in the case of a 120 BPM sample of one mea-

sure of 4/ 4 time, set “Beat” to 4. The “Source BPM” will

be calculated automatically. If the “Source BPM” is not

set to 120, due to inaccuracies in the start address (or loop

start address) and end address, change the “Source

BPM” to 120.

150BPM

90BPM

Played closer together,

but pitch is unchanged

Source BPM: Speciﬁes the tempo at the original key of

the source waveform.

4To execute Time Slice, press the OK button. To cancel

without executing, press the Cancel button. When you

press the OK button, the attacks will be detected, the

sample will automatically be sliced, and a dialog box will

appear.

Played further apart, but pitch is unchanged

In the case of a stereo sample in which L and R

have different lengths, silent data will automatically be

added to the end of the shorter sample so that the two

samples will be the same length.

* You can also use the Time Stretch command to control the compression of

each sample to optimize the “spacing” to match the tempo. ꢀ9

If you want to re-set “Beat” and “Source BPM” after

pressing the OK button, you can do so in step 9a).

Edit the performance data

Keyboard &

Index

As an alternative to the “Time Slice” command, “Time

Stretch” (ꢀ2–1C) is another way to change the tempo of

a rhythm loop or similar sample. You may wish to use

this if you don’t need to divide the sample and create

song performance data for the divided samples.

5Listen to the samples that were divided by detecting

their attacks. The sample before slicing is assigned to the

C2 note of the keyboard, and the sliced samples are

assigned to notes D2 and above. When you change the

“Index,” the corresponding display will be highlighted,

allowing you to view the sliced waveforms.

1Select the sample in the “Sample Select” (2–1b) for which

you wish to execute Time Slice.

You can also select an index by holding down the

[Enter] key and pressing a note on the keyboard. The

index that is assigned to the note you pressed will be

selected.

To hear the sliced sounds, you can either press the cor-

responding note on the keyboard, or change the index

to select the desired sample and then press the SAM-

PLING [START/ STOP] key. When you press the SAM-

PLING [START/ STOP] key, the sample in the range

between the speciﬁed “Start” and “End” will be played

at the original key.

2Select the “Time Slice” to access the dialog box.

Keyboard & Index: This shows the multisample that is

being used temporarily in this dialog box.

When you play the keyboard, this multisample will

sound. It will behave in the same way as in normal pages

(such as the Recording page). (ꢀ0–1a)

In the case of a stereo sample, a stereo multisam-

ple will be temporarily used. The sample at each index

will sound in stereo.

3Specify 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 calcu-

lated 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.

Index

[Source, xxx(001...090)/ yyy(001...090)]:

Selects the sample index.

If this is set to Source, the original waveform before time

slicing will be selected.

By selecting xxx/yyy you can specify individual samples

that were sliced. xxx indicates the selected sample, and

yyy indicates the total number of samples that were

sliced. A maximum of 90 samples can be assigned to the

keyboard. If more than 90 samples were sliced, this will

display 90.

Beat: Speciﬁes the number of quarter-note beats. When

you specify “Beat,” the “Source BPM” will indicate the

playback BPM at the original key. This BPM value will

automatically be calculated from the start address to the

end address (if loop is off) or from the loop start address

to the end address (if loop is on) of the selected sample. If

you know the BPM and it is different than the displayed

value, change “Source BPM” to the correct value.

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Sample waveform display: This displays a dotted verti-

cal line at the locations where the sample was sliced, and

a solid vertical line at the Start, Loop Start, and End loca-

tions. When “Index” is xxx/yyy, the sample of the

selected index will be highlighted.

Link: This joins the sample of the currently selected

‘Index” to the sample of the next “Index.” Use this when

you wish to merge together two sliced locations.

In the case of a stereo sample, the L channel sam-

ple data will be displayed above, and the R channel sam-

ple data will be displayed below.

ZOOM: You can zoom in and zoom out in the vertical

and horizontal dimensions of the waveform shown in the

sample waveform display. (ꢀ1–1c)

If the slice locations are not appropriate, you can adjust

“Sensitivity” to change the sensitivity at which the attacks

are detected, in order to change the slice locations.

Be aware that if you change the “Sensitivity” after

adjusting the slice location, the attacks will be re-

detected and the sample will automatically be sliced

again.

When you use Time Slice on a rhythm loop sample, the

quality of the playback in Sequencer mode will depend

largely on the “cutoff” of each percussion instrument

sound that was sliced.

Sensitivity

[00...30]:

Adjusts the sensitivity at which the attacks are detected.

By increasing this value, you can detect attacks at even

lower levels, to create more ﬁnite slices.

What kind of slices will produce the best result?

The “level” in this case does not necessarily correspond

to the “waveform level.”

A. Divide the separate percussion instrument notes as

ﬁnely as possible

Depending on the sample, the desired slicing may not

occur even if you increase the “Sensitivity.” If the attack

portion of the following sample has overlapped into the

end of the sample, or if the sample contains two sounds,

make adjustments in step 7.

For example in the case of a sample where the decay of

the kick is overlapped by the hi-hat, the attack sound of

the kick and the attack sound of the hi-hat should be

sliced to create two samples. If these sounds are left as

one sample (containing both kick and hi-hat), their

rhythm may become incorrect when the sample is played

at a different tempo.

7Make adjustments where the automatic attack detection

did not occur correctly. Change “Index” to select the sam-

ple that you wish to adjust. Make adjustments by chang-

ing “Start” and “End,” and by executing “Divide” or

“Link” to adjust the slice location.

Kick + Hi-hat

Kick/Hi-hat

Start: Specify the start address for the sample of the cur-

rently selected “Index.” At the same time, the end

address of the sample for the preceding “Index” will also

be adjusted.

End: Specify the end address for the sample of the cur-

rently selected “Index.” At the same time, the start

address of the sample for the next “Index” will also be

adjusted.

If the sample is not sliced appropriately even after you

adjust the “Sensitivity,” use “Divide” to divide the sam-

ple into halves, and adjust “End” and “Start” as needed.

B. Make sure that each divided sample has a clear

If “Index” is set to Source, the address of the original

waveform will be modiﬁed. If you change the start

address, the loop start address will also be changed at

the same time.

attack

The attack portion is vital for percussion sounds. Slice the

sample at a point where the attack will be sounded

crisply.

C. Avoid the noise that can occur toward the end of

each divided sample

For example as shown in the above right illustration,

noise can be present at the end of the kick sample. Adjust

the end address of the kick sample so that the noise is not

obtrusive.

In this case, adjusting the end address will also affect the

start address of the hi-hat sample. While listening to the

two samples, make adjustments so that the noise at the

end of the kick sample is as inconspicuous as possible,

and also that the hi-hat attack is heard cleanly.

When adjusting the “Start” and “End” addresses of the

divided samples, use “ZOOM” to increase the magniﬁ-

cation (×1 or more) so that the sample waveform is dis-

played accurately when you make adjustments. (ꢀ1–

1c)

Use Zero: (ꢀ1–1c)

If you wish to adjust the “Start” or “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.

Pay attention to these points as you adjust “Sensitivity.”

If necessary, use the methods described above to edit

each sample.

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 “End” or “Start” to

adjust the divided sample.

The noise occurring at the end of the sample in “C.” will

be automatically reduced when you execute steps 8and

following. You should adjust “Sensitivity” while paying

particular attention to sections “A” and “B,” and then

execute step 9. If the noise is still obtrusive, then you can

adjust the end address.

8Save the sliced samples to the multisample to which they

have been assigned. When you press the Save button,

the “Save Samples & MS” dialog box will appear.

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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 obtru-

sive noise or if the attack is not sound cleanly, return to

step 7and adjust the “Start” and “End” addresses, etc.

0Set “Save with” to specify the data that will be created

simultaneously when you press the Save button to save

the samples

9Use Time Stretch to adjust the length of the sliced sam-

ples. When you press the Stretch button, Time Stretch (a

function that expands or shrinks the length of a sample

without affecting its pitch) will be applied to the sliced

sample.

Program: If this check box is checked, the multisample

will be converted to a program when you save it. Specify

the destination program number.

In the case of a stereo sample, the program pan

will automatically be set. This allows the stereo position

in Sampling mode to be reproduced by the program.

Seq.Event: If this check box is checked, sequence data to

play the sliced samples will automatically be created

after the data is saved. You can specify whether the

sequence data to play back the sliced samples will be cre-

ated as track data or as pattern data. If pattern data is cre-

ated, you can also assign the pattern to RPPR.

If you wish to save the sliced sample as it is, proceed to

step 0without executing Time Stretch.

Sometimes when a sliced sample is played in Sequencer

mode and the tempo is slowed down, the silent portion

between samples may become obvious or noise may be

more apparent, producing an unnatural-sounding result.

To avoid this, you can use Time Stretch to adjust the

length of the individual samples. The length of the sam-

ples will automatically be optimized according to the

“Ratio” and “New BPM” settings.

Time Stretch

If you choose the Track radio button, track data will be

created. Use “Song,” “Track,” and “Meter” to specify the

song number, track number, and time signature of the

data that will be created.

The track data that is created will start at the measure

speciﬁed by “Start Measure,” and will repeat for the

number of times speciﬁed by “Time.”

Noise

Silent

When track data is created, any data that had existed

within the speciﬁed range of measures will be erased.

Data outside this range will not be erased.

Not stretched

Stretched with Ra-

tio 150%

Not stretched

Stretched with

Ratio 50%

If you execute Time Stretch at 100%, the sample length

will not change but the end of the sample will be faded

out, reducing the noise.

If you check both “Program” and “Seq.Event” and select

the Track, the song parameter “Program Select”

(ꢀSequencer 0–1c/ 2c) will automatically be speciﬁed if

the “Start Measure” is 001. Also, a program change will

be created at the “Start Measure” location. In Sequencer

mode you can select the song and play it back to hear the

result immediately. Normally you will check both of

these boxes.

a) Set “Beat” and “Source BPM.” The method is the same

as in step 3. If you wish to change the value you set in

step 3, you can change it here.

b) Specify the length of the sample that will be created by

Time Stretch.

•

To specify the length as a ratio

Set “Ratio.” The available range is 50.00–200.00%. If you

specify 50.00%, the sample length will be halved. (The

tempo will double.) If you specify 200.00%, the sample

length will double. (The tempo will be halved.)

If you choose the Pattern radio button, pattern data will

be created. Use “Song,” “Track,” and “Meter” to specify

the song number, pattern number, and time signature of

the data that will be created.

•

To match an existing BPM tempo value

Use “New BPM” to specify the BPM value of the sample

you wish to create. The “Ratio” will automatically be cal-

culated from the “Source BPM” and the “New BPM” val-

ues.

RPPR: If you check the check box, pattern data to play

the sliced samples will be assigned to RPPR when you

save. Use “Key” and “Track” to specify the key and track

that will be created.

It is not possible to make settings that would cause

“Source BPM” or “New BPM” to exceed the range of

40–480.

It is not possible to make settings that would cause

“Ratio” to exceed the range of 50.00–200.00.

If “Program,” “Seq.Event,” and “RPPR” are all checked,

the song parameters “Program Select” (ꢀSequencer 0–

1c/ 2c) and “RPPR ON/ OFF” (ꢀSequencer 0–1a) will

both be speciﬁed automatically. “RPPR ON/ OFF” will be

turned on.

In Sequencer mode you can select the song and pattern to

play back the results immediately. If “RPPR” is checked,

pressing the speciﬁed key will play the pattern. Nor-

mally you will check both of these boxes.

Press the Stretch button to execute Time Stretch. When

you execute the command, the time-stretched samples

will automatically be assigned to notes D2 and above of

the keyboard, allowing you to audition the sound. You

can change “Ratio” and “New BPM” as many times as

desired and continue auditioning the result.

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In some cases, the sample End address setting etc. may

increase the number of measures in the pattern, so that

it no longer loops precisely. In such cases, re-specify the

“Length” in Sequencer mode “Pattern Parameter”

(Sequencer 6–1c).

Slice

This type is suitable for decay-type instruments such as

drums. Using it to change the tempo of drum or percussion

loops will produce good results with minimal effect on the

attack.

If you use “Seq.Event” and “Start Measure” 001, the

“Tempo” (ꢀ0–1c) of the track data or pattern data that

is created will be the value speciﬁed by “New BPM” if

you executed Time Stretch. If you did not execute Time

Stretch, the tempo will be the value speciﬁed for

“Source BPM.”

If you set “Start Measure” to 001 and create a track, and

if a tempo event exists only at the beginning of the mas-

ter track, the tempo of that event will also be the value

that you speciﬁed as “New BPM” or “Source BPM.”

It is possible to change the pitch when you adjust the

tempo of a rhythm loop or similar sample. (“Pitch BPM

Adjust” ꢀ3–1A, “Detune BPM Adjust” ꢀCombination

2–3A, Sequencer 2–5A). You can create an interesting

effect by raising or lowering the pitch of a drum sound.

To use Time Stretch (Sustaining)

1Select the sample that you wish to time-stretch using the

Sustaining method.

If you save to a song that already contains data, the

time-sliced samples may not play back in the same way

as original sample if the time signature is different. You

must set a matching time signature in the master track.

AIf you wish to save, press the Save button. If you decide

not to save, press the Cancel button. When you save, the

samples and multisample will automatically be saved to

vacant samples and multisamples.

In the case of stereo samples, the samples and

multisample will be saved in stereo.

BBy repeating steps 6–Ayou can create as many samples

and multisamples as desired.

2Select the “Time Stretch” command to access this dialog

box, where you can select the desired time stretch

method.

CPress the Exit button to exit the Time Slice command.

If you exit Time Slice without using the Save button to

save the samples and multisamples, be aware that the

samples and multisamples you create will be lost.

Before executing Time Slice on a long sample, you

should ﬁrst divide the sample into measures. In some

cases, it may not be possible to assign the sample to the

keyboard or create sequence data.

Time Slices requires vacant samples, multisamples, and

relative parameters in order to execute. Be sure that

there is sufﬁcient free area before you execute. If there is

insufﬁcient free area, an error will occur.

3Use the radio buttons to select Sustaining. Then press

the OK button to execute, or the Cancel button to cancel

without executing.

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.

4A dialog box for executing Time Stretch will appear.

If you open the Time Slice dialog box on the same sam-

ple, it will be sliced in the same way as previously.

These slice locations will also be used if you execute

Slice in “Time Stretch” (ꢀ2–1C), so that you can exe-

cute Time Stretch without having to make the settings

again.

If you wish to detect the attacks again or to re-do the

operation, change the “Sensitivity” after you open the

dialog box.

5Set “Quality” to specify the desired audio quality of the

sample produce by Time Stretch. The range is 0–7.

Although it will depend on the sample, higher settings

will produce better results. However, be aware that

higher settings will also require a longer time to execute.

Since you can try this as many times as you like, you

should normally start with about 4, and raise or lower

the setting gradually.

2–1C: Time Stretch

Time Stretch is a function that modiﬁes the tempo by length-

ening or shortening a sample without changing its pitch.

This is convenient when you wish to change the tempo of a

rhythm loop (drums) or a melodic sample (e.g., vocal,

strings, winds) to match the tempo of another sample or of

the sequencer. The Triton provides two ways in which Time

Stretch can be executed. This command also supports stereo

samples.

6Set the proportional length of the sample that will be cre-

ated by Time Stretch.

•

To specify the length as a ratio

Set “Ratio.” The available range is 50.00%–200.00%. If

you specify 50.00%, the sample length will be halved.

(The tempo will double.) If you specify 200.00%, the sam-

ple length will double. (The tempo will be halved.)

Sustaining

This type is suitable for sustained sounds such as vocal or

instruments. Using it to change the tempo of phrases such as

guitar or piano will also produce good results.

•

To match an existing BPM tempo value

Set “Beat” as the number of quarter-note beats. When

you change “Beat,” the “Source BPM” value will be

changed automatically.

“Source BPM” will indicate the playback BPM value at

the original key. This BPM value is automatically calcu-

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lated according to the length from the start address to the

end address (if loop is off) or from the loop start address

to the end address (if loop is on). If you already know the

BPM value and the calculated value is incorrect, change

it to the correct value.

Use “New BPM” to specify the BPM value of the sample

you wish to create. “Ratio” will automatically be calcu-

lated from the “Source BPM” and “New BPM” values.

For example if you have a one-measure 120 BPM sample

in 4/ 4 time, and would like to change it to 150 BPM, you

would set “Beat” to 4. The “Source BPM” will be calcu-

lated automatically. If the “Source BPM” is not calculated

as 120 due to inaccuracies in the start address (or loop

start address) or end address, adjust “Source BPM” to

the correct value of 120.

Sample waveform display: This shows the waveform of

the selected sample. As in 2-1: Loop Edit, the Start, Loop

Start, and End addresses are shown by a solid line.

In the case of a stereo sample, the L channel sam-

ple data will be displayed above, and the R channel data

below.

ZOOM: This controls horizontal and vertical zoom in/

out for the waveform shown in the “sample waveform

display.” (ꢀ1–1c)

Start:

End:

Specify the start address and end address of the sample

for the currently selected index.

When you execute Time Stretch, the addresses will be

speciﬁed automatically, but the playback may be slightly

skewed due to inaccuracies in the end address, etc. If this

occurs, you can correct the addresses manually.

Next, set “New BPM” to 150. The “Ratio” will be calcu-

lated automatically.

It is not possible to make settings that would cause

“Source BPM” or “New BPM” to exceed the range of

40–480.

It is not possible to make settings that would cause

“Ratio” to exceed the range of 50.00–200.00.

When you change the start address, the loop start

address will also be changed simultaneously. If you

wish to independently adjust the start address and loop

start address, save the data in step 0, and then make

settings in the P2: Loop Edit page.

Depending on the sample, the length may not be

exactly as you specify, due to limitations in processing

accuracy.

To audition the sound in the speciﬁed range, play the

keyboard or press the SAMPLING [START/ STOP] key.

When you press the SAMPLING [START/ STOP] key,

the sample in the range speciﬁed by “Start” and “End”

will sound at the original key.

7To execute the Time Stretch operation, press the OK but-

ton. To cancel without executing, press the Cancel but-

ton.

Use Zero: (ꢀ1–1c)

When you press the OK button, the Time Stretch dialog

box will appear.

9If you press the Stretch button, the Time Stretch dialog

box will appear, and you can re-do the time stretch once

again. Execute Time Stretch as described in step 6.

0Save the sample that you created. Press the Save button,

and the Save dialog box will appear.

Keyboard &

Index

In “To Sample No.,” specify the save destination sample

number. By default, an unused sample number will be

selected. If “Overwrite” is checked, this cannot be

selected.

The sample number cannot be speci ﬁ ed if “Overwrite ” is

checked (ꢀ p .101).

8Audition the sample that was created by Time Stretch.

The sample before being time-stretched is assigned to the

C2 note of the keyboard, and the sample that was time-

stretched is assigned to C#2. You can change the “Index”

to check the waveform.

For stereo samples, use “Save to No.(L)” and

“(R)” to specify the save-destination of the L and R chan-

nels.

Keyboard & Index: This shows the multisample that is

used temporarily in this dialog box.

When you play the keyboard, this multisample will

sound. It will behave just as in normal pages (e.g., the

Recording page). (ꢀ0–1a)

In the case of a stereo sample, a stereo multisam-

ple will be used temporarily. The sample at each index

will sound in stereo.

To execute the Save operation, press the OK button. To

cancel without saving press the Cancel button.

ABy repeating steps 9–0you can create more samples as

desired.

BPress the Exit button to exit the Time Stretch operation.

The index will specify the last-saved sample number.

Index

[Source, Result]:

Selects the index for the sample whose waveform you

wish to display.

If you select Source, the original waveform before time-

stretching will be selected.

If you select Result, the time-stretched sample will be

selected.

If you wish to use the saved sample in Program mode

or Sequencer mode, you must either execute “Convert

MS to Program” (ꢀ0–1G), or use Program mode “Mul-

tisample Select” (ꢀProgram P1–2) to select the multi-

sample and create a program.

Be aware that if you exit Time Stretch without using the

Save button then press the OK button to save the sam-

ple, the sample(s) you created will be lost.

You can also select the index by holding down the

[Enter] key and pressing a note on the keyboard. The

index that includes that note will be selected.

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Time Stretch requires vacant samples, multisamples,

and relative parameters in order to execute. Before you

execute, make sure that there is sufﬁcient free space. If

there is not, an error will occur.

•

To specify the length as a ratio

Set “Ratio.” The available range is 50.00%–200.00%. If

you specify 50.00%, the sample length will be halved.

(The tempo will double.) If you specify 200.00%, the sam-

ple length will double. (The tempo will be halved.)

The tempo of the sample created by execution will be cal-

culated automatically from the “Ratio” and “Source

BPM,” and displayed in “New BPM.”

To use Time Stretch (Slice)

1Select the sample that you wish to time-stretch using the

Slice method

•

To match a desired BPM tempo value

Set “New BPM” to the desired BPM value of the sample

that will be created. “Ratio” will automatically be calcu-

lated from the “Source BPM” and “New BPM” values.

It is not possible to set or display “New BPM” outside

the range of 40–480. It is not possible to set or display

“Ratio” outside the range of 50.00–200.00.

7To execute Time Stretch, press the OK button. To cancel

without executing, press the Cancel button. When you

press the OK button, the attacks will be detected and the

sample will be divided automatically, and time stretch

will be performed.

2Select the “Time Stretch” command from the Page Menu

to access this dialog box, where you can select the desired

time stretch method.

The Time Stretch dialog box will appear.

3Use the radio buttons to select Slice. Then press the OK

button to execute, or the Cancel button to cancel without

executing.

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.

4A dialog box for executing Time Stretch will appear.

Audition the results that were created by Time Stretch.

The sample before being time-stretched is assigned to the

C2 note of the keyboard. The time-stretched sample is

assigned to C#2. Sliced (divided) samples will be assigned

consecutively upward, starting from D2 on the keyboard.

Index

[Source, Result, xxx(001...090)/ yyy(001...090)]:

Selects the index for the sample whose waveform you

wish to display.

If you select Source, the original waveform before time-

stretching will be selected.

If you select Result, the time-stretched sample will be

selected.

If you set this to xxx/yyy, an individually sliced sample

will be selected. xxx is the selected index, and yyy indi-

cates the total number of sliced samples. A maximum of

90 samples can be assigned to the keyboard. If the sample

was sliced into more than 90 samples, this will be dis-

played as 90.

5Specify the number of quarter note beats and tempo of

the currently selected sample. If you already know the

BPM value, set “Source BPM.” If you do not know the

BPM, setting “Beat” will cause the BPM to be calculated

automatically. The settings here are also used as the refer-

ence values when detecting the attacks at which the sam-

ple is divided.

Beat: Specify the number of quarter note beats. When

you change “Beat,” the “Source BPM” will indicate the

BPM value for playback at the original key. This BPM

value is automatically calculated according to the length

from the start address to the end address (if loop is off) or

from the loop start address to the end address (if loop is

on). If you already know the BPM value and the calcu-

lated value is incorrect, change “Source BPM” to the cor-

rect value.

For example if you have a one-measure 120 BPM sample

in 4/ 4 time, you would set “Beat” to 4. The “Source

BPM” will be calculated automatically. If the “Source

BPM” is not calculated as 120 due to inaccuracies in the

start address (or loop start address) or end address,

adjust “Source BPM” to the correct value of 120.

Source BPM: Specify the tempo at the original key of the

original waveform.

You can also select an index by holding down the

[Enter] key and playing a note on the keyboard. The

index that includes that note will be selected.

When you execute Time Stretch, the addresses will be

speciﬁed automatically. However, playback may be

slightly offset due to inaccuracies in the end address,

etc. If this occurs, set “Index” to Result, and use “Start”

and “End” to re-specify the addresses.

Keyboard & Index: This shows the multisample that is

temporarily used in this dialog box.

When you play the keyboard, this multisample will

sound. It will act in the same way as in normal pages

(e.g., the Recording pages). (ꢀ0–1a)

In the case of a stereo sample, a stereo multisam-

ple will be used temporarily. The sample of each index

will sound in stereo.

“Source BPM” cannot be set or displayed outside the

range of 40–480.

6Set the proportional length of the sample that will be cre-

ated by Time Stretch.

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Sample waveform display: This displays the waveform

of the selected sample. If the “Index” is other than

Result, the locations at which the sample is sliced will be

indicated by a dotted line (vertical). If “Index” is set to

xxx/yyy, the sample of the selected index will be high-

lighted. If “Index” is other than xxx/yyy, the Start, Loop

Start, and End addresses will be indicated by solid lines

(vertical).

Be aware that if you exit Time Stretch without using the

Save button then press the OK button to save the sam-

ple, the sample(s) you created will be lost.

Before executing the Slice on a long sample, you should

ﬁrst divide the sample into measures. In some cases, it

may not be possible to assign the sample to the key-

board or edit the slice locations.

Time Stretch requires vacant samples, multisamples,

and relative parameters in order to execute. Before you

execute, make sure that there is sufﬁcient free space. If

there is not, an error will occur.

In the case of a stereo sample, the L channel sam-

ple data will be displayed above, and the R channel sam-

ple data will be displayed below.

ZOOM: Here you can zoom in/ out vertically and hori-

zontally on the waveform displayed in the “sample

waveform display.” (ꢀ1–1c)

If you open the time slice (Slice) dialog box on the same

sample, it will be sliced in the same way it previously

was. These slice locations will also be used if you exe-

cute “Time Slice” (2–1B), so that you can execute time

stretch without having to make the settings again.

If you wish to detect the attacks again or to re-do the

operation, change the “Sensitivity” after you open the

dialog box.

9If the slice locations are not appropriate, use “Sensitivity”

to modify the sensitivity at which the attacks are

detected, thus changing the slice locations.

Sensitivity

Start:

[00...30]:

End:

2–1D: Crossfade Loop

Use Zero:

Divide:

Link:

When looping a pitched instrument sample of a complex

sound such as strings or woodwinds to make the sound sus-

tain, it is necessary to create a long loop to preserve the rich

character of the sound. Crossfade Loop can be used to mini-

mize the difference in sound between the two regions to cre-

ate a natural-sounding loop.

In order to solve such problems, Crossfade Loop causes the

sound to change gradually from the end to the beginning of

the loop.

Refer to “2–1B: Time Slice” steps 6and 7. (ꢀ2–1B)

0When you press the Stretch button, the Time Stretch dia-

log box will appear, and you can re-do the time stretch.

Execute Time Stretch using the same procedure as in step

5. If the sample slice locations are not appropriate, this

will also affect the result of Time Stretch. For details on

setting the slice locations, refer to “2–1B: Time Slice,”

steps 6and 7. (ꢀ2–1B)

Sound

ASave the sample you created. Press the Save button, and

the Save dialog box will appear.

Playback

Repeated playback

(first half of loop)

(second half of loop)

Gradually changes to first half

In actuality, the sample data is created as follows. A speciﬁc

length (the “Crossfade Length”) of the waveform immedi-

ately before the beginning of the loop is taken and mixed

with the end portion.

At this time, the waveform level of the portion immediately

before the end (the length speciﬁed by “Crossfade Length”)

will gradually decrease, and the waveform level immedi-

ately before the beginning of the loop will gradually

increase as the two are mixed.

In “To Sample No.,” specify the save destination sample

number. By default, an unused sample number will be

selected. If “Overwrite” is checked, this cannot be set.

If you wish to delete the original sample data and over-

write it with the edited sample, check “Overwrite.”

If you execute this command with “Overwrite”

checked, the original sample data will be deleted, and

overwritten by the edited sample data. Thus, in the

Time Stretch dialog box that appears after execution,

the edited sample data will automatically have its

attacks detected and sliced, and displayed in “Index”

Source.

Loop

Start

Loop

End

Loop

Start

Loop

End

Crossfade

Length

For stereo samples, use “Save to No.(L)” and

“(R)” to specify the save-destination of the L and R chan-

nels.

To execute the Save, press the OK button. To cancel with-

out executing, press the Cancel button.

BBy repeating steps 0–Ayou can create more samples as

desired.

CPress the Exit button to end the Time Stretch operation.

The last-saved sample number will be set for the index.

1Select the sample that you wish to Crossfade Loop.

2Select “Crossfade Loop” to access the dialog box.

If you wish to use the saved sample in Program mode

or Sequencer mode, you must either execute “Convert

MS to Program” (0–1G), or use Program mode “High

Multisample,” “Low Multisample” (Program P1: 1–2a/

2b) to select the multisample and create a program.

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3In “Crossfade Length,” specify the length of the sample

that you wish to crossfade.

Sampling P3: Multisample

If you set this as %, “Crossfade Length” will be calcu-

lated automatically. Specify the proportion of the “Cross-

fade Length” relative to the length between the loop start

and loop end. If you set this to 50%, crossfade will be per-

formed on the second half of the region between loop

start and loop end.

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 P0:

Recording page) In addition, you can delete, copy, or insert

an index, and perform detailed editing such as adjusting the

level and pitch of the sample for each index.

If the length from the beginning of the sample to the

loop start is shorter than the length from the loop start

to the loop end, “Crossfade Length” can be set only up

to the length from the beginning of the sample to the

loop start. In this case, a setting of 100% will not be pos-

sible.

3–1: Multisample

3–1

4Set “Curve” to specify how the volume will change in the

crossfaded region.

3–1a

Linear: The volume will change linearly.

Power: The volume will change non-linearly. Sometimes

a setting of Linear will produce the impression that the

volume has dropped in the middle of the curve. In such

cases, use Power.

3–1b

5In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be

selected.

3–1c

The sample number cannot be speci ﬁ ed if “Overwrite ” is

checked (ꢀ p .101).

For stereo samples, use “Save to No.(L)” and

“(R)” to specify the save-destination of the L and R chan-

nels.

3–1a: Multisample (MS), Keyboard & Index

Multisample (MS)

[000...999]

6To execute Crossfade Loop, press the OK button. To can-

cel without executing, press the Cancel button.

Select the multisample that you wish to edit (ꢀ0–1a).

Keyboard & Index

(ꢀ0–1a)

3–1b: Multisample Setup

Index

[xxx (001...127)/ yyy (001...127)]

Selects the index that you wish to edit (ꢀ0–1a).

You can also select an index by holding down the

[ENTER] key and playing a note on the keyboard. The

index that includes this note will be selected. The

selected key will be the base key, and will be displayed

in gray in “Keyboard & Index.”

Constant Pitch

On (checked): All notes in the zone of the index will sound

at the pitch of the original key. Use this setting when you

have sampled a drum sound or a rhythm loop, and want it

to always playback at the original pitch.

Off (unchecked): The pitch will change in semitone steps,

based on the original key. Use this setting when you have

sampled a musical instrument sound etc. and would like to

play it conventionally from the keyboard.

Stereo

This area will indicate “Stereo” if a stereo multisample or

sample is selected, or if you sampled with a setting of Stereo

in “Sample Mode” (0–1c) (ꢀ0–1c).

Sample

[----: ---No Assign----, 0000...3999]

This shows the number and name of the sample that is

assigned to the selected index. You can also select a sample

here (ꢀ0–1b).

Orig.Key (Original Key)

[C–1...G9]

Speciﬁes the original key of the sample (ꢀ0–1b).

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Top Key

[C–1...G9]

Cut

Speciﬁes the highest key in the zone of the index. The zone

This deletes the selected index. At the same time, the con-

is deﬁned by this “Top Key” (ꢀ0–1b).

tents of the deleted index are copied to the “Insert” buffer.

Range

Copy

This shows the range of the zone that is determined by the

“Top Key” setting. The selected sample data will playback

within this area. Zone settings for an index can also be

viewed in “Keyboard & Index” (ꢀ0–1a).

This copies the content of the selected index to the “Insert”

buffer.

Create

This creates an index. When you press the Create button, a

new index will be created according to the settings of “Posi-

tion,” “Zone Range,” and “Original Key Position” (3–2a, 0–

3a) (ꢀ0–1b).

Level

[–99...+99]

Adjusts the playback level of the sample. Use this when you

need to adjust the level balance between samples within a

multisample.

0: Unity level

–: The level will be lowered.

+: The level will be raised.

M 3–1: Page Menu Command

0–1A

0–1B

0–1C

0–1D

0–1E

0–1F

0–1G

0–1H

0–1I

Since in Sampling mode the playback unity level will

normally be the maximum level, adjustments in the +

direction will have no effect. If Volume (CC#07) or

Expression (CC#11) has been assigned to the ASSIGN-

ABLE PEDAL or as the B-mode function of a REAL-

TIME CONTROLS knob [1]–[4] and these controllers

have been operated, or if these MIDI messages have

been received to lower the playback unity level, then

adjustments in the + direction will be valid. (ꢀProgram

P1: 1–2A, Sample Parameters: Level)

0–1J

3–1A

0–1K

3–1A: Pitch BPM Adjust

This command sets the “Pitch” (3–1b) of the selected index

on the basis of a BPM value. Raising the pitch of sample

playback will increase the playback speed. Lowering the

pitch will slow down the playback speed. This can be used

to match the loop length etc. of the sample to a tempo of the

desired BPM value.

The playback level will also be affected by the “+12 dB”

(2–1c) setting. If “+12 dB” is on, the sample will play

back approximately +12 dB louder.

Pitch

[–64.00...+63.00]

1Select “Pitch BPM Adjust” to access the dialog box.

Adjusts the playback pitch of the sample in one-cent steps

(ꢀ p .11, Pitch).

0: The sample will sound at the original pitch when the orig-

inal key is played.

–: The pitch will be lowered. At a setting of –12.00 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.

2Specify “Beat.” This is speciﬁed in quarter-note beats.

3“Current BPM” will show the BPM value at the base key

(displayed in gray). This BPM value is calculated auto-

matically from the start address to the end address of the

sample (if looping is off) or from the loop start address to

the end address (if looping is on).

You can also use “Pitch” to make ﬁne adjustments in the

length of a rhythm loop. For example with a setting of

+12.00, the playback speed will be doubled, and the loop

playback time will be 1/ 2. (ꢀProgram P1: 1–2A, Sample

Parameters: Pitch)

For example if the start and end address of the sample

are two seconds apart, the original key is speciﬁed as the

base key, and “Beat” is set to 4, “Current BPM” would be

120. If “Beat” is set to 2, the display would indicate “Cur-

rent BPM” as 60.

The “Pitch BPM Adjust” page menu command lets you

set the playback time in terms of a BPM value (ꢀ3–1A).

3–1c: Insert, Cut, Copy, Create

It is not possible for this display to exceed the range of

40–480.

Insert

4In “New BPM,” specify the BPM value that will result

from the conversion of the “Current BPM” value.

5To execute the Pitch BPM Adjust command, press the OK

button. To cancel, press the Cancel button.

This creates an index. When you press the Insert button, a

new index will be created according to the “Position” setting

(0–3a, 3–2a). At this time, the contents of the index that was

cut or copied by “Cut” or “Copy” (i.e., the “Zone Range,”

“Original Key Position,” “Level” and “Pitch”) will be

assigned at the same time. (The sample will automatically be

copied or assigned to a different number.)

When you execute this command, the “Pitch” (3–1b)

value will be set automatically. For example if you mod-

ify a quarter-note 120 BPM sample to 240 BPM, the

“Pitch” will be set to +12.00.

If it is not possible to create a new index when you exe-

cute “Create” or “Insert,” a dialog box will appear. If

this occurs, refer to “Create” (0–1b).

This calculation is performed within the TRITON STU-

DIO’s limits of precision. Minor discrepancies may

occur in the ﬁnal BPM caculation.

If you have not yet executed “Cut” or “Copy,” such as

immediately after power-on, the new index will be cre-

ated according to the Create Zone Preference settings

(0–3a, 3–2a) “Position,” “Zone Range,” and “Original

Key Position.”

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Sampling P4: Controller Setup

0–1G

0–1H

0–1I

0–1L

0–1M

0–1J

3–1A

0–1K

4–1: Controller Setup

Speciﬁes the functions that the [SW1] key, [SW2] key, and

the B-mode functions of the REALTIME CONTROL knobs

[1]–[4] will have in Sampling mode.

In Sampling mode, it is not possible to use AMS to con-

trol program parameters.

3–2: Preference

0–1

3–1

4–1a

3–2a

4–1b

4–1a: Pannel Switch Assign

3–2a: Create Zone Preference

Assigns the functions of the [SW1] and [SW2] keys (“SW1,

SW2 Assign List ” ꢀ p .249).

Here you can specify the default settings for indices that are

created by executing “Create” (3–1c, 0–1b). New indexes

will be created according the settings you specify here. You

are free to modify the settings of an index later. Also, when

you execute “Insert” (3–1c), the “Position” setting speciﬁed

here will be used. (ꢀCreate Zone Preference: 0–3a)

SW1 (SW1 Assign)

SW1 Mode

[Off...After Touch Lock]

[Toggle, Momentary]

[Off...After Touch Lock]

[Toggle, Momentary]

SW2 (SW2 Assign)

SW2 Mode

ꢀProgram P1: 1–4a

4–1b: Realtime Control Knobs B-Assign

Assigns the B-mode functions (mainly various types of con-

trol change) for the REALTIME CONTROL knobs [1]–[4]

(“Realtime Control Knobs B –Assign List ” ꢀ p .250). The

functions you specify here will operate when the REAL-

TIME CONTROL knobs [1]–[4] are operated in B-mode.

Knob 1–B

[Off...MIDI CC#95]

Knob 2–B

Knob 3–B

Knob 4–B

ꢀProgram P1: 1–4b

These controllers can be used to make realtime changes in

effect dynamic modulation functions etc. while you sample.

Example settings

Sample an external audio signal while using knob [1] (B-

mode) to adjust the “Wet/ Dry” balance of 044: Stereo/ Cross

Delay (assigned to IFX1) and knob [2] (B-mode) to adjust the

post-IFX “Pan” in realtime.

1Set “BUS (IFX) Select” (0–2a) to IFX1.

2Select 044: Stereo/Cross Delay for “IFX1.”

3Set the IFX1 page “Wet/Dry” setting to Dry, “Src” to

KnobM1[+], and “Amt” to +50.

4In Realtime Control Knobs B-Assign, set “Knob 1–B” to

Knob Mod.1 (CC#17), and set “Knob 2–B” to Post IFX

Pan (CC#08).

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5Press the [REALTIME CONTROLS] key to make the “B”

LED light.

6Rotate knob [1], [2] and the panning of the external input

sound and the delay will change. You can sample the

sound while you modify it.

Sampling P5: Audio CD

5–1: Audio CD

Here you can sample the playback of an audio CD, or copy

digital information from an audio CD (“ripping”).

Sound can be sampled from an audio CD in the following

two ways.

•

The analog audio output from an audio CD played in

the CDRW-1 option (if installed) is internally connected

to the AUDIO INPUT jacks. If you are using a CD-R/

RW drive connected to the SCSI connector, use audio

cables to connect the drive to the AUDIO INPUT jacks.

In either case, the procedure is the same as when sam-

pling analog audio from the AUDIO INPUT jacks. The

audio will play back on the TRITON STUDIO according

to the “Input” Analog (0–2a) settings. Set “Level,” “BUS

(IFX/ Indiv.) Select” (normally set to L/ R) for Input1 (L

channel) and Input2 (R channel).

•

A certain passage of digital audio information stored on

audio CD (played in the installed CDRW-1 or a CD-R/

RW drive connected to the SCSI connector) can be

acquired in its digital state and saved as a sample. This

“ripping” function allows you to bypass the usual

Digital-to-Analog and Analog-to-Digital converters and

preserve the digital signal in its original state. Digital

ripping is executed by the page menu command

“Destination” (5–1A).

Some CD-R/ RW drives do not support ripping (i.e., a

CD-R/ RW drive that does not read CD-DA data). In

this case, the display will indicate “Error in reading

from medium.”

Use the various SEQUENCER keys to control the audio CD.

5–1

5–1a

5–1b

5–1c

5–1d

SEQUENCER [START/ STOP] key : play/ stop

[FF>>] key

: fast-forward

: rewind

[<<REW] key

[PAUSE] key

[LOCATE] key

: pause

: return to the beginning

of the track

If the CDRW-1 option is installed, playing the keyboard

or operating the controllers during playback may pro-

duce physical shock that causes the playback to skip or

reading errors to occur, preventing playback from

occurring normally.

5–1a: Location

Location

[00:00.0...]

Indicates the current location of the track being played

(“Track”). When stopped, this indicates the location at

which playback will begin. If you re-select “Track” or

“Index,” this will be 00:00.0.

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5–1b: Drive, Track, Index

M 5–1: Page Menu Command

Drive (Drive select)

[ID0...6, CDD: Name]

5–1A

Selects the CD-R/ RW drive that contains the audio CD that

you want to play or rip.

5–1A: Destination

Drives other than a CD-R/ RW drive cannot be selected

here.

Speciﬁes the writing data of the ripped data, and execute

ripping. Ripping will create a stereo 44,100 Hz sample. You

can rip to sample memory (RAM), hard disk, ﬂoppy disk, or

a removable disk (sold separately) connected to the SCSI

connector. If you select Disk, a WAVE ﬁle will be created.

Track (Track Select)

[01...]

Selects the track of the audio CD that you want to play or

rip.

If the CDRW-1 option is installed, playing the keyboard

or operating the controllers during ripping may pro-

duce physical shock that causes data skips or reading

errors, preventing ripping from occurring normally.

Index

[01...]

Selects the index of the audio CD that you want to play or

rip. This can be selected only if you have selected a track

that contains index data.

Ripping to sample memory (RAM)

In the case of some CD-R/ RW drives, index informa-

tion cannot be obtained.

1Select “Destination” to access the dialog box.

2In the “To” ﬁeld, select RAM.

5–1c: Volume

Volume

[0...127]

Adjusts the volume of the audio signal that is output from

the CD-R/ RW drive.

Some CD-R/ RW drives do not support this, meaning

that this adjustment may not affect the volume.

3In “Sample No.(L)” and “Sample No.(R),” specify the

destination to which the stereo sample data created by

ripping will be written.

5–1d: Ripping

By default, the lowest-numbered vacant sample will be

displayed. Normally you will leave this default setting

unchanged.

Makes settings for ripping data from a CD.

If the cursor is located at “Range Start” or “Range End,” CD

playback will occur from “Range Start” to “Range End.”

Ripping is executed in the page menu command “Destina-

tion” (5–1A).

4Press the OK button to execute ripping, or press the Can-

cel button to cancel without executing.

Ripping to the hard disk or other disk

Range Start

[00:00.0...]

1Select “Destination” to access the dialog box.

2In the “To” ﬁeld, select DISK.

Specify the starting location of the data that will be ripped.

When you re-select “Track” or “Index,” this will be reset to

00:00.0.

If the cursor is located at “Range Start” or “Range End,”

pressing the [ENTER] key during playback will set

“Range Start” or “Range End” to the timing of that

moment. If you press the [ENTER] key two or more

times, the location at which the key was last pressed

will be speciﬁed.

If cursor is located at other than “Range Start” or

“Range End,” pressing the [ENTER] key once will spec-

ify “Range Start,” and pressing it once again will set

“Range End.” If you press the [ENTER] key three or

more times, the “Range Start” and “Range End” will be

set to the locations of the last press and the last-but-one

press.

3Specify a name for the WAVE ﬁle that will be saved.

4In “Drive select,” select the hard disk or other disk to

which the data will be saved.

5Use the Open button and Up button to select the desired

directory on the save-destination disk.

6Press the OK button to execute ripping, or press the Can-

cel button to cancel without executing.

Range End

[00:00.0...]

Speciﬁes the ending location of the data that will be ripped.

When you re-select “Track” or “Index,” this will be reset to

the ending time of the selected track or index.

Duration

[00:00.0...]

Displays the length of time between “Range Start” and

“Range End.”

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M 8–1: Page Menu Command

Sampling P8: Insert Effect

8–1A

Here you can make insert effect settings for use in Sampling

mode.

8–1B

If you want to apply insert effect IFX1–5 to the external

audio signal speciﬁed by “Input” and sample the result, set

the P0: Recording, Input/ Setup page Input1 and Input2

“BUS (IFX/Indiv.) Select” parameters to IFX1–5, and adjust

the effect settings.

If you want to apply effects to a previously-sampled sample

or a sample you loaded, and resample the result, set the P8:

Insert Effect page “BUS (IFX) Select” parameter to IFX1–5,

and adjust the effect settings. (ꢀ”Resample” 0–2b)

8–1A: Copy Insert Effect

ꢀ“Program P8: 8–1A: Copy Insert Effect.”

8–1B: Swap Insert Effect

ꢀ“Program P8: 8–1B: Swap Insert Effect.”

ꢀFor details on insert effects, refer to p.178 “8. Effect

Guide.”

8–2: Insert FX

Here you can select insert effects, switch them on/ off, make

chain settings, and specify the pan of the sound after pass-

ing through the insert effect.

In Sampling mode, master effects 1 and 2 and the mas-

ter EQ cannot be used.

These parameters are the same as in Program mode. Refer to

Program mode “8–2: Insert FX”

Insertion effect settings in Sampling mode are not

backed up when the power is turned off. If you wish to

keep the insertion effect settings, you can use “Copy

Insert Effect.”

For example, you can copy the insertion effect settings

of Sampling mode to a program or combination in

order save them. When you write the program or com-

bination, the settings will be saved in internal memory.

In Sampling mode, you can use “Copy Insert Effect” (8–

1A) to copy these effect settings from the program or

combination back into Sampling mode and use them.

8–1

8–2a

8–2b

8–1: Routing

8–1

8–3: IFX 1

8–4: IFX 2

8–5: IFX 3

8–6: IFX 4

8–7: IFX 5

8–1a

8–1b

Set the effect parameters for the IFX 1, 2, 3, 4 and 5 effects

that you selected in the Insert FX page (ꢀ p .187–).

Effect Dmod (dynamic modulation) is controlled by the

global MIDI channel speciﬁed in Global Mode P1.

8–1a: Routing Map

Routing Map

This displays the status of the insert effect settings.

Insert effect routing, the name of the speciﬁed effect, on/ off,

and chain are displayed. Insert effect type, on/ off, and chain

settings are made in the P8: Edit-Insert Effect, Insert FX

page.

8–1b: BUS Select

BUS(IFX) Select

[L/ R, IFX1...5, 1...4, 1/ 2, 3/ 4, Off]

Selects the bus.

If you want to apply an effect to a sample (multisample) that

you sampled or loaded, select IFX1–5. (ꢀ“Resample” 0–2b)

After you resample, L/R will automatically be selected

as the “BUS (IFX) Select” setting. Be aware of this

when you want to resample again.

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5. Song Play mode

In Song Play mode you can load Standard MIDI Files (SMF)

File (File select)

[000...999]

from ﬂoppy disk, the internal hard disk or external SCSI

device, or play them directly as they are being loaded. A

jukebox function is provided to playback these SMF ﬁles in

any order you specify. You can also use the arpeggiator or

realtime controllers during playback. In Song Play mode

you can playback SMF data and make related settings.

The TRITON STUDIO is able to playback SMF format 0 or

format 1 data.

From a ﬂoppy disk etc., select the SMF that you wish to play

back.

You can select SMF ﬁles from the currently selected direc-

tory. If you wish to select from another directory, use the P3:

Select Directory to select the directory.

When “Jukebox” is checked, you can select SMF ﬁles from

the jukebox list in the P3: Jukebox.

This parameter will not be displayed if there are no SMF

ﬁles in the directory, or if no SMF ﬁles have been registered

in the jukebox list.

If the CDRW-1 option is installed, and you play the key-

board or operate the controllers during playback, the

physical shock may cause data skips or read errors, so

that the playback may not occur correctly.

Song Play P0: Prog/ Mix

Name

0–1: Prog. 1–8 (Program T01–08)

This displays the song name of the SMF that you selected in

“File (File select).”

0–2: Prog. 9–16 (Program T09–16)

Here you can make settings for SMF playback, and make

basic settings such as selecting the program for each track.

Play (Track Select) [Track01 [Ch01]...Track16 [Ch16]]

Speciﬁes the track (channel) that will sound when you play

the keyboard.

The bank number, program number, and name of the pro-

gram used by the track is displayed to the right.

0–1

0–1a

0–1f

0–1b

In Song Play mode, MIDI channels 1–16 correspond to

tracks 1–16.

0–1c

0–1(2)b: Selected Track Information

This area displays information for the track (1–16) that is

currently selected for editing or selected by “Play (Track

Select).”

T (Track)

(01...08 (09...16))

0–1a: Location, Meter, Tempo, Jukebox, File, Play

This displays the track number of the track currently

selected for editing or selected by “Play (Track Select),” and

the program bank, number, and name of the program speci-

ﬁed for that track.

Location

[001:01.000...999:16.191]

This is the current location within the SMF.

From the left, this indicates the measure (Location Measure),

beat (Location Beat), and clock (Location Tick). You can set

each of these individually, and this will move the current

location within the song.

(01...16)

This displays the MIDI channel number of the track that is

currently selected for editing or selected by “Play (Track

Select).”

When you change the location, a Song Position Pointer

message will be transmitted.

0–1(2)c: Track Number, Category, Bank/ Program,

Meter

[*/ *, 1/ 4...16/ 16]

PLAY/ MUTE, SOLO ON/ OFF

This indicates the time signature at the current location of

the SMF.

Track Number

(1...8 (9...16))

ꢀ (Tempo)

[040...240]

Displays the track number.

Use the parameters below “Track Number” to make settings

for that track number.

Speciﬁes the playback tempo of the SMF.

In Song Play mode, this tempo will be used regardless of the

“MIDI Clock” setting (Global P1: 1–1a).

Category

[00...15]

Jukebox

[Off, On]

Selects a program for the track by category. Each program is

classiﬁed into one of sixteen categories. You can press the

category and select programs within that category.

This is convenient when you want to ﬁnd a program by cat-

egory, or to select a different program within the same cate-

gory.

On (checked): SMF ﬁles in the jukebox list will be played

back in succession. You will also check this when you wish

to create a jukebox list. In the Jump menu (displayed when

you press the [MENU] key), select P3: Jukebox, and create

the list.

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Program Select (Bank/ Program)

M 0–1: Page Menu Command

[INT-A...INT-F, G, g(1)...g(9), g(d), EXB-A...EXB-G]

Selects the program that will be used by each track.

The lower line will display part of the program name.

If “Program Select” is selected, you can use the BANK [INT-

A]–[EXB-G] keys and the VALUE controller to select the pro-

gram.

When you press the popup button, the Bank/ Track Program

menu will appear, allowing you to select a program. (ꢀPro-

gram P0:0–1a)

0–1A

0–1B

0–1C

0–1D

0–1E

0–1A: GM Initialize

If “Program Select” is selected, the BANK key LED will

light to indicate the program bank of the selected track.

This command transmits a GM System On message to Song

Play mode, resetting all tracks to the GM settings (ꢀtable

below).

Bank INT-F can be selected if the EXB-MOSS option is

installed. When this is installed, you will be able to use

128 special EXB-MOSS programs.

In Song Play mode when a GM System On message is

received from an external device or if the SMF contains

a GM System On message, the tone generator will be

reset to the GM settings in the same way as when this

command is executed (However even in these cases, the

parameters of the P9: Master Effect will not be reset).

If “Status” (1–1a/ 2a) is either INT or BTH, you can

select a program by receiving a MIDI program change.

MIDI channels 1–16 will control tracks 1–16 respectively.

PLAY/ MUTE

[PLAY, MUTE]

0–1B: Solo Selected Track

This sets the playback/ mute status of each track.

The setting will alternate each time you press the PLAY/

MUTE button.

This command switches the solo function on and off. When

switch on, only the selected track will sound and the

remaining tracks will be muted (the Solo function). To solo a

different track, select one of the parameters of that track

(ꢀSequencer P0: 0–1B).

PLAY: The track will play.

MUTE: The track will be muted.

If a track muted by the Mute or Solo function has a

“Status” (1–1a/ 2a) of EXT or BTH, the MIDI note-on/

off messages of that track will not be transmitted.

SOLO ON/ OFF

[SOLO OFF, SOLO ON]

Switches the Solo function on/ off. Only the track set to

SOLO ON will be heard. All other tracks will be muted.

0–1C: Load Template Song

If a track muted by the Mute or Solo function has a

“Status” (1–1a/ 2a) of EXT or BTH, the MIDI note-on/

off messages of that track will not be transmitted.

(However, the track selected by “Play (Track Select)”

(0–1a) is an exception.)

This command loads a preset template song (one of sixteen

types P00–15) or a user template song (one of sixteen types

U00–15) into the song (ꢀSequencer P0: 0–1G).

If the page menu command “Solo Selected Track” (0–

1B) is ON, its solo settings will take priority (when ON).

When you press “SOLO ON/ OFF” or press a parame-

ter of another track, only that track will be soloed and

will sound.

GM Initialize Parameter

Parameter

Track1–9, 11–16

Track10

P0 Bank/Program

Pan

G001:Acoustic Piano

g(d)001:STANDARD Kit

C064

100

–

C064

100

Volume

P1 Status

–

The setting remains unchanged

Use Program’s Scale

P7 Arpeggiator Assign

–

Other Arpeggiator parameters

–

P8 IFX/Indiv.Out BUS Select

L/R

DKit

Send1(MFX1)

Send2(MFX2)

–

IFX1–5

The setting remains unchanged

016: Stereo Chorus

Pan(CC#8)

–

BUS Select

–

Send1

–

Send2

–

Other Insert Effect parameters

–

P9 MFX1

–

MFX2

–

053: Reverb SmoothHall

127

Return1

–

Return2

–

050

Other Master Effect and Master EQ parameters

–

Default settings

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0–1D: Save Template Song

0–5: Preference

Here you can make settings for playing SMF ﬁles consecu-

This command saves the programs, the track parameters,

and the effect settings etc. as a user template song U00–15

(ꢀSequencer P0: 0–1H).

tively, and make settings for the metronome.

The settings that are saved here can also be loaded in

Sequencer mode.

0–1

0–1a

0–1E: Set Location

By pressing the [LOCATE] key you can move to the location

speciﬁed here (ꢀSequencer P0: 0–1J).

0–5a

0–5b

0–3: Mixer 1–8 (Mixer T01–08)

0–4: Mixer 9–16 (Mixer T09–16)

Set the pan and volume for each track (channel).

0–5a: Next File

0–1

0–1a

Speciﬁes whether or not the next ﬁle will be played back in

succession when the currently selected SMF ﬁnishes play-

ing.

0–1b

Chain to next ﬁle

[Off, On]

0–3a

On (checked): When the currently selected ﬁle ﬁnishes play-

ing, the next ﬁle will automatically be selected.

Auto Start

[Off, On]

On (checked): When the currently selected SMF ﬁnishes

playing, the next ﬁle will automatically begin playing. This

is valid when “Chain to next ﬁle” is checked.

0–3(4)a: Track Number, Program Category, Pan,

Volume

0–5b: Metronome Setup

Track Number

Makes settings for the metronome.

Indicates the track number. (ꢀ0–1c/ 2c)

Sound

[On, Off]

Program Category

On: The metronome will sound during playback. The sound

of the metronome will be output to the bus selected by “BUS

Select.”

Displays part of the program category name used by the

track.

Pan

[RND, L001...C064...R127]

BUS (Output) Select (BUS Select)

[L/ R, L, R, 1, 2, 3, 4, 1/ 2, 3/ 4]

Sets the panning for each track (channel) 1–16 (ꢀSequencer

P0: 0–3b).

Speciﬁes the output destination of the metronome sound

Tracks whose “Status” (1–1a/ 2a) is INT or BTH can

receive MIDI control change (CC#10) to control the pan-

pot. When receiving CC#10, a value of 0 or 1 will be far

left, 64 will be center, and 127 will be far right. Tracks 1–

16 will be controlled by MIDI channels 1–16 respec-

tively.

(ꢀSequence P0: 0–7b).

Level

[000...127]

Sets the volume of the metronome.

Volume

[0...127]

Sets the volume of each track (channel) 1–16.

Tracks whose “Status” (1–1a/ 2a) is INT or BTH can

receive MIDI control change (CC#7) to control the vol-

ume. The actual volume of a track is determined by

multiplying the MIDI volume (CC#7) and expression

(CC#11) values. Tracks 1–16 will be controlled by MIDI

channels 1–16 respectively.

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1–1(2)b: Use Program’s Scale/ Scale

Song Play P1: Track

Use Program’s Scale

[Off, On]

For each track, you can specify the status of the internal tone

generator and the scale.

For each track you can specify whether or not the scale spec-

iﬁed for the program in “Scale” (Program P1: 1–1c) will be

used.

On (checked): The scale speciﬁed by the program will be

used.

Off (unchecked): The scale speciﬁed by “Scale” (1–1b/ 2b)

will be used.

1–1: Status 1–8 (Status/ Scale T01–08)

1–2: Status 9–16 (Status/ Scale T 09–16)

0–1

Scale:

0–1a

Select the scale that will be used in Song Play mode.

Type

[Equal Temperament...User Octave Scale15]

0–1b

0–3a

Selects the scale type (ꢀ“Type” Program P1: 1–1c).

1–1a

Key (Scale Key)

[C…B]

Selects the tonic key of the selected scale (ꢀ“Key” Program

P1: 1–1c).

1–1b

Random

[0…7]

As this value is raised, an increasing amount of random

deviation will be applied to the pitch at note-on (ꢀ“Ran-

dom” Program P1: 1–1c).

1–1(2)a: Status

Status

[INT, Off, BTH, EXT]

Speciﬁes whether each track will transmit/ receive MIDI

data and/ or sound the internal tone generator.

1–3: MOSS 1–8 (MOSS Setup T01–08)

1–4: MOSS 9–16 (MOSS Setup T09–16)

This page is displayed only when the EXB-MOSS option has

been installed.

INT: When you playback the musical data of this track, or

operate the TRITON STUDIO’s keyboard or controllers

when “Play (Track Select)” (0–1g) is set to a track whose set-

ting is INT, the TRITON STUDIO’s internal tone generator

will sound, but MIDI messages will not be transmitted to

external devices.

For details refer to the EXB-MOSS owner’s manual.

Off: The program will not sound, nor will MIDI messages

be transmitted.

BTH: The operations of both INT and EXT will occur. When

you play the musical data of this track, or operate the TRI-

TON STUDIO’s keyboard or controllers when “Play (Track

Select)” is set to a track whose setting is BTH, the TRITON

STUDIO’s internal tone generator will sound, and MIDI

messages will also be transmitted to external devices.

EXT: When you playback the musical of this track, or oper-

ate the TRITON STUDIO’s keyboard or controllers when

“Play (Track Select)” is set to a track whose setting is EXT,

MIDI messages will be transmitted to external devices, but

the TRITON STUDIO’s internal tone generator will not

sound.

Musical data

Keyboard and controller

operations

Received data

Status

Internal tone MIDI OUT

generator

Internal tone MIDI OUT

generator

INT

—

EXT

BTH

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M 2–1: Page Menu Command

Song Play P2: Controller Setup

0–1C

0–1D

0–1E

Speciﬁes the functions that the [SW1] key, [SW2] key, and

the B-mode functions of the REALTIME CONTROL knobs

[1]–[4] will have in Song Play mode. The functions you spec-

ify can be used when playing the track selected by “Play

(Track Select).”

If the track you select in “Play (Track Select)” has a

“Status” (1–1a/ 2a) setting of either BTH or EXT, oper-

ating a controller that has been assigned a CC# will

cause MIDI control change (CC#) messages to be trans-

mitted on the MIDI channel of that track.

2–1: Controller Setup (Preference)

2–1

0–1a

2–1a

2–1b

2–1a: Panel Switch Assign

Assigns the functions of the [SW1] and [SW2] keys.

(“SW1, SW2 Assign List ” ꢀ p .249)

Since the [SW1] and [SW2] functions of the program

assigned to each track will not be valid, you can make

new settings here.

SW1

[Off, ..., After Touch Lock]

[Toggle, Momentary]

Toggle/ Momentary

SW2

[Off, ..., After Touch Lock]

[Toggle, Momentary]

Toggle/ Momentary

ꢀProgram P1: 1–4a

2–1b: Realtime Control Knobs B–Assign

Assigns the B-mode functions (mainly various types of con-

trol change) for the REALTIME CONTROL knobs [1]–[4]

(“Realtime Control Knobs B –Assign List ” ꢀ p .250). The

functions you specify here will operate when the REAL-

TIME CONTROL knobs [1]–[4] are operated in B-mode.

Since the REALTIME CONTROL knobs [1]–[4] B-mode

functions of the program assigned to each track will not be

valid, you can make new settings here.

Knob 1–B

[Off, ..., MIDI CC#95]

Knob 2–B

Knob 3–B

Knob 4–B

ꢀProgram P1: 1–4b

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3–1c: Drive select

Song Play P3: Select Directory/

Jukebox

Drive select

[FDD, ID0...6, HDD, CDD: Name]

Selects the device (ﬂoppy disk or hard disk etc.) from which

data will be played back.

The contents of this display will depend on the “Jukebox”

The drive type and the volume label assigned to the media

will be displayed. (ꢀ”Drive select” Disk 0–1c)

(0–1a) setting.

Off (unchecked): “3–1: Select Directory” will be displayed.

On (checked): “3–1: Jukebox” will be displayed.

If the CDRW-1 option is installed, and you play the key-

board or operate the controllers during playback, the

physical shock may cause data skips or read errors, so

that the playback may not occur correctly.

3–1: Select Directory

From a ﬂoppy disk inserted into the ﬂoppy disk drive, the

internal hard disk, or an external SCSI device, select the

directory containing the SMF that you want to play.

3–1d: Open button, Up button

Open button

When you press the Open button the directory will be

opened, and the current directory will move one level

downward in the directory hierarchy.

3–1a

3–1b

Up button

When you press the Up button, the current directory will

move one level upward in the directory hierarchy.

This button is available when a directory is selected in the

directory window.

3–1c

3–1d

3–1: Jukebox

Here you can create a jukebox list to specify the order in

which SMF songs will be played. Up to 100 songs can be reg-

istered in a jukebox list. Lists can be saved and loaded using

page menu commands 3–1B and 3–1A. Before saving to a

disk, you must turn off the write protect setting of the disk.

3–1a: Current directory

The currently displayed directory selected for operations is

called the “current directory.”

The full pathname of the directory will be shown in the LCD

screen. A slash “/ ” is used to delimit levels of the directory

hierarchy.

If you want to save data to a ﬂoppy disk or removable

disk, you must ﬁrst turn off the write protect setting of

the disk.

You can use the Open button and Up button to change the

current directory.

3–1

3–1b: Directory window

File information for the current directory is shown here.

You can select a ﬁle or directory in this window.

b1: Files/ icons

These indicate SMF and DOS directory ﬁles. (For details on

icons, refer to Disk mode “Files, d i rectories, and icons ”

ꢀ p .155)

3–1a

b2: File name

The name of the SMF and the directory name.

3–1a: Add button, Delete button

b3: Size

This is the size (number of bytes) of the SMF.

Add button

This adds an SMF to the jukebox list.

b4: Save date

In the directory window, select the SMF that you wish to

add to the jukebox list, and press this button to add the SMF

to the list.

This is the date (from the left: day, month, year) that was

assigned when the SMF was saved.

Delete button

This deletes an SMF from the jukebox list.

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M 3–1: Page Menu Command

Song Play P7: Arpeggiator

3–1A

Here you can make arpeggiator settings for use in Song Play

mode.

3–1B

You can assign the arpeggiator to the “Play (Track Select)”

track, and play arpeggios with the tempo synchronized to

SMF playback.

You can assign arpeggiators A and B to two different tracks,

and switch “Play (Track Select)” to switch between arpeg-

giators as you perform. Or you can switch arpeggio patterns

or parameters and operate the [GATE] and [VELOCITY]

knobs while you play.

3–1A: Load Jukebox List

This command loads the jukebox list that you wish to use.

1In the directory window, select a jukebox list ﬁle (ﬁle-

name extension .JKB), and then select “Load Jukebox

List”.

The following dialog box will appear.

The arpeggiator can be synchronized to the start of SMF

playback.

•

Turn on the arpeggiator and press the SEQUENCER

[START/ STOP] key, and the arpeggiator will

synchronize with the playback timing of the SMF.

If you press the SEQUENCER [START/ STOP] key, and

both the SMF playback and the arpeggiator will stop. If

you wish to stop only the arpeggiator, turn off the

ARPEGGIATOR [ON/ OFF] key.

2To load the jukebox list, press the OK button. To cancel,

press the Cancel button.

•

3–1B: Save Jukebox List

This command saves the jukebox list you created as a ﬁle.

1Create a jukebox list, and then select “Save Jukebox

List” to open the following dialog box.

7–1: Setup 1–8 (Setup T01–08)

7–2: Setup 9–16 (Setup T09–16)

7–1

2Press the text edit button to move to the text edit dialog

box, and input a ﬁlename.

0–1a

3To save the jukebox list, press the OK button. To cancel,

press the Cancel button.

When you press the OK button, the jukebox list ﬁle will

be saved on the media that is selected in drive select.

7–1a

7–1(2)a: Arpeggiator Assign, Arpeggiator Run

Arpeggiator Assign

[Off, A, B]

When the ARPEGGIATOR [ON/ OFF] key is on, the arpeg-

giator(s) will function according to the “Arpeggiator Run A,

B” settings and the settings of each track.

Off: The arpeggiator will not operate.

A: Arpeggio A will operate. In the Arpeggiator A page you

can select the arpeggio pattern and set the parameters.

B: Arpeggio B will operate. In the Arpeggiator B page you

can select the arpeggio pattern and set the parameters.

Select either arpeggiator A or B for the play track that you

will be playing manually along with the SMF playback. If

you select an arpeggiator for two or more tracks, the arpeg-

giator will sound all the tracks to which it is assigned.

As another possibility, you can assign arpeggiator A and B

to two tracks, select one track as the play track to be con-

trolled from the keyboard, and control the other track from

an external MIDI device connected to MIDI IN.

The arpeggiator will not be applied to notes played

back from an SMF.

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If tracks 1–16 to which arpeggiator A or B are assigned

have a track “Status” (1–1a/ 2a) of either INT or BTH,

they will be played by note data generated by the

arpeggiator regardless of the “Ch” (0–1b) setting of

each track. In the case of BTH or EXT, MIDI note data

will be transmitted on the “Ch” of each track. In this

case, arpeggiator A or B can be triggered by any MIDI

channel speciﬁed by the “Ch” of a track 1–16 to which

arpeggiator A or B is assigned. For example if arpeggia-

tor A is assigned to tracks 1 and 2, the arpeggiator will

be triggered by both MIDI channels 1 and 2.

7–3: Arpegg. A (Arpeggiator A)

7–4: Arpegg. B (Arpeggiator B)

In the Arpegg. A page you can make settings for arpeggiator

A, and in the Arpegg. B page you can make settings for

arpeggiator B.

You can also use the “Copy Arpeggiator” page menu

command to copy settings from another mode, such as

Program mode.

7–1

If (“Local Control On” Global P1: 1–1a) is set to off, the

arpeggiator will not be triggered by note data from the

keyboard. The arpeggiator will be triggered only by

note data from MIDI IN.

0–1a

7–3a

Example 1)

Here’s how you can use “Play (Track Select)” (0–1a) to

switch between tracks 1 and 2 to use different arpeggia-

tors for each track, in synchronization with SMF play-

back.

For tracks 1 and 2, set “Status” (1–1a/ 2a) to INT. Assign

arpeggiator A to track 1, arpeggiator B to track 2, and

check “Arpeggiator Run A, B” (7–1a).

For “Play (Track Select),” select Track01.

If the ARPEGGIATOR [ON/ OFF] key is off, playing the

keyboard will cause track 1 to sound.

When you turn on the ARPEGGIATOR [ON/ OFF] key,

arpeggiator A will run, and track 1 will be sounded by

the arpeggiator.

Use “Play (Track Select)” to select Track 02.

Arpeggiator B will run, and track 2 will be sounded by

the arpeggiator.

7–3(4)a: Arpeggiator–A(B) Setup

Pattern

Octave

Resolution

Gate

[P00...P04, U000(I-A/ B)...U506(User)]

[1, 2, 3, 4]

[ꢁ ꢂ , ꢁ , ꢃ ꢂ , ꢃ , ꢀ ꢂ , ꢀ ]

[000...100(%), Step]

[001...127, Key, Step]

[–100...+100(%)]

[Off, On]

Velocity

Swing

Arpeggiator

Assign

Arpeggiator

Pattern - A

Trigger

= Ch1

Pattern - A

Pattern - B

Sort

Track1 MIDI Ch=1ch Status=INT

Track 2 MIDI Ch=2ch Status=INT

(Play Track=Track1)

Latch

[Off, On]

Arpeggiator

Trigger

Pattern - B

= Ch2

Key Sync.

Keyboard

[Off, On]

(Play Track=Track2)

[Off, On]

Arpeggiator Run A, B

These are the arpeggiator parameters for the Song Play

When the ARPEGGIATOR [ON/ OFF] key is on, the arpeg-

giator(s) you check here will operate for the tracks to which

they have been assigned. When the arpeggiator key is on, A

and B can be turned on/ off independently.

mode (ꢀ“Program 7–1: Arpeg. Setup”).

7–5: Scan Zone (Scan Zone A/ B)

Here you can specify the range of notes and velocities that

will control each arpeggiator A and B.

M 7–1: Page Menu Command

0–1B

7–1

7–1A

0–1a

0–1E

7–5a

7–1A: Copy Arpeggiator

This command copies arpeggiator settings.

ꢀ“Combination 7–1A: Copy Arpeggiator.”

7–5b

7–5a: Zone Map

This area displays the “Scan Zone” area for each arpeggiator

A and B (ꢀCombination “Zone Map” 7–4a).

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7–5b: Scan Zone A/ B

Song Play P8: Insert Effect

Here you can make insert effect settings. You can also spec-

ify the bus for the program used by each track 1–16.

Top Key

[C–1...G9]

Bottom Key

[C–1...G9]

ꢀFor details on the insert effects, refer to p.178 “8. Effect

Guide.”

Specify the range of notes (keys) that will trigger arpeggia-

tor A. “Top Key” is the highest note of the range, and “Bot-

tom Key” is the lowest note.

8–1: Routing 1–8 (Routing T01–08)

Top Velocity

[001...127]

Bottom Velocity

8–2: Routing 9–16 (Routing T09–16)

Specify the bus to which the program oscillator of each track

1–16 will be sent. You can also set the send amount to the

master effect.

Specify the range of velocities that will trigger arpeggiator

A. “Top Velocity” is the highest velocity of the range, and

“Bottom Velocity” is the lowest velocity.

8–1

Top Key

[C–1...G9]

[001...127]

8–1a

Bottom Key

Top Velocity

Bottom Velocity

Specify the range of notes (keys) and velocities that will trig-

ger arpeggiator B (ꢀA:).

8–1b

The value of these parameters can also be set by hold-

ing down the [ENTER] key and playing a note on the

keyboard.

8–1a: Routing Map

This displays the settings of the insert effects, showing the

routing status, the name of the selected effect, the on/ off sta-

tus, and chaining. Effect type, on/ off, and chain settings can

be made in the Insert FX pages.

8–1(2)b: IFX/ Indiv.Out BUS Select (BUS Select),

Send1 (MFX1), Send2 (MFX2)

IFX/ Indiv.Out BUS Select (BUS Select)

[DKit, L/ R, IFX1...5, 1...4, 1/ 2, 3/ 4, Off]

Specify the bus to which the program oscillator of each track

1–16 will be sent. The status of these settings can also be

viewed in “Routing Map”(ꢀCombination P8–1: Routing).

With a setting of 1/2 or 3/4, the program of each track 1–

16 will be output in stereo from AUDIO OUTPUT

(INDIVIDUAL) 1 and 2, or 3 and 4. If the panning of the

program oscillator is controlled using CC#10 (pan) or

AMS etc., the pan setting will be applied each time

note-on occurs. Unlike the case with a setting of L/R

when the sound is output from (MAIN) L/ MONO and

R, the panning of a sounding note will not move in real-

time.

If you wish to make realtime changes in the panning of

a sounding note and output the result from AUDIO

OUTPUT (INDIVIDUAL) 1 and 2, or 3 and 4, set “BUS

Select” to IFX1 (or IFX2–IFX5), select 000: No Effect for

“IFX1” (or IFX2–IFX5) (8–3), and set the “BUS Select”

(8–3) after the signal passes through the effects to either

1/2 or 3/4.

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If “Status” (1–1a/ 2a) is INT or BTH, MIDI control

change CC#8, CC#93, and CC#91 will control the pan,

send 1 and send 2 after the signal passes through the

insert effect and will change the setting. This data will

control the MIDI channels of IFX1–5 (8–4 – 8–8): IFX1–5

pages) respectively.

Send1 (MFX1)

Send2 (MFX2)

[000...127]

Specify the send levels from tracks 1–16 to master effects 1

and 2. This is valid when “BUS Select” (8–1b) is set either to

L/R or Off. If IFX 1, 2, 3, 4, or 5 is selected, the send levels to

master effects 1 and 2 are set by “Send 1” and “Send 2” (in

the Insert FX page) after the signal passes through IFX1–5.

These settings are invalid if “BUS Select” is set to 1, 2, 3, 4,

1/2 or 3/4.

8–1

The send 1 and 2 settings you make here will be used when

the SMF is played back from the beginning. You can also

modify the settings during playback. However if the SMF

contains send 1 or 2 data, the settings will change accord-

ingly.

If “Status” (2–1a) is INT or BTH, MIDI control change

(CC) #93 or #91 can be received to control send 1 or 2

and change the setting. Tracks 1–16 will be controlled

by this data on MIDI channels 1–16 respectively. The

actual send levels are determined by multiplying the

value of these settings with the send level settings

“Send 1” and “Send 2” (Program P8: 8–1d) of each

oscillator of the program used by the track.

8–4: IFX 1

8–5: IFX 2

8–6: IFX 3

8–7: IFX 4

8–8: IFX 5

M 8–1: Page Menu Command

0–1B

8–1A

8–1B

8–1C

0–1E

In the Insert FX pages you can set the parameters for the

effects you selected in IFX1–5 (ꢀ p .187–).

8–4a

8–1A: Copy Insert Effect

ꢀ“Program P8: 8–1A: Copy Insert Effect.”

However, the MIDI control channel speciﬁed by “Ctrl Ch” in

the IFX1–5 pages will not be copied.

8–1B: Swap Insert Effect

ꢀ“Program P8: 8–1B: Swap Insert Effect.”

However, the MIDI control channel speciﬁed by “Ctrl Ch” in

the IFX1–5 pages will not be swapped.

8–1C: DrumKit IFX Patch

ꢀ“Combination P8: 8–1C: DrumKit IFX Patch.”

8–4(–8)a: Ctrl Ch

Ctrl Ch

[Ch01...16, All Routed]

8–3: Insert FX

Here you can select the type of each insert effect, turn it on/

off, and make chain settings etc.

These parameters are the same as in Program mode. ꢀPro-

gram mode “8–2: Insert Fx.”

However, unlike in Program mode, “Pan (CC#8),” “Send 1

(MFX1)” and “Send 2 (MFX2)” will be controlled on the

MIDI channel speciﬁed in each of the IFX1–5 pages. The

control changes used are the same as in Program mode.

The pan (CC#8) and send 1 and 2 settings you make here are

used when you playback from the beginning of the SMF.

You can change the settings during playback. However if

the SMF contains pan (CC#8) or send 1 or 2 data, the settings

will change accordingly.

Speciﬁes the MIDI channel that will control effect

dynamic modulation (Dmod), pan following the insert

effect (CC#8), Send 1 (CC#93), and Send 2 (CC#91).

An asterisk “*” will be shown at the right of the channel

number Ch01–16 for each track that is routed through an

IFX. If two or more tracks with different MIDI channels are

routed, you can select here which of the channels will be

used for control.

All Routed: Control will be possible on all of the MIDI chan-

nels of the routed tracks. An asterisk “*” will be shown for

the Ch of routed tracks (channels).

If the “BUS Select” (8–1b) of a track for which a drum

program is selected has been set to DKit, the channel of

that track will be effective when any of the IFX1–5

pages has been set to All Routed, regardless of the

drum kit “BUS Select” (Global P5: 5–2b) settings or the

“Drum Kit IFX Patch” page menu command settings.

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9–2(3)a: Ctrl Ch

Song Play P9: Master Effect

Ctrl Ch

[Ch01...16, Gch]

ꢀFor details on the master effects, refer to p.182 “8. Effect

Speciﬁes the MIDI channel that will control dynamic

modulation (Dmod) for the master effects. With a set-

ting of Gch, the global MIDI channel “MIDI Channel”

(Global P1: 1–1a) will be used for control.

Guide.”

9–1: Master FX

Here you can select the type of each master effect, turn it

on/ off, and make chain and master EQ settings. These set-

tings are the same as in Program mode. ꢀ“Program 9–1:

Master FX (Master Effects).”

9–4: Master EQ

The master EQ is a three-band stereo EQ. It is located imme-

diately before the L/ R bus is sent from the AUDIO OUTPUT

(MAIN OUT) L/ MONO and R, and is used to apply overall

equalization (tonal adjustments) (ꢀ p .239).

9–1

9–4a

M 9–1: Page Menu Command

9–1A

9–1B

0–1E

9–4a: Ctrl Ch

Ctrl Ch

[Ch01...16, Gch]

Speciﬁes the MIDI channel that will control dynamic

modulation (Dmod) for the master EQ. With a setting of

Gch, the global MIDI channel “MIDI Channel” (Global

P1: 1–1a) will be used for control.

9–1A: Copy Master Effect

ꢀ“Program P9: 9–1A: Copy Master Effect.”

However, the MIDI control channel speciﬁed by “Ctrl Ch” in

the MFX1 and 2 pages will not be copied.

The MEQ High Gain and MEQ Low gain can be controlled

by assigning a modulation source to the “Low Gain Mod-

Src:” and the “High Gain Mod-Src:” functions on this page.

9–1B: Swap Master Effect

ꢀ“Program P9: 9–1B: Swap Master Effect.”

However, the MIDI control channel speciﬁed by “Ctrl Ch” in

the MFX1 and 2 pages will not be swapped.

9–2: MFX 1

9–3: MFX 2

Here you can set the parameters of the effects selected for

MFX 1 and 2 in the Master FX page (ꢀ p .187–).

9–2a

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6. Global mode

In Global mode you can make settings that affect the entire

instrument, such as master tuning, MIDI, and memory pro-

tect.

If “Convert Position” is set to PreMIDI, the note num-

bers transmitted from the TRITON STUDIO will be

affected by this setting.

You can also edit user scales, drum kit setups, and user

arpeggio patterns.

“Master Tune” can be controlled by the MIDI universal

system exclusive message Master Fine Tuning (F0, 7F,

nn, 04, 03, vv, mm, F7: nn=MIDI channel, vv/ mm=

value).

“Key Transpose” can be controlled by the MIDI univer-

sal system exclusive message Master Coarse Tuning

(F0, 7F, nn, 04, 04, vv, mm, F7: nn=MIDI channel, vv/

mm=value).

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

page menu commands “Write Global Setting,” “Write

Drum Kits,” or “Write Arpeggio Patterns.”

The SEQUENCER [REC/ WRITE] key can also be used

to access “Update Global Setting,” “Update Drum

Kits,” and “Update Arpeggio Patterns.” Simulta-

neously, the edited content will be written.

These messages are received on the global MIDI chan-

nel speciﬁed by “MIDI Channel” (1–1a).

In Program, Combination, Sequencer, and Song Play

modes, MIDI RPN messages can be received to control

the tuning and transposition of the program or timbre

(Combination mode) or track (Sequencer/ Song Play

modes). Incoming MIDI RPN Fine Tune messages will

make relative adjustments to the tuning speciﬁed by

the “Master Tune” setting.

Global P0: Basic Setup

MIDI RPN Coarse Tune messages will make relative

adjustments to the pitch speciﬁed by the “Key Trans-

pose” setting. In Program mode these messages will be

received on the global MIDI channel speciﬁed by

“MIDI Channel” (1–1a), and in other modes they will

be received on the MIDI channel speciﬁed for each tim-

bre or track. (ꢀ”Detune,” “Transpose” Combination

P2: 2–3a, Sequencer P2: 2–5a/ 6a)

0–1: Basic

0–1

0–1a

Velocity Curve

[1…8]

0–1c

This speciﬁes the way in which the volume and/ or tone will

change in response to variations in keyboard playing

dynamics (velocity).

0–1b

When “Convert Position” (1–1a) is PreMIDI, variations in

keyboard playing dynamics will affect the velocity effect

and the transmitted velocity data as shown in the left-hand

diagram below. Incoming data will automatically use the

velocity curve number 4 shown in the right-hand diagram.

With a setting of PostMIDI, variations in keyboard playing

dynamics (and in the velocity of incoming data) will

respond as shown in the right-hand diagram below. If you

are playing TRITON STUDIO’s tone generator from an

external keyboard or sequencer, and the overall sound is too

bright or too dark, you can set the “Convert Position”

parameter to PostMIDI and select the appropriate velocity

curve here. For the transmitted data, the velocity curve

number 4 shown in the left-hand diagram will automatically

be selected.

0–1a: Basic

Master Tune

[–50cent (427.47Hz)…+50cent (452.89Hz)]

This adjusts the overall tuning of the entire TRITON STU-

DIO in one-cent units (semitone = 100 cents) over a range of

±50 cents. With a setting of 0, the frequency of A4 will be 440

Hz.

The A4 pitch given here is when Equal Temperament is

selected as the scale. If a different scale is selected, A4

may not be 440 Hz.

For a setting of PreMIDI

Velocity (KBD→MIDI Out)

For a setting of PostMIDI

Velocity (MIDI In→TG)

Key Transpose

[–12…+12]

This adjusts the pitch in semitone steps over a ±1 octave

range.

This setting is applied at the location (PreMIDI or Post-

MIDI) speciﬁed by “Convert Position” (1–1a).

Velocity

effect

Note number transmitted

Transpose

–12

+12

Soft

Strong

127

24…84

(C1…C6)

36…96

(C2…C7)

48…108

(C3…C8)

61 keys

76 keys

88 keys

1, 2, 3: An effect will be obtained for strongly-played notes

4 (Normal): The normal curve

5, 6: An effect will be obtained even if you do not play very

strongly

7: A certain amount of effect will be obtained even for softly-

played notes

8: This curve produces the most regular effect. This setting is

suitable when you do not need velocity sensitivity, or when

16…91

(E0…G6)

28…103

(E1…G7)

40…115

(E2…G8)

9…96

(A–1…C7)

21…108

(A0…C8)

33…120

(A1…C9)

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you wish to make the notes more consistent. However with

this curve, control of softly-played notes will be more difﬁ-

cult, so use the curve that is most appropriate for your play-

ing strength and style, and the effect that you wish to

produce.

MFX1 Off

[Off, On]

On (checked): Master Effect (MFX1) will be off.

Off (unchecked): The P9: Master Effect setting “MFX1 On/

Off” in Program, Combination, Sequencer, and Song Play

modes will be valid.

After Touch Curve

[1…8]

MFX2 Off

[Off, On]

This speciﬁes the way in which the volume and/ or tone will

change in response to variations in pressure (after touch)

applied to the keyboard while playing a note.

On (checked): Master Effect (MFX2) will be off.

Off (unchecked): The P9: Master Effect setting “MFX2 On/

Off” in Program, Combination, Sequencer, and Song Play

modes will be valid.

When “Convert Position” (1–1a) is PreMIDI, variations in

after touch pressure will affect the after touch effect and the

transmitted after touch data as shown in the left-hand dia-

gram below. Incoming data will automatically use the after

touch curve number 3 shown in the right-hand diagram.

With a setting of PostMIDI, variations in after touch pres-

sure (and in the value of incoming after touch data) will cre-

ate change as shown in the right-hand diagram. For the

transmitted data, the after touch curve number 3 shown in

the left-hand diagram will automatically be selected.

When “IFX1–5 On/ Off,” MFX1 “On/ Off,” or MFX2

“On/ Off” settings are switched, control change mes-

sages CC#92 (effect control 2), CC#94 (effect control 4),

and CC#95 (effect control 5) will be transmitted respec-

tively. The transmitted data will be 0 for off, and 127 for

on.

0–1c: Auto Arpeggiator

For a setting of PreMIDI

For a setting of PostMIDI

After Touch (KBD→MIDI Out)

After Touch (MIDI In→TG)

Program (Auto Arp. Program)

[Off, On]

127

MAX

On (checked): When a different program is selected, the

arpeggiator settings stored in that program will automati-

cally take effect.

Off (unchecked): The state of the arpeggiator will not

change when the program is switched. Use this setting when

you wish to keep the arpeggiator running while you select

different program sounds.

8:RANDOM

Aftertouch

effect

8:RANDOM

127

Soft

Strong

1, 2: This curve produces change when strong after touch

pressure is applied

3 (Normal): The normal curve

4, 5: This curve produces change even when light pressure is

applied

6, 7: These curves produce change in 24 or 12 steps respec-

tively, and are appropriate for when you are recording after

touch data on the sequencer and wish to conserve memory.

(Set the “Convert Position” to PreMIDI.) Curve number 7

allows change over twelve steps, so when using after touch

to modify the pitch, you can set the range of modiﬁcation to

one octave, and use after touch to vary the pitch in semitone

steps.

Combination (Auto Arp. Combination)

[Off, On]

On (checked): When a different combination is selected, the

arpeggiator settings stored in that combination will auto-

matically take effect.

Off (unchecked): The state of the arpeggiator will not

change when the combination is switched. Use this setting

when you wish to keep the arpeggiator running while you

select different combination sounds.

M 0–1: Page Menu Command

0–1A

8: This is a random curve. Use this when you wish to create

special effects, or to use after touch to apply unpredictable

modulation.

0–1B

0–1C

0–1D

When “Convert Position” (1–1a) is PreMIDI, the set-

ting you make here will be applied immediately after

the keyboard, meaning that it will affect the data trans-

mitted via MIDI, but will not affect the received data.

With a setting of PostMIDI, the setting you make here

will be applied immediately before the TRITON STU-

DIO’s internal tone generator, meaning that it will affect

the data received via MIDI, but will not affect the trans-

mitted data.

0–1A: Write Global Setting

This command writes Global mode settings (except for

Drum Kits and User Arpeggio Patterns).

1Select “Write Global Setting” to access the dialog box.

When you use the TRITON STUDIO’s keyboard to play

the internal tone generator, the “Convert Position” set-

ting will make no difference.

2To write the data, press the OK button. To cancel without

writing, press the Cancel button.

You can also use the SEQUENCER [REC/ WRITE] key to

write data in the same way as the “Write Global Setting”

command.

Press the SEQUENCER [REC/WRITE] key to access the

“Update Global Setting” dialog box, and press the OK

button to write the data.

0–1b: Effect Global SW

IFX1–5 Off

[Off, On]

On (checked): All insert effects IFX1–5 will be off.

Off (unchecked): The P8: Insert Effect settings for “IFX1

On/ Off”–“IFX5 On/ Off” in Program, Combination,

Sequencer, Song Play, and Sampling modes will be valid.

To write a drum kit or user arpeggio pattern, execute

the appropriate utility menu command. (ꢀ5–1A “Write

Drum Kits,” 6–1A “Write Arpeggio Patterns”)

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2Select “Half Damper Calibration” to access the dialog

0–1B: Change all bank references

box.

This command changes all program banks speciﬁed for tim-

bres in combinations or tracks of songs.

1Select “Change all bank references” to access the dialog

box.

3Press the half-damper pedal, and then release your foot

from the pedal.

4Press the Done button.

If the adjustment could not be performed correctly, an

error message will be displayed. Please perform the pro-

cedure once again.

2If you wish to change bank references for combinations,

check “Combination.” If you wish to change bank refer-

ences for songs, check “Song.”

3In “Program Bank,” specify the replacement for each

bank.

0–2: System Preference

4To execute the Change All Bank References command,

press the OK button. To cancel, press the Cancel button.

0–1

If you change two or more different banks to the same

bank, it will not be possible to use this function to

change them back to different banks. Be careful that the

change destination banks do not overlap.

0–2a

0–2b

0–1C: Touch Panel Calibration

If input via the LCD screen does not work as you expect, or

if the edit cell moves to a location other than where you

pressed the LCD screen, use this command to adjust the sen-

sitivity of the LCD screen.

1Select “Touch Panel Calibration” to access the dialog

0–2a: System Preference

box.

Bank Map

[KORG, GM(2)]

Speciﬁes the mapping of programs and combinations rela-

tive to Bank Select control change messages (CC#0 upper

byte and CC#32 lower byte).

The bank select messages shown in the table below will be

received (R) and transmitted (T) for program banks INT-A–

INT-F, G, g(1)...g(9), g(d), EXB-A–EXB-G (INT-F is only for

the EXB-MOSS option) and Combination banks INT-A–INT-

E, and EXB-A–EXB-G.

If you are unable to select this command from the page

menu, hold down the [ENTER] key and press the [2] key

to access the command.

Bank

INT-A

Bank Map: KORG

00. 00 R/T

Bank Map: GM(2)

63. 00 R/T

2Press the square in the upper left of the LCD. When your

touch has been detected correctly the square will be high-

lighted.

3Press the square in the lower right of the LCD. When

your touch has been detected correctly the square will be

highlighted.

INT-B

INT-C

INT-D

INT-E

INT-F

00. 01 R/T

63. 01 R/T

00. 02 R/T

63. 02 R/T

00. 03 R/T

63. 03 R/T

00. 04 R/T

63. 04 R/T

4Press the Done button.

00. 05 R/T

63. 05 R/T

If your touch was not detected correctly, an error mes-

sage will appear. Please perform the procedure once

again.

121. 00, 121. 01...09 R/T

56. 00 R

121. 00, 121. 01...09 R/T

g(1)...g(9)

56. 00 R

00. 00, 00. 01...(XG) R

00. 00, 01. 00...(GS) R

0–1D: Half Damper Calibration

g(d)

120. 00 R/T

62. 00 R

120. 00 R/T

62. 00 R

If a damper pedal that supports half damper (the DS–1H

option) is connected to the DAMPER jack, here’s how you

can adjust the sensitivity if the damper effect is not applied

appropriately.

63. 127 R (→Korg MUTE)

63. 08 R/T

EXB-A

EXB-B

EXB-C

EXB-D

EXB-E

EXB-F

EXB-G

00. 08 R/T

00. 09 R/T

00. 10 R/T

00. 11 R/T

00. 12 R/T

00. 13 R/T

00. 14 R/T

63. 09 R/T

Since the half-damper pedal is highly sensitive, please

use the optional DS-1H. Other pedals may not produce

the appropriate effect, or may be impossible to calibrate

correctly.

63. 10 R/T

63. 11 R/T

63. 12 R/T

1Connect a half-damper pedal to the DAMPER jack.

63. 13 R/T

63. 14 R/T

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Conceptual frequency response of the audio data transmitted with each setting

Power On Mode

[Reset, Memorize]

Gain

Speciﬁes the condition at power-on.

These diagrams indicate the

conceptual frequency response, and

do not accurately portray the actual

frequency response.

Reset: The TRITON STUDIO will be in Combination mode

P0: Play, and Combination A000 will be selected.

S/P DIF Sample Rate

= 48kHz

Memorize: The location (mode and page) where you were

when the power was last turned off, and the last-selected

program or combination number will be selected.

24kHz

Frequency

Gain

This function does not memorize the contents of any

parameters that were edited. Before turning off the

power, be sure to write your data or save it in Disk

mode.

S/P DIF Sample Rate

= 96kHz (Normal)

24kHz 48kHz Frequency

Gain

Emphasis of the high-frequency

System Clock [Internal, Word Clock, mLAN, S/ P DIF]

component is controlled dynamically

according to the output audio signal.

S/P DIF Sample Rate

= 96kHz (Hi Enhanced)

Speciﬁes the system clock of the TRITON STUDIO.

Internal: The TRITON STUDIO will operate with its own

internal clock. Normally you will use this setting.

Word Clock: The system clock of the TRITON STUDIO will

use the word clock of the ADAT Optical format-compatible

device connected to the WORD CLOCK IN connector (if the

EXB-DI option is connected).

mLAN: The system clock of the TRITON STUDIO will use

the EXB-mLAN word clock. Use the mLAN setting when

inputting digital audio signals from a digital audio device

connected to the mLAN connector (if the EXB-mLAN option

is installed).

24kHz 48kHz Frequency

AUDIO OUTPUT

(L/MONO, R)

S/P DIF Sampling Rate

Output

DAC

Fs = 48kHz

(Digital to Analog Converter)

48kHz

96kHz (Normal)

L/R

S/P DIF OUT (L, R)

Fs = 48kHz or 96kHz

48kHz to 96kHz (Normal)

96kHz

Conversion

(Hi Enhanced)

48kHz to 96kHz (Hi

Enhanced) Conversion

DIGITAL OUT

(1 - 6) [EXB-DI]

mLAN AUDIO OUT

(L, R, 1–2) [EXB-mLAN]

S/P DIF: The TRITON STUDIO will operate using the sys-

tem clock of the S/ P DIF Optical format-compatible device

connected to the S/ P DIF IN jack.

Fs = 48kHz

AUDIO OUTPUT

(INDIV.1, 2, 3, 4)

Indiv.1, 2, 3, 4

DAC

(Digital to Analog Converter)

(Analog to Digital Converter)

Input

If the EXB-DI or EXB-mLAN options are not installed,

Input (Analog)

ADC

AUDIO INPUT (1, 2)

Word Clock or mLAN cannot be selected.

Audio CD (L, R)

[CDRW-1]

If the system clock selected by the “System Clock” set-

ting cannot be detected correctly, due to a cable being

pulled out or for some other reason, an error message of

“*** Clock Error!” will blink in the status bar (*** will

indicate the name of the clock). Check whether there is

a problem with the cable.

If a “System Clock” setting of Word Clock, or S/P DIF

has been stored, and the corresponding clock is not

being input correctly when the power is turned on, an

error message of “*** Clock Error!” will blink in the sta-

tus bar (*** will indicate the name of the clock), and the

TRITON STUDIO will not sound correctly. For details

on how to use these options, refer to p.286.

Fs = 48kHz

48kHz

96kHz (Normal)

Input (S/P DIF)

Input (mLAN)

S/P DIF IN (L, R)

96kHz to 48kHz

Conversion

Fs = 48kHz or 96kHz

96kHz (Hi Enhanced)

mLAN AUDIO IN

(1, 2) [EXB-mLAN]

The tonal character of the analog audio from the

AUDIO OUTPUT (MAIN) L/ MONO and R jacks and

headphone jack will also be affected by this setting. If

data of a frequency other than speciﬁed here is input to

the S/ P DIF jack, the upper part of the LCD will indi-

cate “S/ P DIF Clock Error!.”

WAVE File Play Level

[Normal, High (+12dB)]

The “System Clock” setting can be stored by the “Write

Global Setting” utility.

Speciﬁes the playback level when a WAVE ﬁle from the

internal hard drive etc. is played on the TRITON STUDIO.

This setting applies only to playback of a WAVE ﬁle. This

will apply to the following pages and dialog boxes.

S/ P DIF Sample Rate

[48 kHz, 96 kHz (Normal), 96 kHz (Hi Enhanced)]

•

Program, Combination, and Sequencer page menu

command “Select Directory” 0–3D)

Sampling page menu command “Select Directory” (0–

1N)

Speciﬁes the sample rate (sampling frequency) of the S/ P

DIF input and output.

48 kHz: Digital audio will be input/ output at 48 kHz. All

digital signals within the TRITON STUDIO are processed at

a sampling frequency of 48 kHz.

The internal digital signals will be transmitted to and

received from external digital audio devices without any

change in the sampling rate.

96 kHz (Normal): Digital audio will be input/ output at 96

kHz. The 48 kHz internal digital signals will be converted

into 96 kHz for output. Digital signals from a 96 kHz exter-

nal digital audio device will be converted into 48 kHz for

input.

•

Disk Mode directory window (0–1b)

Disk Mode Make Audio CD audio track list (0–4b), page

menu command “Insert” (0–4C)

Normal: The WAVE ﬁle will play back at the normal level.

This is the same standard level as when “+12 dB” (Sampling

P2: 2–1c) is off.

High (+12 dB): Selects this setting when you want to play

back a WAVE ﬁle on the TRITON STUDIO and record it via

S/ P DIF OUT, DIGITAL OUT (if the EXB-DI is installed), or

the mLAN connector (if the EXB-mLAN is installed) on an

external digital audio device. This will raise the digital out-

put level by approximately 12 dB to match the level of the

external digital audio device. Please be aware that the vol-

ume of the AUDIO OUTPUT L/ MONO and R, and head-

phone jacks will also rise at this time.

96 kHz (Hi Enhanced): Digital audio will be input/ output

at 96 kHz just as for the 96 kHz (Normal) setting. However,

96 kHz (Hi Enhanced) uses a special algorithm only on the

transmitted data, to dynamically emphasize the high-fre-

quency data above approximately 20 kHz for output.

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When this setting is at Normal, the WAVE ﬁle playback level

on the TRITON STUDIO is set approximately 12 dB lower

than the maximum digital output level in order to match the

level of the oscillators etc. Normally you should set this at

Normal, and change it to High (+12 dB) as necessary when

you want to record a WAVE ﬁle to an external digital audio

device.

•

Receiving user arpeggio pattern data via MIDI data

dump

Loading user arpeggio pattern data from disk

Off (unchecked): Data can be written to internal user arpeg-

gio pattern memory.

This is the same standard level as when “+12 dB” (Sampling

P2: 2–1c) is on.

0–3: Input/ Sampling

0–1

Beep Enable

[Off, On]

On (checked): A beep will be heard when you press an

object in the LCD screen.

0–3a

0–2b: Memory Protect

Program

[Off, On]

0–3b

This setting protects the internal program memory.

On (checked): Internal program memory will be protected,

and the following write operations cannot be performed.

•

Writing a program

Receiving program data via MIDI data dump

Loading program data from disk

0–3a: Input (COMBI, PROG, SEQ, S.PLAY, DISK)

Off (unchecked): Data can be written to internal program

memory.

Here you can select the input source for an analog/ digital

audio signal, and specify the input level, bus, and send lev-

els to the master effects. These settings will apply in Combi-

nation, Program, Sequencer, Song Play, and Disk modes.

Combination

[Off, On]

This setting protects the internal combination memory.

Insert effects, master effects, and the master EQ can be

applied to the input audio signal. The TRITON STUDIO can

be used as a 6-in 6-out effect processor, or in conjunction

with external sources. (Effect 093: Vocoder can be used as a

vocoder effect that controls an internal sound by an external

mic input.)

On (checked): Internal combination memory will be pro-

tected, and the following write operations cannot be per-

formed.

•

Writing a combination

Receiving combination data via MIDI data dump

Loading combination data from disk

These audio signal inputs can also be sampled in Combina-

tion, Program, and Sequencer modes. In addition, perfor-

mances using functions such as the keyboard or arpeggiator

can also be sampled at the same time in these modes.

Off (unchecked): Data can be written to internal combina-

tion memory.

Song

[Off, On]

This setting protects the internal song memory.

However, when the power is turned off, the song data in

song memory will be lost regardless of this setting.

These settings do not apply in Sampling mode. If you

move from Sampling mode to Global mode, the

“Input” setting of Sampling mode will be maintained,

and you will not be able to check the settings of this

page. You must move from the mode (Combination,

Program, Sequencer, Song Play, or Disk) in which the

external audio signals are input. Settings for inputting

external audio signals in Sampling mode are made in

the same way in Sampling P0: Input/ Setup, Input

(SAMPLING). (The master effects and master EQ can-

not be used in Sampling mode.)

On (checked): Internal song memory will be protected, and

the following write operations cannot be performed.

•

Recording to the sequencer

Receiving song data via MIDI data dump

Loading song data from disk

Off (unchecked): Data can be written to internal song mem-

ory.

Drum Kit

[Off, On]

Input

[Analog, S/ P DIF, mLAN]

This setting protects the internal drum kit memory.

Makes settings for external audio sources that will be input

to the TRITON STUDIO.

On (checked): Internal drum kit memory will be protected,

and the following write operations cannot be performed.

Separate settings can be made for Analog, S/P DIF, and

mLAN. First use this “Input” setting to select a source,

and then set the various parameters for Input1 and

Input2. Multiple external audio sources can be input

simultaneously. If you want to save these settings, exe-

cute “Write Global Setting.”

•

Writing a drum kit

Receiving drum kit data via MIDI data dump

Loading drum kit data from disk

Off (unchecked): Data can be written to internal drum kit

memory.

Arpeggio User Pattern

[Off, On]

Analog: The analog audio output from an instrument or

other device connected to the AUDIO INPUT 1 and 2 jacks

will be input to the TRITON STUDIO.

This setting protects the internal user arpeggio pattern

memory.

On (checked): Internal user arpeggio pattern memory will

be protected, and the following write operations cannot be

performed.

In the Disk mode Play Audio CD page, an audio CD placed

in the CDRW-1 option (if installed) can be played. In this

case, the audio will be input to the TRITON STUDIO accord-

ing to the settings you make here. The L channel corre-

sponds to Input1, and the R channel to Input2.

•

Writing an user arpeggio pattern

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S/P DIF: The digital audio output from an instrument or

DAT etc. connected to the S/ P DIF jack will be input to the

TRITON STUDIO. Use Input1 (below) to make settings for

the L channel of the S/ P DIF IN connector, and Input2 for

the R channel. The S/ P DIF input/ output supports sam-

pling rates of 48 kHz and 96 kHz. The sampling rate is spec-

iﬁed by “S/P DIF Sample Rate” (Global P0: 0–2a).

Data at a sample rate of 96 kHz will be converted into 48

kHz for input.

mLAN: The digital audio output from an instrument or

other device connected to the mLAN connector (if the EXB-

mLAN option is installed) will be input to the TRITON STU-

DIO.

Similarly, if you are not using the S/ P DIF connector or

mLAN connector, you should turn “BUS (IFX/Indiv.)

Select” Off, or set “Level” to 0.

If audio cables are not connected to the AUDIO INPUT

1 and 2 jacks, the input to the TRITON STUDIO via the

AD converter is forced to zero, and no noise component

will be output.

0–3b: Sampling

Auto Optimize RAM

[Off, On]

If RAM is speciﬁed as the data writing destination for sam-

pling, this parameter speciﬁes whether the sample memory

(RAM) will be optimized after data is written.

Optimization rearranges any unused memory areas so that

all of the remaining memory can be used.

You will need to make settings in the Global mode P0:

mLAN Input page to specify the source that will be input.

In order to select mLAN, the EXB-mLAN option must

be installed, and “System Clock” (Global P0: 0–2a)

must be set to mLAN.

On (checked): RAM will automatically be optimized when

sampling ends.

With this setting, you will always be able to sample without

wasting RAM, but the sound will stop when sampling ends.

If a song was playing in Sequencer mode, the playback will

stop.

Input1:

Input2:

Level

[0...127]

Off (unchecked): RAM will not be optimized when sam-

pling ends. Since the sound will not stop when sampling

ends, this setting is convenient when you want to consecu-

tively sample several sections while a song plays or while

listening to an input source such as a CD.

If “Auto Optimize RAM” is turned Off (unchecked) and

unused areas have accumulated in memory, you can execute

the page menu command “Optimize RAM” (Program P0:

0–3B, Combination P0: 0–3B, Sequencer P0: 0–3B, Sampling)

to optimize the RAM.

Speciﬁes the level of the external audio signal being input

(speciﬁed by “Input”). Normally you will set this to 127.

The analog audio signal from the AUDIO INPUT 1 and 2

jacks and from the CDRW-1 option is converted into dig-

ital form by an AD converter. This parameter sets the

level of the signal immediately after it is converted into a

digital signal. If the sound is still distorted even when

this level is lowered signiﬁcantly, it is possible that the

distortion is occurring before the AD converter. Use the

[LEVEL] knob or the output level control of your exter-

nal audio source to make adjustments.

The remaining amount of sample memory (RAM) can

be checked in Sampling Mode P0: Memory Status.

Pan

[L000...C064...R127]

Sets the pan of the external audio signal being input (speci-

ﬁed by “Input”). If you are inputting a stereo audio source,

you will normally set Input1 to L000, and Input2 to R127 (or

Input1 to R127 and Input2 to L000). If you are inputting a

monaural audio source, you will normally set this to C064.

0–4: mLAN Output

Here you can make mLAN output plug settings for the TRI-

TON STUDIO’s audio (L, R, Indiv. 1–4) and MIDI. This can

be selected if the EXB-mLAN option is installed.

BUS (IFX/ Indiv.) Select

0–4

[L/ R, IFX1...5, 1...4, 1/ 2, 3/ 4, Off]

0–4a

Speciﬁes the bus to which the external audio signal being

input (speciﬁed by “Input”) will be sent. (“2 –4. Audio

Input ” ꢀ p .180)

0–4b

Send1 (to MFX1), Send2 (to MFX2)

[000...127]

In the same as for the oscillator(s) of a program, this param-

eter speciﬁes the level that is sent from the external audio

signal being input (speciﬁed by “Input”) to the master

effects. If “BUS (IFX) Select” has been set to IFX1–5, the

send level to the master effects is speciﬁed by “Send1” and

“Send2” (Program 8–1d. Combination, Sequencer, Song Play

8–1b) after the signal has passed through IFX1–5. (“2 –4.

Audio Input ” ꢀ p .180)

For more about mLAN, refer to the “EXB-mLAN owner’s

manual” and “mLAN guide” included with the EXB-

mLAN.

If “BUS (IFX/Indiv.) Select” is set to other than Off,

and you raise the “Level” setting, the external audio

source will be input to the TRITON STUDIO. At this

time if audio cables are connected to the AUDIO

INPUT 1 or 2 jacks, the noise component will be input

via the AD converters into the TRITON STUDIO even if

there is no audio input, and depending on the settings,

may be output from the AUDIO OUTPUT L/ R, 1, 2, 3

and 4 jacks. If you want to perform using only internal

sounds such as programs, combinations, and songs,

and are not using external audio inputs, you should set

“BUS (IFX/Indiv.) Select” to Off, or set “Level” to 0.

0–4a: Nickname, Word Clock Mode

Nickname

Speciﬁes the nickname for the EXB-mLAN installed in the

TRITON STUDIO. The nickname you specify here will be

displayed on external devices connected to the EXB-mLAN.

Some external devices may not display the nickname.

Word Clock Mode

[Auto, Manual]

Speciﬁes the word clock of the EXB-mLAN.

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Auto: The word clock master/ slave setting will be made

automatically.

M 0–4: Page Menu Command

Manual: The TRITON STUDIO will be the word clock mas-

ter, and the slave devices will synchronize to the clock of the

EXB-mLAN. However if settings are changed on a con-

nected external device, the external device will become the

master.

The current word clock setting is shown in parentheses. If

this is Internal, the EXB-mLAN is the master. If this is Exter-

nal, one of the connected external devices is the master, and

the EXB-mLAN is the slave.

0–4A

0–4A: Initialize EXB-mLAN

This command initializes the mLAN connection settings of

the EXB-mLAN, its word clock synchronization state, and

other internal settings for use with the TRITON STUDIO.

1Select “Initialize EXB-mLAN” to access the dialog box.

0–4b: Output Plug, No., Module, Nickname, Plug,

Connect, Cut

2Press the OK button to execute initialization, or press the

Output Plug

Cancel button to cancel without initializing.

[L (Main), R (Main), 1 (Individual)...4, MIDI]

You must execute this initialization after the EXB-

mLAN is ﬁrst installed in the TRITON STUDIO.

Selects the TRITON STUDIO’s mLAN output plug that you

want to connect.

If an error message of “Failed in the initialization of

EXB-mLAN” is displayed when “Initialize EXB-

mLAN” is executed, disconnect the IEEE 1394 cable

from the mLAN connector of the TRITON STUDIO,

and execute the command once again. If an error still

occurs, please contact your Korg distributor.

No.

[01...62]

Up to 62 output destinations can be speciﬁed for one mLAN

plug. When you execute Connect to make a connection, the

connection number here will be assigned automatically. To

break a connection, select the No. of the connection that you

want to break, and execute Cut.

Module, Nickname, Plug

0–5: mLAN Input

Here you can make mLAN input plug settings for digital

audio signals and MIDI that are output from an external

mLAN device.

You can specify the input source for the TRITON STUDIO’s

mLAN Input 1 and 2, and for mLAN MIDI IN.

This area displays the module name, nickname, and plug

name of the currently-connected output destinations.

Connect

This button connects the TRITON STUDIO’s output plug to

an external device connected to the EXB-mLAN.

Cut

Only one output can be connected to each input.

This button disconnects the TRITON STUDIO’s output plug

from an external device connected to the EXB-mLAN.

0–4

0–4a

To make a connection

1Use “Output Plug” to select the TRITON STUDIO out-

put plug that you want to connect.

2Press the Connect button to access the dialog box.

0–5a

For more about mLAN, refer to the “EXB-mLAN owner’s

manual” and “mLAN guide” included with the EXB-

mLAN.

3Use “Module” to specify the output destination module.

When you press the “Module” popup button, the nickname

will be displayed in parentheses beside the module name.

The nickname will also be automatically displayed in the

dialog box.

0–5a: Input Plug, Module, Nickname, Plug, Con-

Use “Plug” to select the plug that you want to connect.

4Press the OK button to make the connection, or press the

Cancel button to cancel without connecting.

nect, Cut

Input Plug

[mLAN1, mLAN2, MIDI]

When you make the connection, a connection No. will be

added, and the connected module name, nickname, and

plug name will be displayed.

Selects the TRITON STUDIO’s mLAN input plug that you

want to connect.

If you want to make a connection or break a connection,

select the mLAN input plug here, and execute Connect or

Cut.

If you want the sound that is input to mLAN1 or mLAN2 to

be heard from the TRITON STUDIO, make settings here,

and then set “Input” (Global P0: 0–3a, Sampling P0: 0–2a).

To break a connection

1Select the connection number (“No.”) that you want to

break.

2Press the Cut button to break the connection.

When setting “Input,” you must set “System Clock”

(Global P0: 0–2a) to mLAN.

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Module, Nickname, Plug

Global P1: MIDI

This area displays the module name, nickname, and plug

name of the currently-connected input sources.

Connect

1–1: MIDI

This button connects the TRITON STUDIO’s input plug to

an external device connected to the EXB-mLAN.

Here you can make MIDI-related settings that affect the

entire TRITON STUDIO.

Cut

1–1

This button disconnects the TRITON STUDIO’s input plug

from an external device connected to the EXB-mLAN.

To make a connection

1–1a

1Use “Input Plug” to select the TRITON STUDIO input

plug that you want to connect.

2Press the Connect button to access the dialog box.

1–1b

1–1a: MIDI Setup

3Use “Module” to specify the input source module.

When you press the “Module” popup button, the nick-

name will be displayed in parentheses beside the module

name.

MIDI Channel (Global MIDI Channel)

[1…16]

Sets the global MIDI channel.

The global MIDI channel is used in the following cases.

The nickname will also be automatically displayed in the

dialog box.

•

When transmitting and receiving performance data in

Program mode (Program P0: Play) and Sampling mode.

When selecting combinations via MIDI in Combination

mode (Combination P0: Play).

When controlling timbres or effects that have been set to

Gch in various modes

Use “Plug” to select the plug that you want to connect.

4Press the OK button to make the connection, or press the

Cancel button to cancel without connecting.

5If you want the input sound to be heard from the TRI-

TON STUDIO, set “System Clock” (Global P0: 0–2a) to

mLAN, and then set “Input” (Global P0: 0–3a, Sampling

P0: 0–2a).

When transmitting and receiving system exclusive

messages

MIDI received

To break a connection

In Program mode (P0: Play), MIDI data is received on the

global MIDI channel, but in Combination mode (P0: Play) or

Sequencer mode, MIDI data is received on the MIDI channel

speciﬁed for each timbre or track.

In Combination mode (P0: Play), program changes received

on the global MIDI channel will switch the combination

(ꢀ1–1b: MIDI Filter).

1Select the “Input Plug” that you want to break.

2Press the Cut button.

The connection will be broken, and the display will be

blank for the mLAN input plug whose connection you

broke.

“Nickname,” “Word Clock Mode,” and Connection

data are stored by the EXB-mLAN. It is not necessary to

write Global Settings to save this data.

Use the global MIDI channel to switch IFX 1–5, MFX1 and MFX2

on/ off.

To control the pan following IFX, sends 1/ 2, MFX 1/ 2 and

MEQ, use the global MIDI channel when in the Program or

Sampling mode; while in the Combination, Sequencer, or

Song Play modes, use the channel speciﬁed separately by

“Ctrl Ch” for IFX1–5, MFX1, MFX2, and MEQ. By setting

“Ctrl Ch” to Gch, you can control these parameters from the

global MIDI channel.

MIDI transmission when TRITON STUDIO’s controllers are

operated

In Program mode and Sampling mode, this data will be

transmitted on the global MIDI channel. In Combination

mode, data will be transmitted simultaneously on the global

MIDI channel and on the MIDI channels of timbres whose

“Status” (Combination 0–1c, 2–1b) is set to EXT or EX2.

In Sequencer mode, musical data will be transmitted on the

channel speciﬁed for the currently selected track (Sequencer

0–1a) (whose “Status” is BTH, EXT, or EX2).

Local Control On

Checked (Local Control On): The TRITON STUDIO’s inter-

nal tone generator will be controlled by its own keyboard,

joystick, SW1 and SW2, and connected foot pedal. If you are

playing the TRITON STUDIO by itself, leave this setting

checked.

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Unchecked (Local Control Off): The TRITON STUDIO’s

keyboard and joystick etc. will be disconnected from the

internal tone generator.

This means that operating the TRITON STUDIO (playing its

keyboard and using the joystick, or playing back the

sequencer) will not sound its internal tone generator.

Uncheck this setting if echo-back from an external sequencer

causes notes to be sounded in duplicate.

MIDI IN

Play

Velocity

Curve

Record

Sequencer

Aftertouch

Curve

Tone

generator

Transpose

Scale

Note number

change

MIDI OUT

Even if this setting is unchecked, MIDI transmission

and reception will occur normally. Playing the key-

board will cause the corresponding note data to be

transmitted, and received note data will sound the TRI-

TON STUDIO’s internal tone generator.

PostMIDI: Velocity Curve, After Touch Curve, and Trans-

pose will be applied to data before it enters the tone genera-

tor.

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 the TRITON STU-

DIO’s keyboard, when the internal sequencer is played

back, or when data is received from MIDI IN.

This setting will not affect the data that is transmitted from

MIDI OUT or recorded on the internal sequencer when you

play the TRITON STUDIO’s keyboard or playback the

sequencer.

Sequencer Arpeggiator

Local

OFF

Record

Trigger

control

Tone

generator

MIDI IN

MIDI OUT

MIDI IN

Velocity

Curve

Record

Play

Sequencer

Note Receive (Note Receive Filter)

[All, Even, Odd]

Aftertouch

Curve

This setting speciﬁes whether even-numbered, odd-num-

bered, or all note numbers will be sounded when note data

is received from the TRITON STUDIO’s keyboard or from

an external MIDI device. By connecting the TRITON STU-

DIO to another TRITON STUDIO and setting one instru-

ment to Even and the other to Odd, you can effectively

double the polyphony by dividing the notes between the

two instruments.

Tone

generator

Transpose

Scale

Pitch change

MIDI OUT

MIDI Clock (MIDI Clock Source)

[Internal, External MIDI, External mLAN]

All: All note numbers will be received. Normally you will

leave this set to All.

Even: Even-numbered notes (C, D, E, F#, G#, A#) will sound.

Odd: Odd-numbered notes (C#, D#, F, G, A, B) will sound.

Sets this parameter when you wish to synchronize an exter-

nal MIDI device (sequencer or rhythm machine etc.) with

the TRITON STUDIO’s internal arpeggiator or sequencer.

Internal: The internal arpeggiator and sequencer will syn-

chronize to the TRITON STUDIO’s own internal clock.

Select the Internal setting when using the TRITON STUDIO

by itself, or when you want the TRITON STUDIO to be the

master (controlling device) so that another connected exter-

nal MIDI device will synchronize to the MIDI Clock mes-

sages transmitted from the TRITON STUDIO.

External MIDI: The arpeggiator and sequencer of the TRI-

TON STUDIO will synchronize to MIDI Clock messages

transmitted from an external MIDI device connected to the

MIDI IN connector.

This setting has no effect on the MIDI data that is

received.

MIDI OUT

MIDI IN

Another TRITON STUDIO

EVEN

ODD

Convert Position

[PreMIDI, PostMIDI]

This setting speciﬁes the location at which the Transpose,

Velocity Curve, and After Touch Curve settings will be

applied. This setting will affect the MIDI data that is trans-

mitted and received, and the data that is recorded on the

internal sequencer.

External mLAN: The TRITON STUDIO will synchronize to

the MIDI Clock messages transmitted by an external MIDI

device connected to the mLAN connector, and the internal

arpeggiator and internal sequencer of the TRITON STUDIO

will operate as a slave device.

When using the TRITON STUDIO’s keyboard to play the

internal tone generator, the Transpose, Velocity Curve, and

After Touch Curve settings will always take effect regardless

of this setting.

If you want the TRITON STUDIO to function as a slave (the

device that is controlled) so that it synchronizes to the MIDI

Clock transmitted from an external MIDI device, set this

parameter to either External MIDI or External mLAN. The

TRITON STUDIO will respond to MIDI Common messages

and Realtime messages (Song Position Pointer, Song

SELECT, Start, Continue, and Stop) from an external

sequencer.

PreMIDI: Velocity Curve, After Touch Curve, and Trans-

pose will be applied to the data that is transmitted from the

TRITON STUDIO’s keyboard.

This means that the Velocity Curve, After Touch Curve, and

Transpose settings will affect the data that is transmitted

from MIDI OUT when the TRITON STUDIO’s keyboard is

played, and the data that is recorded on the internal

sequencer. MIDI data received from MIDI IN or the data

played back by the internal sequencer will not be affected.

In Song Play mode, the TRITON STUDIO will operate

in synchronization with its own internal clock regard-

less of this setting.

Receive Ext. Realtime Commands

[Off, On]

Off (unchecked): When “MIDI Clock” is set to External

MIDI or External mLAN, MIDI Common messages and

Realtime messages (Song Position Pointer, Start, Continue,

and Stop) will not be received. (Song Select will be received.)

143

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Use this setting if receiving these messages from an

external MIDI sequencer would cause the song settings

of the TRITON STUDIO to be unwantedly reset.

Enable After Touch

[Off, On]

On (checked): MIDI after touch messages will be transmit-

ted and received.

Off (unchecked): MIDI after touch messages will neither be

transmitted nor received.

On (checked): The above Common messages (including

Song Select) and Realtime messages will be received.

When recording sounds that do not require the use of after

touch, you can uncheck this parameter to save memory.

This setting has no effect when you use the internal

sequencer to playback sequence data that was recorded with

after touch data; i.e., after touch will be transmitted via MIDI.

The TRITON STUDIO’s keyboard transmits only channel

after touch; it does not transmit polyphonic after touch. How-

ever, since the TRITON STUDIO does support polyphonic

after touch as an Alternate Modulation Source (AMS), it can

receive polyphonic after touch to control individual notes.

This parameter cannot be set if “MIDI Clock” is Inter-

nal.

1–1b: MIDI Filter

Enable Program Change

[Off, On]

On (checked): Program changes will be transmitted and

received.

In Program mode (P0: Play), the program will be switched

when a program change message is received on the global

MIDI channel speciﬁed by “MIDI Channel” (1–1a). When

you switch programs, a program change message will be

transmitted on the global MIDI channel.

In Combination mode (P0: Play), the combination will be

switched when a program change message is received on

the global MIDI channel. However, it is possible to set the

“Enable Combination Change” parameter so that the combi-

nation is not switched. When a program change is received

on the channel speciﬁed for each timbre by “MIDI Channel”

(Combination P2: 2–1b), the program of that timbre will be

switched. However, the program changes for each timbre

will be affected by the setting of the “Enable Program

Change” parameter (Combination P3: 3–1a).

When you switch combinations, a program change message

will be transmitted on the global MIDI channel, and also

transmitted simultaneously on the channel of timbres whose

“Status” (Combination P0: 0–1c, 2–1b) is set to EXT or EX2.

In Sequencer mode, incoming program change messages on

a channel that corresponds to a track whose “Status”

(Sequencer P2: 2–1a/ 2a) is set to INT or BTH will switch

programs on that track. When you select a song or playback

sequencer data, program changes will be transmitted on the

channels of tracks whose “Status” is set to BTH, EXT, or EX2.

Enable Control Change

[Off, On]

On (checked): Control change messages will be transmitted

and received.

Off (unchecked): Control change messages will neither be

transmitted nor received.

This setting has no effect when you use the internal

sequencer to playback sequence data that was recorded with

control change data; i.e., the control changes previosly

recorded into the sequencer will be transmitted via MIDI.

Enable Exclusive

[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 the TRITON STUDIO, or vice versa.

Off (unchecked): System exclusive data will neither be trans-

mitted nor received. Normally you will leave this unchecked.

However, system exclusive data will be transmitted and

received while the page menu commands (“Dump Pro-

gram”–“Dump All”) of this page are displayed.

M 1–1: Page Menu Command

1–1A: Dump Program

Off (unchecked): Program changes will not be transmitted

or received.

0–1A

1–1B: Dump Combination

1–1A

1–1C: Dump Drum Kit

1–1B

Enable Bank Change

[Off, On]

1–1D: Dump Arpeggio

1–1C

Pattern

On (checked): The Bank Select control change message will

be transmitted together with program change messages.

This is valid when “Enable Program Change” is checked.

Off (unchecked): Bank Select messages will not be transmit-

ted or received.

1–1D

1–1E

1–1E: Dump Global Setting

1–1F

1–1F: Dump Sequencer

1–1G

1–1G: Dump All

These commands allow the TRITON STUDIO’s data to be

transmitted to another connected TRITON STUDIO, MIDI

data ﬁlter, or computer in the form of system exclusive data.

When recording on the internal sequencer, bank select

messages will be recorded regardless of this setting.

However for playback, this setting will apply.

Select the desired command (refer to the following table),

and a dialog box will appear.

Enable Combination Change

[Off, On]

Select the bank or timbre etc. of the data to be dumped. Then

press the OK button.

On (checked): When in Combination P0: Play, an incoming

program change message on the global MIDI channel set by

“MIDI Channel” (1–1a) will switch combinations. This is

valid when “Enable Program Change” is checked. An

incoming program change on a channel other than the glo-

bal MIDI channel will switch the program of any timbre that

matches that MIDI channel.

Dump Program

Dump Combination

Dump Drum Kit

Programs of all banks, programs of the speciﬁed

bank, one program

Combinations of all banks, combinations of the spec-

iﬁed bank, one combination

All drum kits, One drum kit

Off (unchecked): An incoming program change message on

the global MIDI channel will switch the program of any tim-

bre whose “MIDI Channel” (Combination P2: 2–1b) matches

the global MIDI channel. The combination will not be

switched.

The program changes for each timbre will be affected by the

setting of the “Enable Program Change” parameter (Combi-

nation P3: 3–1a).

Dump Arpeggio Pattern All arpeggio patterns, One arpeggio pattern

Dump Global

Global settings (except for the Drum Kits and User

Arpeggio Patterns of Global mode)

Dump Sequencer

Dump All

All song data and cue list data

All banks of programs + combinations + drum kits +

arpeggio patterns + global settings + song data and

cue list data

144

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When performing a data dump from the TRITON STU-

DIO onto a MIDI data ﬁler, do not transmit multiple

data dumps together. If multiple data is saved together,

the TRITON STUDIO will have less than the required

time (right column in the table above) to write the data

into memory, and will be unable to receive all of the

data correctly.

Transmission

Do not touch the TRITON STUDIO’s switches or turn

off the power while data is being transmitted.

Data dump transmission procedure

1Connect the TRITON STUDIO to the device that will

receive the data dump.

If you are using a computer that can receive MIDI exclu-

sive messages, connect the TRITON STUDIO’s MIDI

OUT connector to the MIDI IN connector of the MIDI

interface connected to your computer (ꢀ p .258).

Reception

Do not touch the TRITON STUDIO’s switches or turn

off the power while data is being received.

Before receiving MIDI data, we recommend that you

close any dialog box, jump page, or page menu com-

mand, with the exception of the “Save Exclusive

(Receive and Save MIDI Exclusive Data)” dialog box

(Disk P0: 0–2G). Also, a data dump cannot be received

while you are editing a cue list in the Sequencer mode

P1: Cue List page. In this case, please exit cue list edit-

ing for the time being.

Some USB-MIDI interface devices may not be able to

transmit or receive the TRITON STUDIO’s MIDI exclu-

sive messages.

If you are using a MIDI data ﬁler, connect the TRITON

STUDIO’s MIDI OUT connector to the MIDI IN connec-

tor of the MIDI data ﬁler. (ꢀ p .258)

2Select Global P1: MIDI.

3From the page menu commands, select the type of data

that you wish to dump.

After a data dump is received, the TRITON STUDIO will

require up to 3 seconds to process the data and write it

into memory. During this time, the display will indicate

“Now writing into internal memory.” While this display

is shown, you must under no circumstances turn off the

power of the TRITON STUDIO. If the power is turned

off during this time, the TRITON STUDIO may fail to

operate correctly when the power is turned on again. If

this occurs, hold down the [MENU] key and the [9] key

while you turn on the power. However when this is

done, the contents of memory will be initialized.

The following illustration shows the dialog box that will

appear when “Dump Program” is selected.

If you wish to dump all

programs, select “All.” To

dump one bank select

“Bank,” or to dump one

program select “Single.”

In “To,” specify the output

connector from which the

data will be transmitted.

Transmission and reception of MIDI data is also impossi-

ble during this time. When receiving multiple data

dumps in succession, you must allow an interval between

the transmission of each data dump (ꢀtable below).

MIDI OUT: MIDI OUT connector

mLAN: mLAN connector

If the EXB-mLAN is not installed, the mLAN parameter

will not be displayed, and the output destination will

always be MIDI OUT.

Processing time for writing into memory

Type of data dumped Processing time for writing into memory

Regarding MIDI dump to a computer via mLAN

As with the TRITON-Rack, it is not currently possible

to record or play back data dumped on any OMS-com-

patible application.

All

Approximately 3 seconds

Approximately 2 seconds

Approximately 1 second

Approximately 2 seconds

Approximately 1 second

All Programs

All Combinations

All Drum Kits

All Arpeggio Patterns

Global Setting

Sequencer

5Press the OK button to transmit the data.

While the data is being transmitted, the display will indi-

cate “Now Transmitting MIDI Data.”

The size of the data and the time required for transmis-

sion will depend on the type of data.

MIDI cannot be transmitted or received while data is

being written into internal memory. Also, transmission

of Active Sensing (FEh) from the MIDI OUT connector

and mLAN connector (if the EXB-mLAN option is

installed) will be halted.

The following table shows the size of each data dump, and

the time required.

Data size (Bytes)

Time required (Sec)

If EXB-

TRITON

If EXB-

TRITON

Type of data to be dumped

Data dump reception procedure

MOSS is

STUDIO

installed

1If you are using a computer that can receive MIDI exclu-

sive messages, connect the TRITON STUDIO’s MIDI

OUT connector to the MIDI IN connector of the MIDI

interface connected to your computer (ꢀ p .258).

Data All

2608712– 2697068–

3979708 4068065

834.8–

1273.5

863.1–

1301.8

Program All

947941 1036297

303.3

25.3

---

331.6

---

Program Bank (IA..IE/EA..EG) 79004

---

88366

---

Program Bank (IF)

Program Single (IA..IE/EA..EG)

Program Single (IF)

Combination All

---

627

28.3

---

Some USB-MIDI interface devices may not be able to

transmit or receive the TRITON STUDIO’s MIDI exclu-

sive messages.

0.2

---

786441

65545

521

700

---

0.2

←

251.7

21.0

0.2

←

Combination Bank

Combination Single

Drum Kit All

If you are using a MIDI data ﬁler, connect the TRITON

STUDIO’s MIDI OUT connector to the MIDI IN connec-

tor of the MIDI data ﬁler. (ꢀ p .258)

676727

4709

←

216.6

1.5

Drum Kit Single

2Set the MIDI channel of the MIDI device to match the

global MIDI channel “MIDI Channel” (1–1a) of the TRI-

TON STUDIO.

Arpeggio Pattern All

Arpeggio Pattern Single

Global Setting

185427

375

←

59.3

0.1

1009

←

0.3

If you want the TRITON STUDIO to receive data that

was previously transmitted to a MIDI device, you must

set the global MIDI channel of the TRITON STUDIO to

Sequencer Data

11211–

1382208

←

3.6–

442.3

←

145

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the same global MIDI channel that was used when the

data was transmitted.

To set the MIDI channel of the transmitting device, refer to

the owner’s manual for that device.

Global P3: User Scale

3Either check “Enable Exclusive” (1–1b), or display one

of the page menu commands of this page. When one of

these page menu commands is displayed, data dumps

can be received regardless of the “Enable Exclusive” (1–

1b) setting.

3–1: User Scale

Here you can make settings for sixteen different User Octave

Scales and one User All Notes scale. The user scales you cre-

ate here can be selected from the following pages.

Transmit the data from the other device. For the procedure,

refer to the owner’s manual for the device you are using.

While the data is being received, the display will indicate

“Now received MIDI data.”

•

Program P1: Edit-Basic, Program Basic page

Combination P2: Edit-Trk Param, Other page

Sequencer P2: Trk Param, Other T01–08, T09–16 page

Song Play P1: Track, Status/ Scale T01–08, T09–16 page

3–1

Global P2: Controller

3–1a

2–1: Controller

3–1b

0–1

2–1a

If you wish to keep an edited user scale after the power

is turned off, be sure to write (save) your settings.

Use the page menu command “Write Global Setting” or

press the SEQUENCER [REC/ WRITE] key to access the

dialog box, and write the data.

3–1a: User Octave Scale

User Octave Scale

[User Octave Scale 00...15]

2–1a: Damper/ Assignable Foot Switch, Pedal

Selects the User Octave Scale that you want to edit.

Foot Switch Assign

[Off...SW 2]

Tune

[–99…+99]

Selects the function that will be controlled by a pedal switch

(PS-1 option [sold separately]) connected to the ASSIGN-

ABLE SWITCH jack (“Foot S w i tch Assign List ” ꢀ p .251).

Makes pitch settings for each note in the octave.

When you adjust the pitch of each note in the octave (C–B)

in one-cent steps, your settings will be applied to all octaves.

This adjustment is relative to equal temperament.

A setting of –99 lowers the pitch approximately a semitone

below normal pitch.

Foot Pedal Assign

[Off...Knob 4]

Selects the function that will be controlled by a foot volume

pedal (XVP-10 or EXP-2 option [sold separately]) connected

to the ASSIGNABLE PEDAL jack (“Foot Pedal Assign List ”

ꢀ p .252).

A setting of +99 raises the pitch approximately a semitone

above normal pitch.

The note can also be selected by holding down the

[ENTER] key and playing a note on the keyboard.

Damper Polarity

[(–)KORG Standard, (+)]

Sets this to match the polarity of the damper pedal con-

nected to the DAMPER jack.

By executing the page menu command “Copy Scale,”

you can copy settings from a preset scale (other than

Stretch) or from another user scale.

If a Korg DS-1H (sold separately) damper pedal is connected,

the pedal switch polarity will be (↓), so select (–) KORG Stan-

dard 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. If no

damper pedal is connected, set this to (–) KORG Standard.

Foot Switch Polarity

[(–)KORG Standard, (+)]

Sets this to match the polarity of the pedal switch connected

to the ASSIGNABLE SWITCH jack.

If a Korg PS-1 (sold separately) pedal switch is connected,

the pedal switch polarity will be (↓), so select (–) KORG

Standard for this setting. If you have connected a pedal

switch with a positive (↑) polarity, select (+) for this setting.

(↓ is open-type, ↑ is closed-type.) If the polarity does not

match, operating the pedal switch will not produce the cor-

rect result. If no pedal switch is connected, set this to

(–) KORG Standard.

146

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3–1b: User All Notes Scale

Global P4: Category Name

Tune

[–99…+99]

Makes independent pitch settings for each of the 128 notes.

Adjust the pitch of each of the 128 notes (C–1 – G9) in one-

cent steps. This adjustment is relative to equal temperament.

A setting of –99 lowers the pitch approximately a semitone

below normal pitch.

A setting of +99 raises the pitch approximately a semitone

above normal pitch.

Use the horizontal scroll bar to move to the key range that

you want to set, and select the key that you want to specify.

4–1: Program Cat.

4–2: Comb Cat.

When you write from the Write Program dialog box (Pro-

gram P0: 0–1A) or Write Combination dialog box (Combina-

tion P0: 0–1A), one of the category names you edit here can

be assigned to the program or combination.

In Program, Combination, Sequencer, and Song Play modes,

you can use the (category) popup menu to select programs

or combinations by category.

The note can also be selected by holding down the

[ENTER] key and playing a note on the keyboard.

With the factory settings, the categories are set as the follow-

ing types of instruments.

By executing the page menu command “Copy Scale,”

you can copy settings from a preset scale (including

Stretch) or another user scale.

0–1

4–1a

M 3–1: Page Menu Command

0–1A

3–1A

3–1A: Copy Scale

This command copies data from a preset scale or between

user scales. For details on the preset scales, refer to “Type”

(Program P1: 1–1c).

0–1

1Select “Copy Scale” to access the dialog box.

4–2a

2Use “From” to select the copy-source scale.

If you select Pure Major or Pure Minor, specify the

“Key” (located at the right) as well.

Stretch cannot be selected if “To” is User All Notes

Scale.

3In “To,” selects the copy destination scale.

4To execute the Copy Scale command, press the OK but-

ton. To cancel, press the Cancel button.

4–1(2)a: Category name

Edits the category name.

Press the text edit button or the category name that you

want to edit, to access the text edit dialog box and input the

desired name. Up to 16 characters can be input. (ꢀBG p.57)

You can name each of the sixteen program categories and

sixteen combination categories.

If you want the edited user category settings to be

backed up when the power is turned off, you must

write (save) the settings.

Execute the page menu command “Write Global Set-

ting” or press the SEQUENCER [REC/ WRITE] key to

access the dialog box, and write the settings.

147

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5–1a: Drum Kit, KeySelect, Assign, Velocity Sample

Global P5: Drum Kit

Here you can create drum kits by assigning a drum instru-

ment (drum sample) to each key.

Drum Kit

[000(I–A/ B)...143(User)]

Selects the drum kit that you wish to edit.

A drum kit that you create or edit here can be selected in

Program mode P1: Edit Basic “Drum Kit” (when “Oscilla-

tor Mode” is Drums) as an oscillator, and processed through

the ﬁlter, amp and effects in the same way as a “multisam-

ple” (when “Oscillator Mode” is Single or Double).

00(I-A/B)...15(I-A/B)

Preloaded drum kits

16(E-A)...31(E-A)

32(E-B)...47(E-B)

48(E-C)...63(E-C)

64(E-D)...79(E-D)

80(E-E)...95(E-E)

96(E-F)...111(E-F)

112(E-G)...127(E-G)

User drum kits,

EXB-PCM series drum kits

When you wish to edit a drum kit, enter Program mode,

select a program that uses a drum kit (i.e., whose “Oscillator

Mode” is Drums), and then move to this page. A program

that uses a drum kit will already have ﬁlter, amp, and effect

settings etc. suitable for drum sounds. (Programs in the sep-

128(User)...143(User)

User drum kits

(some preloaded drum kits)

arate “VNL” that use a drum kit are indicated by a

bol.)

sym-

If you want to edit a drum kit (such as a preloaded

drum kit) that is used by a program, it is a good idea to

use the page menu command “Copy Drum Kit” to copy

it to an unused number in 016 (E-A)–143 (User), and

then edit the copy. Numbers 016 (E-A)–127 (E-G) are

normally used to load drum kits for the EXB-PCM

series options (some models do not have included

drum kits).

Even if a program with an “Oscillator Mode” of Single or

Double is selected in Program mode, the program will

sound using its own ﬁlter and amp settings etc. Effects will

sound according to the settings of the program you selected.

You must set “Octave” (Program P1: 1–2a) to +0[8']. With

any setting other than +0[8'], the key locations and drum

sounds will not correspond correctly.

If you want to edit the name of the drum kit, execute

the page menu command “Rename Drum Kit.”

When a particular drum kit is edited, all programs that

use that drum kit will be affected.

If “Enable Exclusive” (1–1b) is checked, the drum kit

KEY

[C–1...G9]

can be edited using exclusive data.

Selects the key to which the drum sample (and its settings)

will be assigned.

Use the VALUE controller to specify the key. You can also

select the key by holding down the [ENTER] key and play-

ing a note on the keyboard.

Two drum samples, High and Low, can be assigned to each

key, allowing you to switch between them by velocity.

If you check “Assign” for the key you select here, the High

Drumsample, Low Drumsample, Voice Assign Mode, and

Mixer parameters (see below) will be used.

If you want the edited drum kit settings to be backed

up after you turn off the power, you must write them

into memory.

Execute the page menu command “Write Global Set-

ting” or press the SEQUENCER [REC/ WRITE] key to

access the dialog box, and write the settings.

ꢀFor details on creating a drum kit, refer to BG p.128.

Assign

[Off, On]

5–1: Sample Setup

Here you can select a drum kit, assign High and Low drum

samples to each key, and set parameters for the High and

Low drum samples.

On (checked): The drum samples you assigned for “High

Drumsample” and “Low Drumsample” will sound. Nor-

mally you will check this parameter.

Off (unchecked): The selected drumsamples will be invalid,

and the drum samples of the key to the right will sound. At

this time, the pitch will be a semitone lower than the pitch of

the key to the right. Uncheck this parameter when you wish

to play a drumsample at differing pitches.

5–1

5–1a

Velocity Sample SW Lo¡Hi

[001...127]

5–1b

Speciﬁes the velocity value at which you will switch from

the “Low Drumsample” to the “High Drumsample.” Veloc-

ities above this value will sound the “High Drumsample,”

and velocities below this value will sound the “Low Drum-

sample.” If you do not wish to use velocity switching, set

this to 001 and specify only the “High Drumsample”

(ꢀ“Velocity M.Sample SW Lo→Hi” Program P1: 1–2c).

5–1c

5–1b: High Drumsample

High Drumsample Bank

[ROM, RAM, EXB*...]

High Drumsample [000...416, 0000...3999, 000...]

Selects the High drum sample by its bank and drumsample

number. The drumsample you select here will sound when

the velocity is greater than the “Velocity Sample SW

Lo→Hi” (5–1a) setting.

ROM: Selects preset drum samples. For “High Drumsam-

ple” you can select from 000: BD-Dry 1–416: Vox-Wah Gtr 4.

148

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(ꢀ”VNL”)

Rev (Reverse)

[Off, On]

RAM: Selects samples that you created in the Sampling

mode, or that were loaded into the TRITON STUDIO in the

Disk mode. For “High Drumsample” you can select from

0000–3999.

On (checked): The drum sample waveform will playback in

“one-shot” reverse. The location at which the reverse play-

back will start and end is pre-determined for each drum

sample.

RAM bank samples for which “Start” and “End” (Sampling

P2: 2–1c) have been set will be played back (in reverse) from

“End” to “Start.”

When you press the popup button, the group of 1000

samples that include the currently selected sample will

be displayed. To select a sample from a different set of

1000, use the VALUE controller to input the number.

This setting will not affect the playback direction of a

drum sample that is already set to reverse playback or

reverse-loop playback.

EXB*: Selects drum samples from a EXB-PCM series option.

This can be selected only if an option board containing drum

samples is installed. The “*” will indicate the type of option

board that is installed. The number of drum samples for

“High Drumsample” will differ depending on the option

that is installed.

This parameter will not change the playback direction

of a sample for which “Rev” (Sampling P2: 2–1c) is

checked.

Level

[–99...+99]

AKAI S1000/ S3000 format, AIFF format, or WAVE for-

mat data can also be loaded in Disk mode as samples,

and used as drum samples.

Speciﬁes the volume.

Keys for which a value of +99 is speciﬁed will sound at a

volume twice as high as the amp level of the program which

uses that drum kit. Keys for which a value of 0 is speciﬁed

will sound at the volume of the amp level of the program

which uses that drum kit.

The EXB* display will depend on the type of option

board.

If you have selected a drum kit that uses drum samples

from a EXB-PCM series option, and the drum sample

does not match because the corresponding EXB-PCM

(expansion board) is not installed, “Bank” will indicate

ROM. In this case, that drum sample will not sound.

When you re-select the drum sample bank, it will

sound.

Keys for which a value of –99 is speciﬁed will not sound.

Transpose

[–64...+63]

Adjusts the pitch in semitone steps.

+12 is one octave up, and –12 is one octave down.

Tune

[–99...+99]

Adjusts the pitch in one-cent steps.

–99 is a semitone lower, and +99 is a semitone higher.

When you press the “High Drumsample” popup button, a

list of drum samples will appear, allowing you to select a

drum sample from the list. If ROM has been selected for

“High Drumsample Bank,” you can select drum samples

from a tabbed list organized by instrumental category.

Cutoff (Filter-Cutoff)

[–64...+63]

Adjust the cutoff frequency of the ﬁlter. The cutoff frequency

for each key is determined by adding this value to the ﬁlter

“Frequency (Cutoff Frequency)” (Program P3: 3–1b, 3–5) of

the program that uses this drum kit.

Category/ ROM Drumsample Select menu:

Resonance (Filter-Resonance)

[–64...+63]

Adjusts the ﬁlter resonance. The ﬁlter resonance for each

key is determined by adding this value to the ﬁlter “Reso-

nance” (Program: P3: 3–1b, 3–5) of the program that uses

this drum kit. (When the “Filter Type” Program P3: 3–1a) is

Low Pass & High Pass, there will be no resonance effect.)

Attack (Amp-Attack)

[–64...+63]

It is not possible to edit the category names of drum

samples, or to re-assign the category.

Adjusts the attack time of the volume (Ampliﬁer). The

attack time for each key is determined by adding this value

to the amp EG Attack Time of the program that uses this

drum kit.

S.Offset (Start Offset)

[Off, On]

On (checked): The sound will begin from a location later

than the beginning of the drum sample waveform. The start

offset location is preset for each drum sample. This parame-

ter has no effect on a drum sample that contains no start off-

set setting.

However when a RAM bank is selected, this will depend on

the selected drum sample. If you select a drum sample that

includes one of the following types of sample, checking this

item will cause playback to start from the Loop Start Address.

Decay (Amp-Decay)

[–64...+63]

Adjusts the decay time of the volume (Ampliﬁer). The decay

time for each key is determined by adding this value to the

amp EG Decay Time of the program that uses this drum kit.

5–1c: Low Drumsample

•

A sample that was recorded (sampled) in Sampling

mode etc.

Low Drumsample Bank

[ROM, RAM, EXB*...]

Low Drumsample [000...416, 0000...3999, 000...]

•

A sample whose Loop Start Address was edited in

Sampling mode after the sample was loaded in Disk

mode

A sample whose Loop Start Address was specified

automatically when it was loaded as an AKAI, AIFF, or

WAVE file in Disk mode

Speciﬁes the bank and drumsample number to select the

Low drumsample. The drumsample you select here will

sound when the velocity is less than the “Velocity Sample

SW Lo→Hi” (5–1a) setting. (ꢀ5–1b)

•

Off (unchecked): Playback will start from the beginning of

the drum sample waveform.

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S.Offset (Start Offset)

Rev (Reverse)

[Off, On]

5–1D: Copy Key Setup

This command copies the settings of an individual key to

another key. You can also copy settings from two or more

contiguous keys at once.

Level

[–99...+99]

[–64...+63]

[–99...+99]

[–64...+63]

Transpose

1Select “Copy Key Setup” to access the dialog box.

Tune

Cutoff (Filter-Cutoff)

Resonance (Filter-Resonance)

Attack (Amp-Attack)

Decay (Amp-Decay)

(ꢀ5–1b)

2In “From Key,” select the range of keys that you wish to

copy.

3In “To Key,” select the copy destination key. If you

selected two or more keys in “From Key,” their settings

will be copied to the keys starting at “To Key” and con-

tinuing upward.

4To execute the Copy Key Setup command, press the OK

button. To cancel, press the Cancel button.

M 5–1: Page Menu Command

5–1A

5–1B

5–1C

5–1D

5–2: Voice/ Mixer

5–1A: Write Drum Kits

For each key of a drum kit, you can set voice assign, pan,

and effect routing etc.

This command writes all drum kits 000 (I-A/ B)–143 (User).

1Select “Write Drum Kits” to access the dialog box.

2To execute the Write command press the OK button. To

cancel without executing press the Cancel button.

You can also press the SEQUENCER [REC/ WRITE] key

to write arpeggio patterns in the same way as the “Write

Drum Kits” command. Press the SEQUENCER [REC/

WRITE] key to access the dialog box, and write the data.

5–1

5–1a

5–2a

5–1B: Rename Drum Kit

5–2b

This command renames the selected drum kit. You can input

a name of up to sixteen characters. (ꢀBG p.57)

5–1C: Copy Drum Kit

This command copies the settings of another drum kit to the

currently-edited drum kit.

5–2a: Voice Assign Mode

Drum kits 144–152 (GM) cannot be edited, but you may

Single Trigger

[Off, On]

copy them to another drum kit and then edit them.

On (checked): Even when the same key (note) is played

repeatedly, the previous note will be halted before the new

note is begun, so that the notes will not overlap. Normally

you will leave this unchecked.

1Select “Copy Drum Kit” to access the dialog box.

Exclusive Group (Exclusive Assign)

[Off, 001...127]

001–127: This allows you to assign keys to any of 127

groups. Keys assigned to the same group will be treated as a

single group, and will be played monophonically with last-

note priority. For example you might assign closed and open

hi-hat sounds to the same group so that two or more hi-hat

sounds can not sound simultaneously.

2Select the copy source drum kit (“From”).

3To execute the Copy Drum Kit command press the OK

button. To cancel without executing press the Cancel

button.

Be aware that when you execute the “Copy Drum Kit”

command, all settings of the currently selected drum kit

will be overwritten.

Off: Keys will not be grouped. Normally you will set this

Off.

Enable Note On Receive

[Off, On]

On (checked): Note-on messages will be received. Normally

you will check this, but you can uncheck it if you do not

want speciﬁc notes to sound.

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Enable Note Off Receive

[Off, On]

Global P6: User Arpeggio

On (checked): Note-off messages will be received. Normally

you will uncheck this. This parameter is valid when “Hold”

(Program P1: 1–1b) is checked (Hold On). In the case of a

drum program, you will normally select Hold On. In this

case if “Enable Note Off Receive” is checked, note-off mes-

sages will be received, and the sound will stop (the release

segment of the EG will begin) when the key is released.

Here you can create user arpeggio patterns.

In this page, the TRITON STUDIO will sound as it did in the

mode you were in before entering Global mode.

If you moved here from Program mode: Your editing will

apply to the arpeggio pattern that is selected by the pro-

gram. Even if you moved from a program in which the

arpeggiator is turned off, it can be turned on by the ARPEG-

GIATOR [ON/ OFF] key.

5–2b: Mixer

Drum kits will sound using the settings of the program

that is selected in Program mode. These settings are

valid when you have checked “Use DKit Setting”

(Program P4: 4–1b) or “Use DKit Setting” (Program P8:

8–1b). Be aware that while editing a drum kit, the

edited results will not be reﬂected unless these settings

have been made.

If you moved here from Combination mode: Your editing

will apply to the arpeggio pattern that is selected by the

combination. Even if you moved from a combination in

which the arpeggiator is turned off, it can be turned on by

the ARPEGGIATOR [ON/ OFF] key.

However, it is not possible to turn on an arpeggiator for

which the “Arpeggiator Run” (Combination P0: 0–3a, P7: 7–

1c) parameter A or B is not checked. Also, if the arpeggiator

is not assigned to a timbre by “Arpeggiator Assign” (Com-

bination P7: 7–1b), the arpeggiator will not run.

BUS Select (IFX/ Indiv.Out Assign)

(Bus Select)

[L/ R, IFX1...5, 1...4, 1/ 2, 3/ 4, Off]

For each key, specify the bus to which the sound will be sent.

For example you might send Snare sounds to IFX1 and Kick

sounds to IFX2 to apply separate insert effects, and send the

remaining sounds to L/R without applying insert effects.

If you moved here from Sequencer or Song Play mode:

Your editing will apply to the arpeggio pattern speciﬁed for

the selected song.

Even if you moved here from settings in which the arpeggia-

tor was turned off, you can use the ARPEGGIATOR [ON/

OFF] key to turn it on. However, it is not possible to turn on

an arpeggiator for which the “Arpeggiator Run” (P7: 7–1a/

2a) parameter A or B is not checked. Also, the arpeggiator

will not operate if it has not been assigned to a timbre in

“Arpeggiator Assign” (P7: 7–1a/ 2a).

Pan

[Random, L001...C064...R127]

Speciﬁes the panning for each key.

With a setting of Random, the drum sample will be panned

randomly at each note-on.

Send1 (to MFX1)

Send2 (to MFX2)

[000...127]

In each of the above cases, you can modify the settings of the

arpeggio pattern even if the arpeggiator is not turned on.

When editing a pattern, it is a good idea to turn on the

arpeggiator and make sure that it is the pattern that you

wish to edit.

For each key, specify the send levels to master effects 1 and

2. These settings are valid when “BUS Select” (5–2b) is set to

L/R or Off.

If “BUS Select” is set to IFX1–5, the send level to master

effects 1 and 2 will be determined by the Program, Combi-

nation, Sequencer, or Song Play mode P8: Insert FX page

parameters “Send 1” and “Send 2” which are located after

the sound passes through IFX1, 2, 3, 4, or 5.

If you moved here from Sampling mode: The arpeg-

giator will not turn on, nor will it be possible to edit the

arpeggio pattern.

If you want the edited user arpeggio pattern settings to

be backed up even when the power is turned off, you

must write them into memory. Select the “Write Arpeg-

gio Pattern” page menu command to access the Write

Arpeggio Pattern dialog box. Alternatively, press the

SEQUNECER [REC/ WRITE] key to access the “Update

Arpeggio Patterns” dialog box. Then press the OK but-

ton to write the edited data.

ꢀFor details on creating an arpeggio pattern, refer to BG

p.130.

6–1: Pattern Setup

6–1

6–1a

6–1b

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ꢀ

6–1a: Arpeggio Select, , Pattern, Length, Octave,

6–1b: Arpeggio Pattern Setup

Resolution, Sort, Latch, Key Sync., Keyboard

These parameters are not valid for preset patterns

P000–P004.

Arpeggio Select

[A, B]

If you have moved here from Combination, Sequencer or

Song Play mode and edit an arpeggio pattern, you must

select either arpeggiator A or B as the pattern to edit. Your

editing will apply only to the selected one. B will not be dis-

played if you moved here from Program mode.

Arpeggio Tone Mode

[Normal, Fixed Note]

This selects the Tone type of the arpeggio pattern.

Normal: This is the conventional arpeggiator type. Each

Tone in the arpeggio will be the pitch of the note number

that you are pressing on the keyboard.

Fixed Note: The note number of each tone will be ﬁxed. The

note numbers played on the keyboard will be ignored, and

the arpeggio will sound using the pitches you specify for the

Tones. Note numbers from the keyboard will only control

the trigger timing of the arpeggiator. Fixed Note mode is

ideal for arpeggio patterns that you are using as drum pat-

terns.

In the P6: User Arpeggio, Pattern Edit page, the Tone indica-

tors will be “G” when Normal is selected here, or “❍” when

Fixed Note is selected.

ꢀ (Tempo)

[040...240, EXT]

Speciﬁes the tempo.

This can also be adjusted by the ARPEGGIATOR [TEMPO]

knob. If “MIDI Clock” (1–1a) is set to External MIDI or

External mLAN, this will indicate EXT, and the arpeggiator

will synchronize to MIDI Clock messages from an external

MIDI device.

Pattern

[P000...P004, U000(I–A/ B)...U506(User)]

Selects the pattern that you want to edit.

Arpeggio Type

[As Played...Up&Down]

P000...P004

Preset arpeggio patterns

U000(I-A/B)...U199(I-A/B) Preloaded arpeggio patterns

Speciﬁes the relationship between the arpeggio notes speci-

ﬁed from the keyboard and the Tone at each step.

U200(E-A)...U215(E-A)

U216(E-B)...U231(E-B)

U232(E-C)...U247(E-C)

U248(E-D)...U263(E-D)

U264(E-E)...U279(E-E)

U280(E-F)...U295(E-F)

U296(E-G)...U311(E-G)

As Played: If there are more Tones in a step than arpeggio

notes speciﬁed (notes played on the keyboard), those steps

will not sound.

EXB-PCM series arpeggio patterns

As Played (Fill): If there are more Tones in a step than

arpeggio notes speciﬁed (notes played on the keyboard), the

last arpeggio note (the last-played note if “Sort” is Off, or

the highest note if “Sort” is On) will sound for those steps.

Running Up: If there are more Tones in a step than arpeggio

notes speciﬁed (notes played on the keyboard), the arpeggio

will return to the ﬁrst note (the ﬁrst-pressed note if “Sort” is

Off, or the lowest note is “Sort” is On) and sound it.

Up&Down: If there are more Tones in a step than arpeggio

notes speciﬁed (notes played on the keyboard), the arpeggio

will return in reverse direction from the last arpeggio note

back toward the ﬁrst.

U312(User)...U506(User) User arpeggio patterns (some pre-

loaded arpeggio patterns)

If you want to edit an arpeggio pattern (such as a pre-

loaded arpeggio pattern) that is also used by another

program, it is a good idea to use the page menu com-

mand “Copy Arpeggio Pattern” to copy the arpeggio

pattern to an unused number U312 (User)–U506 (User),

and then to edit the copy. Also, U200 (E–A)–U311 (E–G)

are normally used to load arpeggio patterns for the

EXB-PCM series options (some models do not include

arpeggio patterns).

Example)

If you set “Length” to 04, “Step No.” 01 to Tone0, “Step

No.” 02 to Tone1,” “Step No.” 03 to Tone2, “Step No.” 04

to Tone3, and simultaneously play three notes to produce

an arpeggio, the following results will be produced

depending on the “Arpeggio Type.”

As Played: 0 → 1 → 2 → rest → 0 → 1 → 2 → rest → 0 ...

As Played (Fill): 0 → 1 → 2 → 2 → 0 → 1 → 2 → 2 → 0 ...

Running Up: 0 → 1 → 2 → 0 → 0 → 1 → 2 → 0 → 0 ...

Up&Down: 0 → 1 → 2 → 1 → 0 → 1 → 2 → 1 → 0 ...

If you want to edit the arpeggio pattern name, execute

the page menu command “Rename Arpeggio Pattern.”

Length (Pattern Length)

[01...48]

Speciﬁes the length of the arpeggio pattern. The arpeggio

pattern will play the number of steps you specify here at the

note value interval speciﬁed by “Resolution,” and will then

begin again. This is not valid for preset arpeggio patterns

P000–P004.

Octave Motion

[Up, Down, Both, Parallel]

Octave

[1, 2, 3, 4]

[ ꢁ ꢂ , ꢁ , ꢃ ꢂ , ꢃ , ꢀ ꢂ , ꢀ ]

[Off, On]

Speciﬁes the operation when “Octave” is set to 2–4 octaves.

Resolution

Sort

Up: Notes will repeatedly ascend within the speciﬁed range

of octaves.

Down: Notes will repeatedly descend within the speciﬁed

number of octaves.

Both: Notes will repeatedly ascend and descend within the

speciﬁed number of octaves.

Parallel: The notes of the speciﬁed octaves will sound simul-

taneously.

Latch

[Off, On]

Key Sync.

Keyboard

[Off, On]

ꢀProgram P7 “7–1: Arpeg. Setup.”

“Pattern,” “ꢀ (Tempo),” “Octave,” “Resolution,” “Sort,”

“Latch,” “Key Sync,” and “Keyboard” are parameters

that can be set in Program, Combination, Song, and

Song Play modes, but you can also set them here.

If you move here from Program or Combination mode

and set these parameters, you must return to the origi-

nal mode and write them. These parameters cannot be

written by the “Write Arpeggio Patterns” command in

this page.

Fixed Note Mode [Trigger As Played, Trigger All Tones]

When the “Arpeggio Tone Mode” is Fixed Note, specify the

condition that will trigger the Tones.

Trigger As Played: The Tones will be triggered according to

the number of keys pressed.

Trigger All Tones: Pressing a single key will trigger all

Tones.

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Example)

We will use a “Arpeggio Tone Mode” Fixed Note pattern

Be aware that when you execute “Copy Arpeggio Pat-

tern,” all settings of the currently selected arpeggio pat-

tern will be overwritten.

on drums. Tone 1 is assigned a note number that will

sound a kick, Tone 2 a snare, and Tone 3 a hi-hat.

With a setting of Trigger As Played, pressing one key

will sound only Tone 1 (kick). Pressing two keys will

sound Tone 1 (kick) and Tone 2 (snare). Pressing three

keys will sound all three Tones 1–3 (kick, snare, hi-hat). If

the “Velocity” of each Tone is set to Key, each Tone will

be sounded at the velocity with which each key was

played.

With a setting of Trigger All Tones, playing one key is

sufﬁcient to sound all three; Tone 1 (kick), Tone 2 (snare),

and Tone 3 (hi-hat). If the “Velocity” of each Tone is set

to Key, the Tones will be sounded at the corresponding

velocity each time a key is pressed.

6–2: Pattern 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 simulta-

neously. If “Sort” (6–1a) is checked, the notes that were

pressed will correspond in ascending order of pitch to Tones

0, 1, etc. If “Sort” (6–1a) is unchecked, the notes that were

pressed will correspond to Tones 0, 1, etc. in the order in

which they were pressed.

These parameters are not valid for preset patterns

P000–P004.

M 6–1: Page Menu Command

6–2

6–1A

6–1B

6–1C

6–1A: Write Arpeggio Patterns

This command writes user arpeggio patterns U000 (I-A/ B)–

U506 (User).

6–2a

1Select “Write Arpeggio Patterns” to access the dialog

box.

2To execute the Write command press the OK button. To

cancel without executing press the Cancel button.

You can also press the SEQUENCER [REC/ WRITE] key

to write arpeggio patterns in the same way as the “Write

Arpeggio Patterns” command. Press the SEQUENCER

[REC/ WRITE] key to access the dialog box, and write the

data.

6–2a: Step No., Pitch Offset, Gate, Velocity, Flam,

Tone No., Fixed Note No.

Step No. (Step Number)

[01...48]

Selects the step that you wish to edit, and set/ reset each

Tone. When the “Step No” is selected, use the numeric keys

to input the Tones. Numeric keys [0]–[9] correspond to

Tones 0–9, [–] corresponds to Tone 10, and [./ 10’s HOLD] to

Tone 11. Each time you press a key, the Tone will be set or

reset.

When “Arpeggio Tone Mode” (6–1b) is Normal, the display

will indicate “G.” When set to Fixed Note, the display will

indicate “❍.”

“Pattern,”“ ꢀ (Tempo),” “Octave,” “Resolution,” “Sort,”

“Latch,” “Key Sync,” and “Keyboard” are parameters

that are set in Program, Combination, Song, and Song

Play modes. The Write operation executed here does

not save these parameters.

If you move here from Program or Combination mode

and set these parameters, you must return to the origi-

nal mode and write them.

If you wish to delete all Tones of a step, use the “Delete”

page menu command. To insert a blank step, use the

“Insert” page menu command.

6–1B: Rename Arpeggio Pattern

This command renames the selected user arpeggio pattern.

Up to sixteen characters can be used. (ꢀBG p.57)

Preset patterns P000–P004 cannot be renamed.

Pitch Offset

[–48...+48]

For each step, the pitch corresponding to the Tone can be

raised or lowered in semitone steps. This lets you make set-

tings for the same tone in each step to create a melody, or to

make settings for two or more tones in each step to play par-

allel chords.

6–1C: Copy Arpeggio Pattern

This command copies the settings of another user arpeggio

pattern to the currently selected arpeggio pattern.

It is not possible to copy from a preset arpeggio pattern

P000–P004.

Gate

[Off, 001...100%, Legato]

1Select “Copy Arpeggio Pattern” to access the dialog box.

Off: That step will not sound even if Tones have been speci-

ﬁed.

Legato: Notes will continue sounding until the same Tone is

sounded next, or until the pattern returns to the beginning.

At this time, the display will change to “ ” or “I.”

This setting is valid when the Program, Combination, Song,

or Song Play mode parameter “Gate” (Program P7: 7–1a,

Combination P7: 7–2a/ 3a, Sequencer/ Song Play P7: 7–3a/

4a) is set to Step. When making this setting, make sure that

“Gate” is set to Step in the mode from which you arrived

here.

2Select the copy source arpeggio pattern “From.”

3To execute the Copy Arpeggio Pattern command press

the OK button. To cancel without executing press the

Cancel button.

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Velocity

[001...127, Key]

6–2B: Copy Step

Key: The Tone of the step will sound with the velocity at

which the key was played.

This command copies the settings of a speciﬁc step. The set-

tings of two or more adjacent steps can also be copied

together.

001–127: The speciﬁed velocity value will always be used.

This setting is valid when the Program, Combination, Song,

or Song Play mode parameter “Velocity” (Program P7: 7–1a,

Combination P7: 7–2a/ 3a, Sequencer/ Song Play P7: 7–3a/

4a) is set to Step.

1Select “Copy Step” to access the dialog box.

When making this setting, make sure that “Velocity” is set to

Step in the mode from which you arrived here.

Flam

[–99...+99]

2In “From Step,” select the range of steps that you wish to

copy.

3In “To Step,” select the copy destination step.

If you selected more than one step in “From Step,” the

steps will be copied starting at “To Step” and continuing

through the steps to the right.

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.)

4To execute the Copy Step operation, press the OK but-

ton. To cancel, press the Cancel button.

–01– –99: The timing of the notes will be skewed in the

opposite direction as “+.”

6–2C: Delete Step

To simulate chords strummed on a guitar, it is effective to set

“+” values for odd-numbered steps and “–” values for even-

numbered steps.

This command deletes the step parameters (“Tone,” “Pitch

Offset,” “Gate,” “Velocuty,” “Flam”) of the currently

selected step number. Subsequent steps will move one col-

umn toward the left.

This is not valid for preset patterns P000–P004.

1Select “Delete Step” to access the dialog box.

Tone No. (Tone Number)

[01...12]

This is valid when “Arpeggio Tone Mode” (6–1b) is set to

Fixed Note. This selects the Tone.

Fixed Note No. (Fixed Note Number)

[C–1...G9]

2To execute the Delete Step operation, press the OK but-

ton. To cancel without executing, press the Cancel but-

ton.

Speciﬁes the note number for the selected Tone. You can also

input this value by holding down the [ENTER] key and

pressing a note on the keyboard.

6–2D: Insert Step

This command inserts an empty step into the currently

selected step number. Subsequent steps will be moved one

step to the right.

M 6–2: Page Menu Command

6–1A

6–1B

6–1C

6–2A

6–2B

6–2C

6–2D

6–2E

1Select “Insert Step” to access the dialog box.

2To execute the Insert Step operation, press the OK but-

ton. To cancel without executing, press the Cancel but-

ton.

6–2A: Initialize Steps

This command initializes the step parameters (“Tone,”

“Pitch Offset,” “Gate,” “Velocity,” “Flam”) of the arpeggio

pattern.

6–2E: Rotate Step

1Select “Initialize Steps” to access the dialog box.

This command rotates the step settings.

1Select “Rotate Step” to access the dialog box.

2Empty will initialize all tones to a blank state.

Full will initialize all tones to a full state.

3To execute the Initialize Steps operation, press the OK

button. To cancel, press the Cancel button.

2Select the type “Direction” of rotation.

For example, suppose there is a pattern of “Length” 4.

If you select Forward, the settings of Step 1 will be

rewritten to 2, Step 2 →3, Step 3 →4, Step 4 → 1.

If you select Backward, the settings of Step 1 will be

rewritten to 4, Step 2 → 1, Step 3 → 2, Step 4 → 3.

3To execute the Rotate Step operation, press the OK but-

ton. To cancel without executing, press the Cancel but-

ton.

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7. Disk mode

In this mode, you can save and load various types of inter-

nal memory data to and from a ﬂoppy disk, the internal

Files, directories, and icons

The TRITON STUDIO manages data on disks and other

media in a hierarchical manner, using ﬁles and directories.

The contents of a ﬁle (whether it is a ﬁle or a directory) are

indicated not only by the name but also graphically by an

icon. Files and directories have differently shaped icons.

hard drive, a CDRW-1 option, or a connected external SCSI

device.

You can also create an audio CD from WAVE ﬁles and listen

to it.

In this mode you can also copy or delete ﬁles, or format a

disk.

The TRITON STUDIO collectively refers to ﬁles and directo-

ries recognizable by MS-DOS (readable by a MS-DOS com-

puter), and UDF format and ISO9660 format ﬁles and

directories as “DOS ﬁles” and “DOS directories.” Different

types of DOS ﬁle are distinguished by the extension added

to their ﬁlename.

The following media can be used.

Floppy disks

MS-DOS format 3.5 inch 2HD or 2DD

Floppy disk capacity after formatting on the TRITON STU-

DIO:

In the case of a DOS ﬁle with an extension other than listed

below, selecting “Load selected” to access the dialog box

will cause the ﬁle to be considered to be a Standard MIDI

File (SMF). However, in this case non-SMF ﬁles cannot be

loaded.

2HD: 1.44 Mbyte (18 sectors/ track), 2DD: 720 Kbyte (9 sec-

tors/ track)

Hard drives, removable media drives

MS-DOS format FAT16 and FAT32 supported

Recognizable FAT32: up to 2 Terabytes = 2,000 Gbyte

Extension Type

capacity:

FAT16: up to 4 Gbyte

.PCG

Program, combination, drum kit, user arpeggio pattern,

global settings (TRITON STUDIO format)

(ꢀFor details on connecting an external SCSI device and set-

ting the ID, refer to p.298.)

.SNG

.JKB

.MID

.EXL

.KMP

.KSF

.KSC

.AIF

Song, cue list (TRITON STUDIO format)

Jukebox list (TRITON STUDIO format)

Standard MIDI File (SMF)

CD-R/ RW

UDF format is supported. UDF format CD-R/ RW can be

written and read. (Packet writing support ꢀ p .299)

CD-DA (audio data) can be recorded/ played, and ISO9660

(level 1) format can be read.

MIDI exclusive data

Korg Multisample Parameter ﬁle (Korg format)

Korg Sample File (Korg format)

Korg Script File (Korg format)

AIFF ﬁle

.WAV

.KCD

WAVE ﬁle

Audio track list (TRITON STUDIO format)

Files that can be loaded

DOS file

DOS files

DOS directory

All programs

All combinations

All drum kits

.PCG file

1 program

bank I-A...I-F, E-A...E-G

AKAI format

.JKB file

1 program

program file

Undefined DOS file

1 combination

bank I-A...I-E, E-A...E-G

.MID file

.EXL file

1 combination

AKAI format

sample file

1 drum kit group

I-A/B, E-A...E-G, User

1 drum kit

All user arpeggio

patterns

1 user arpeggio

pattern

1 user arpeggio

pattern group

I-A/B, E-A...E-G, User

.KMP file

.KSF file

.KSC file

Global settings

.SNG file

Cue list

1 song

Track

.AIF file

[000–199]

.WAV file

1 user pattern

[00–99]

Open

.KCD file

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.JKB ﬁles cannot be loaded or saved in Disk mode –

only in Song Play mode.

0–1b: Directory window

Directory window

When TRITON STUDIO data is saved, one of these ﬁlename

extensions will be added automatically, according to the

type of data. If these ﬁlename extensions are modiﬁed on a

computer, the ﬁle will be treated as an undeﬁned ﬁle when it

is reloaded back into the TRITON STUDIO, and will be han-

dled as a Standard MIDI File.

File information for the current directory is shown here.

You can select a ﬁle or directory in this window.

b1: File/ icon

The icon indicates the type of ﬁle.

For details on icons shown in the previous page.

Files handled by the TRITON STUDIO have the shown in

the previous page structure. Since .PCG and .SNG ﬁles can

be opened to divide their contents, they are displayed as

directory icons.

For details on compatibility with other devices such as the

TRITON/ pro/ proX and the TRITON-Rack (ꢀ p .279).

b2: File name

This is the name of the ﬁle (DOS ﬁle).

If the page menu command “Translation” (0–1B) is turned

on, the DOS ﬁlename of a .KMP (Korg multisample parame-

ter) ﬁle or .KSF (Korg sample) ﬁle that is loaded will be

replaced in the display by the multisample name or sample

name that was speciﬁed in Sampling mode.

b3: Size

This is the size of the ﬁle (in bytes).

0–1: Load

Save date and time

This is the date and time at which the ﬁle was saved. From

the left, this is the day, month, year, hour, minute, and sec-

ond. The TRITON STUDIO contains a calendar and clock.

When a ﬁle is saved, the date and time will be assigned

automatically. You can set the date and time in “Set Date/

Time” (0–3E).

Here you can load a selected ﬁle or directory into internal

memory.

Use the Open button and Up button to select the desired

ﬁle or directory. Then use the “Load selected” (0–1C) page

menu command to select and load the data.

0–1

0–1a

0–1c: Drive select

Drive select

[FDD, ID0...6, HDD, CDD: Name]

0–1b

Selects the device (ﬂoppy disk or hard disk etc.) that will be

used for loading and saving.

The volume label assigned to the media will be displayed.

FDD: Floppy disk drive

ID0...6: External SCSI device ID0–6

HDD: Internal hard drive

0–1c

0–1d

CDD: Internal CD-RW drive (if the CDRW-1 option is

installed)

Within a .PCG ﬁle, you can listen to a program, combi-

nation, user drum kit, or user arpeggio pattern ﬁle

(whose bank and group you opened) directly from the

media simply by selecting it in the directory window;

i.e., you do not have to load it into internal memory. In

the case of a combination, each timbre will sound using

the programs in internal memory. In the case of a user

drum kit or user arpeggio pattern, the sound parame-

ters of the program that was selected before entering

Disk mode will be used.

No Label: Media that has no volume label

Unformatted: Media that has not been formatted

No Disc: Media is not inserted in the CD-ROM or CD-R/

RW drive

No Disk: Media is not inserted in the removable media

drive (other than a CD-ROM or CD-R/ RW drive)

The volume label display of a CD-R/ RW drive will depend

on the inserted media and the page.

Blank Disc: Blank media. (If you want to use this disc as a

packet-writing-compatible disc, you must format it

(ꢀ p .299). If you w ant to use this disc to create an audio CD,

you do not need to format it.)

Media volume label: Media that contains data

Audio CD: Audio CD

Unﬁnalized: An audio CD that has not been ﬁnalized

Audio CD or media volume label: Media that contains both

data and audio. In this case, “Audio CD” will be displayed

in both the Make Audio CD page and the Play Audio CD

page, and the volume label of the media will be displayed in

all other pages.

In the Load, Save, and Utility pages, you can select a

WAVE ﬁle whose sampling rate (frequency) is 44.1 kHz

or 48 kHz, and press the SAMPLING [START/ STOP]

key to play back the sample. If you select a WAVE ﬁle

that can be played back, the display will indicate

“(Sampling START/ STOP plays selected ﬁle).”

While a WAVE ﬁle is playing back, the TRITON STU-

DIO will not sound in response to its keyboard or to

note data received at MIDI IN. The arpeggiator will

also stop.

0–1a: Current directory

The directory currently selected for processing is referred to

as the “current directory.”

The LCD screen will show the full path name of the direc-

tory. A slash “/ ” character is used as the delimiter between

directory levels. To change the current directory, use the

Open button and Up button (0–1d).

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•

When loading a .PCG file and also simultaneously

loading a .SNG file, if the identically-named .SNG file

are not found in the current directory after loading the

.PCG file.

0–1d: Open button, Up button

Open button

When you press the Open button, the directory will open,

and the current directory will move one level downward.

This can be used when a directory has been selected in the

directory window.

If this dialog box appears, take the following action.

1Select the directory that contains the ﬁle indicated by

“Where is a...” If the speciﬁed ﬁle is located on another

disk, exchange disks. Then press the directory window in

the LCD screen to make the TRITON STUDIO recognize

the disk, and select the appropriate directory.

Up button

When you press the Up button, the directory will move one

level upward.

It is not possible to open .PCG or .SNG ﬁles in the

“Where is a ...” dialog box. The Open button cannot be

used for .PCG or .SNG ﬁles.

M 0–1: Page Menu Command

2Press the Select button to resume loading. Loading will

be aborted if you press the Cancel button. If you want to

abort the loading process, press the OK button. If you

press the Skip button, the indicated ﬁle will be skipped,

and the next ﬁle will be loaded.

0–1A

0–1B

0–1C

Except for special situations such as when the disk con-

taining the indicated ﬁle has been damaged or cannot be

found, you should use the Select button to continue the

loading process.

0–1A: Hide unknown ﬁles

Checked: Undeﬁned ﬁles will not be displayed in the direc-

tory window. However, this is valid only if the current direc-

tory is a DOS directory.

1) Load .PCG:

selected icon

0–1B: Translation

Data in the .PCG ﬁle will be loaded.

Checked: The multisample names and sample names used

in Sampling mode will be displayed instead of the DOS ﬁle-

names, a .KMP (Korg Multisample Parameter) and .KSF

(Korg Sample File).

0–1C: Load selected

This command loads the ﬁle or directory that was selected in

the “directory window” (0–1b) into the internal memory.

When you choose “Load selected,” a dialog box will appear.

The dialog box will differ depending on the type of ﬁle to be

loaded.

1Use the “Load ****** .SNG too” and “Load ****** .KSC

too” check boxes to select the .SNG ﬁle and .KSC ﬁle.

If a ﬁle to be loaded cannot be found, or when loading a ﬁle

that was saved across media

If a necessary ﬁle cannot be found in the current directory or

in a lower directory when loading multisamples, sample

data, .PCG, or .SNG ﬁles, a dialog box like the following

(Where is a ...) will appear.

•

If you check “Load ******.SNG too,” the file with an

identical name to the .PCG file and an extension of .SNG

will also be loaded.

If you check “Load

.KSC too,” the file with an

********

identical name to the .PCG file and an extension of .KSC

will also be loaded.

If this ﬁle does not exist in the current directory, load it as

described in the above procedure “If a ﬁle to be loaded

cannot be found,… .”

2In “.PCG Contents,” specify the data to be loaded.

All: Load all data from the .PCG ﬁle.

Bank I–A–I–E, E–A–E–G: Load data of the speciﬁed

bank. In this case, use “To” Bank I–A–I–E, E–A–E–G to

specify the load destination bank. When you execute the

load, the combinations, programs, drum kits, and user

arpeggio pattern data of only the speciﬁed bank will be

loaded to the load destination bank. Global settings will

not be loaded.

The bank of the programs used by combinations, the

numbers of user arpeggio pattern used by combinations/

programs, and the number of the drum kits used by the

Programs will be corrected automatically so that they are

appropriate.

Similarly if a .SNG ﬁle is loaded simultaneously, the bank

of the programs used by tracks of the Song (or if there are

track/ pattern events, the bank of the program within the

event) will be corrected automatically so that they are

appropriate.

This will appear in the following cases.

•

If when loading a .KSC file, a .KMP file used by it cannot

be found.

•

If when loading a .KMP file, a .KSF file cannot be found

If when loading an S1000/ S3000 format Program file, a

Sample file cannot be found.

•

If loading a .KSF file that was larger than the media

capacity and was therefore saved on multiple media,

when the first media has been loaded and the second

disk etc. needs to be specified.

•

When loading a .PCG file that was split across two or

more volumes of media, when the first volume has been

loaded and the second disk etc. is now required.

When loading a .PCG ﬁle from the ﬂoppy disk included

with a EXB-PCM series option, you will normally use

this method. (ꢀBG p.65)

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If data of the speciﬁed bank is completely absent from

the .PCG ﬁle, an error of “No readable data” will be dis-

played, and the load operation will be halted.

Clear: Erases all cue list data and song data from internal

memory, and load the cue list data together with the state

of the song data as it was when saved (ꢀSee the follow-

ing diagram). Select this when you want to reproduce the

saved state immediately after power-on, etc.

If the program data of the speciﬁed bank is not found in

the .PCG ﬁle, the program banks of the combination or

multi timbres/ tracks will not be set.

4“.KSC Allocation” is valid if “Load

.KSC too”

********

has been checked. You can specify how the multisamples

and samples in the .KSC ﬁle will be loaded.

If the user arpeggio patterns of the speciﬁed bank are

not found in the .PCG ﬁle, the user arpeggio pattern

numbers of combinations, programs (/ Song) will not

be set .

Append: Samples will be loaded starting at the ﬁrst

unoccupied number following the last multisample or

sample that currently exists in memory (i.e., by having

been sampled or loaded). At this time, only the valid

multisamples or samples will be loaded, and they will be

organized in numerical order. (ꢀSee the following dia-

gram)

If the drum kits of the speciﬁed bank are not found in

the .PCG ﬁle, the drum kit number of the programs will

not be set.

At the same time, programs within the .PCG ﬁle that use

multisamples from the .KSC ﬁle will automatically have

the multisample settings for their oscillators rewritten so

that each program uses the correct multisample. Drum

kits in the .PCG ﬁle that use samples from the .KSC ﬁle

will automatically have the sample settings for the drum

kit rewritten so that the drum kit uses the correct sam-

ples.

Clear: All multisamples and samples currently in mem-

ory will be erased, and the multisamples and samples

will be loaded in the same conﬁguration in which they

were saved. (ꢀSee the following diagram)

If memory already contains multisamples or samples

that you wish to keep, and you wish to load additional

multisamples or samples from disk, select Append.

If the power has just been turned on, or you want to

reproduce the state that was saved, select Clear.

If you specify banks I-C/ I-D/ I-E when loading a TRI-

TON, TRITON-Rack or TRITON STUDIO .PCG ﬁle,

drum kits and user arpeggio patterns will not be

loaded.

If you use All to load a .PCG ﬁle from the TRITON/

TRITONpro/ TRITONproX, the following dialog box

will appear if that .PCG ﬁle contains either Drumkit

Bank C/ Bank D/ Bank User or User Arpeggio Pattern

Bank C/ Bank D. In this dialog box you can specify the

loading destination for each bank. Only banks existing

in the .PCG ﬁle are valid. Unless you check the box of a

valid bank, that bank will not be loaded. Press the OK

button to execute loading, or press the Cancel button

to cancel without loading.

.KSC Allocation

Internal memory of

the TRITON STUDIO

after loading

Internal memory of

the TRITON STUDIO

before loading

.KSC file to be loaded

KSC000

KSC001

KSC000

KSC002

KSC003

KSC004

KSC005

KSC006

KSC007

KSC002

KSC003

KSC005

Append

3If “Load ****** .SNG too” is checked, you can use

“Select .SNG Allocation” to specify how song data within

the .SNG ﬁle will be loaded.

Append: The multi data will be loaded starting at the

number that follows the last song data in memory. The

song data within the .SNG ﬁle that is being loaded will

be packed into the available locations (ꢀSee the follow-

ing diagram). Select this method when you wish to load

song data from disk without erasing the song data that is

already in memory.

KSC000

KSC001

KSC000

KSC001

KSC000

KSC002

KSC003

KSC005

KSC003

KSC005

Clear

Cue list data will not be loaded.

5To load the data, press the OK button. To cancel without

.SNG Allocation

loading, press the Cancel button.

.SNG file to load

Internal memory of

the TRITON STUDIO

after loading

Internal memory of

the TRITON STUDIO

before loading

SNG000

SNG001

SNG000

2) Load Programs:

selected icon

SNG002

SNG003

SNG004

SNG005

SNG006

SNG007

SNG002

SNG003

All program data from a .PCG ﬁle will be loaded.

SNG003

SNG005

Append

SNG000

SNG001

SNG000

SNG001

SNG000

1To load the data, press the OK button. To cancel without

loading, press the Cancel button.

SNG002

SNG003

SNG005

SNG003

SNG005

Clear

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3) Load Program Bank [Bank I-A...I-E, Bank E-A...E-G]:

selected icon

1In “To,” specify the loading destination bank.

2To load the data, press the OK button. To cancel without

loading, press the Cancel button.

All program data of the selected bank will be loaded into the

bank you specify.

7) Load a Combination:

selected icon

The combination you select will be loaded into the loading

destination combination number you specify.

1In “To,” select the loading destination bank.

Bank I-F program data can be loaded only into bank I-F.

If you select bank I-A–I-E, E-A–E-G it will not be possi-

ble to select bank I-F in “To.”

1If you wish to load a combination other than the one

already selected, use “Combination” (upper line) to

select the combination that you wish to load.

2To load the data, press the OK button. To cancel without

loading, press the Cancel button.

The selected combination can be played from the key-

board even before you load it. This is convenient when

you want to audition the combination to be loaded.

(ꢀ p .156)

4) Load a Program:

selected icon

Data for the selected program will be loaded into the pro-

gram number you specify.

2In “To Combination” (lower line), select the bank and

combination into which the data will be loaded.

When you press the popup button, the “Select Destina-

tion” window (ꢀCombination P0: 0–1a) will appear.

3To load the data, press the OK button. To cancel without

loading, press the Cancel button.

8) Load Drum Kits:

selected icon

1If you wish to load a program other than the one already

selected, use “Program” (upper line) to select the pro-

gram that you wish to load.

All drum kits in the .PCG ﬁle will be loaded.

The selected program can be played from the keyboard

even before you load it. This is convenient when you

want to audition the program to be loaded. (ꢀ p .156)

1To load the data, press the OK button. To cancel without

loading, press the Cancel button.

2In “To Program,” (lower line) select the bank and pro-

gram into which the data will be loaded. When you press

the popup button, the “Select Destination” window

(ꢀProgram P0: 0–1a) will appear.

9) Load Drum Kit

[00-15(I–A/ B),16-31(E–A)...112-127(E–G), 128-143(User)]:

Data for one bank I-F program can be loaded only into

bank I-F. If bank I-A – I-E or E-A – E-G is selected in

“Program” (upper line), bank I–F cannot be selected in

“To Program” (lower line).

selected icon

All drum kit data of the selected drum kit block will be

loaded into the drum kit block you specify as the loading

destination.

3To load the data, press the OK button. To cancel without

loading, press the Cancel button.

5) Load Combinations:

selected icon

All combinations in the .PCG ﬁle will be loaded.

1In “To,” select the drum kit block into which the data will

be loaded.

2To load the data, press the OK button. To cancel without

loading, press the Cancel button.

1To load the data, press the OK button. To cancel without

10) Load a Drum Kit:

selected icon

loading, press the Cancel button.

The selected drum kit will be loaded into the drum kit num-

ber you specify as the loading destination.

6) Load Combination Bank [I–A...I–E, E–A...E–G]:

selected icon

All combinations in the selected bank will be loaded into the

bank you specify.

1If you wish to load a drum kit other than the one already

selected, use “Drum Kit” (upper line) to re-select the

drum kit you wish to load.

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The selected drum kit can be played from the keyboard

even before you load it. This is convenient when you

want to audition the drum kit to be loaded. (ꢀ p .156)

3To load the data, press the OK button. To cancel without

loading, press the Cancel button.

14) Load Global Setting:

selected icon

2In “To Drum Kit” (lower line), select the loading destina-

tion drum kit.

Global setting data in the .PCG ﬁle will be loaded.

3To load the data, press the OK button. To cancel without

loading, press the Cancel button.

This includes Global mode parameters other than drum

kits and user arpeggio patterns.

Memory protect settings will not be loaded.

11) Load Arpeggio Patterns:

selected icon

All user arpeggio pattern data in the .PCG ﬁle will be

loaded.

1To load the data, press the OK button. To cancel without

loading, press the Cancel button.

1To load the data, press the OK button. To cancel without

loading, press the Cancel button.

15) Load .SNG:

selected icon

All data in the .SNG ﬁle will be loaded.

12) Load Arpeggio Pattern

[000-199(I–A/ B), 200-215(E–A)...296-311(E–G),

312-506(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.

1Use “Select .SNG Allocation” to specify how the song

data from the .SNG ﬁle will be loaded.

Append: The song will be loaded after the last song data

that already exists in internal memory. At this time, the

song data in the .SNG ﬁle being loaded will be packed

forward. (ꢀ p .158 “.SNG Allocation” diagram)

Select this when you want to add song data from disk

without erasing the song data that currently exists in

internal memory. Cue list data will not be loaded.

Clear: All cue list data and song data currently existing in

internal memory will be erased, and the cue list data and

the song data in the state in which it was saved will be

loaded. (ꢀ p .158 “.SNG Allocation” diagram)

Select this when you want to reproduce the saved state

immediately after power-on, etc.

1In “To,” select the loading destination user arpeggio pat-

tern block.

If you execute this command with 200 (E-A)–311 (E-G)

speciﬁed as the loading destination for the selected user

arpeggio pattern block 000–199 (I-A/ B) and 312–506

(User), user arpeggio patterns 000–015 and 312–327 will

be loaded. If you select 000–199 (I-A/ B) and 312–506

(User) as the loading destination for 200 (E-A)–311 (E-

G), the data will be loaded into user arpeggio patterns

000–015 and 312–327.

2If a .PCG ﬁle or .KSC ﬁle of the same ﬁlename exists in

the current directory, you can select the “Load

********.PCG too” check box and “Load ********.KSC too”

check box.

2To load the data, press the OK button. To cancel without

loading, press the Cancel button.

ꢀ“1) Load .PCG; 1”

13) Load an Arpeggio Pattern:

selected icon

•

If you check “Load ********.PCG too,” use “.PCG

Contents” to specify the bank within the .PCG file.

ꢀ“1) Load .PCG; 1”

If you check “Load ********.KSC too,” use “Select .KSC

Allocation” to specify how the song data from the .KSC

file will be loaded.

The selected user arpeggio pattern data will be loaded into

the user arpeggio pattern number that you specify as the

loading destination.

ꢀ“1) Load .PCG; 4”

3Press the OK button to load the data, or press the Cancel

button to cancel without loading.

1If you wish to load an user arpeggio pattern other than

the currently selected one, use “Arp Pattern” (upper line)

to re-select the user arpeggio pattern that you wish to

load.

16) Load Cue Lists:

selected icon

The cue list data in the .SNG ﬁle will be loaded.

The selected user arpeggio pattern can be played from

the keyboard even before you load it. This is convenient

when you want to audition the user arpeggio pattern to

be loaded. (ꢀ p .156)

1To load the data, press the OK button. To cancel without

loading, press the Cancel button.

2In “To Arp Pattern” (lower line) specify the loading desti-

nation user arpeggio pattern.

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17) Load a Song:

selected icon

If you select an undeﬁned ﬁle and choose “Load

selected,” the ﬁle will be assumed to be a Standard

MIDI File, and the “Load Standard MIDI File” dialog

box will appear. When you execute loading, the ﬁle will

be loaded into the song that was speciﬁed as the load-

ing destination. However if the ﬁle format is inappro-

priate, the operation will be invalid and an error

message will be displayed.

Data for the selected song will be loaded into the song num-

ber you speciﬁed as the load destination.

The program bank and program numbers loaded into

the song will follow the “Bank Map (Global P0: 0–2a)

setting. If “Bank Map” is KORG, bank A will be

selected for bank select 00.00 (MSB.LSB). If “Bank Map”

is GM(2), bank G will be selected.

1If you wish to load a song other than the selected song,

use “Song” (upper line) to re-select the song to be loaded.

2In “To Song” (lower line), select the loading destination

song.

3To load the data, press the OK button. To cancel without

loading, press the Cancel button.

21) Load and Transmit MIDI Exclusive Data:

selected icon

18) Load Tracks:

selected icon

All data in the .EXL ﬁle will be loaded, and transmitted from

MIDI OUT or mLAN (if the EXB-mLAN option is installed).

The event data of all tracks in the selected song will be

loaded into the song you specify as the loading destination.

However, it is not possible to specify an uncreated song as

the loading destination.

1In “To,” specify the output connector from which the

data will be transmitted.

MIDI OUT: the rear panel MIDI OUT connector

mLAN: the rear panel mLAN connector (if the EXB-

mLAN option is installed)

1In “Song,” specify the loading destination song.

2To load the data, press the OK button. To cancel without

loading, press the Cancel button.

2If the .EXL ﬁle contains two or more exclusive data items,

use “Transmit Interval Time” to specify the time interval

that will be inserted between each item of exclusive data.

If you are transmitting the data to another TRITON STU-

DIO, the required time interval will depend on the type

of data. After transmitting all program data, you must

allow an interval of approximately 2 seconds. For details

refer to the Global mode section on Dump (ꢀGlobal P1–

1: Page Menu Command). For other MIDI devices, refer

to their owner’s manual.

19) Load Pattern Data:

selected icon

The selected user pattern will be loaded into a user pattern

of the selected loading destination song. However, it is not

possible to specify an uncreated song as the loading destina-

tion.

3To load the data, press the OK button. To cancel without

loading, press the Cancel button.

The maximum data size that can be transmitted is

1,048,576 bytes.

1If you wish to load a user pattern other than the one

already selected, use “Pattern” (upper line) to re-select

the user pattern that you wish to load.

2In “To Song” and “Pattern” (lower line), select the load-

ing destination song and user pattern.

3To load the data, press the OK button. To cancel without

loading, press the Cancel button.

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.

If you have selected an undeﬁned ﬁle, it will be considered

to be a Standard MIDI File, and will be loaded into the song

you specify as the loading destination.

1In “Song,” select the loading destination song.

2To load the data, press the OK button. To cancel without

loading, press the Cancel button.

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In the Load dialog box, press the text edit button to access

the text input dialog box.

By specifying “*” or “?” as wild cards in the selected ﬁle-

name, multiple sample ﬁles that have the same ﬁlename

extension (same ﬁle format) and exist in the selected direc-

tory can be loaded simultaneously.

Loading sample data

The paragraphs 22) Load .KSC, 23) Load .KMP, and 24)

Load .KSF which follow explain how Korg format PCM

data ﬁles are loaded into the sample memory (RAM) of the

TRITON STUDIO.

About the sample memory (RAM)

The TRITON STUDIO is shipped from the factory with 16

Mbytes of sample memory (RAM). (One 16 Mbyte SIMM is

installed) By installing SIMM modules into any and all of

the three 72 pin slots, you can expand the sample memory

(RAM) to a maximum of 96 Mbytes (three 32 Mbyte

SIMM’s).

Example) A folder contains the following ﬁles, and you

select “SFX_A_00.WAV” and specify wild cards to load mul-

tiple ﬁles simultaneously

PIANO.WAV, SFX_A_00.WAV, SFX_A_01.WAV,

SFX_B_00.WAV, SFX_B_01.WAV, SFX_C_00.WAV

It is not possible to load an individual sample that is

larger than 16 Mbytes.

Limitations on the maximum number that can be loaded

•

Multisamples: up to 1,000

Samples: up to 4,000

Samples used by multisamples: up to 4,000

About Korg format PCM data ﬁles

KSC ﬁles:

Files with an ﬁlename extension of KSC (Korg Script) con-

tain the names of .KMP and .KSF ﬁles.

When a .KSC ﬁle is loaded, the .KMP and .KSF ﬁles whose

names it contains will also be loaded. This is a convenient

way to load multiple multisamples and samples at once.

When saving, a .KSC ﬁle and a directory with the same

name as the .KSC ﬁle will be created. The .KMP ﬁles and

.KSF ﬁles listed in the .KSC ﬁle will be saved in this direc-

tory.

Select “SFX_A_00.WAV,” and choose “Load selected” to

access the dialog box.

Press the text edit button ( ) to access the text input dia-

log box, and specify the desired wildcards. (ꢀFor the

renaming procedure, refer to BG p.57)

KMP ﬁles:

Files with a ﬁlename extension of KMP (Korg Multisample

Parameter) contain the parameters which make up a single

multisample. These parameters also include the ﬁlename of

the .KSF ﬁles that are used by that multisample, so when a

.KMP ﬁle is loaded, the necessary .KSF ﬁles will also be

loaded at the same time.

When saving, a .KMP ﬁle and a directory with the same

name will be created, and the .KSF ﬁles used by the multi-

sample will be saved in this directory.

“*” speciﬁes the subsequent characters as a wild card.

“?” speciﬁes only one character as a wild card.

KSF ﬁles:

1) If you specify SFX_A* and execute loading, the follow-

ing ﬁles will be loaded.

Files with a ﬁlename extension of KSF (Korg Sample File)

contain the parameters and waveform data which make up

a single sample. A .KSF ﬁle can be used as one of the sam-

ples used by a multisample. A .KSF ﬁle can also be selected

and used as a drum sample for a drum kit.

SFX_A_00.WAV, SFX_A_01.WAV

2) If you specify SFX_?_00 and execute loading, the follow-

ing ﬁles will be loaded.

SFX_A_00.WAV, SFX_B_00.WAV, SFX_C_00.WAV

Loading multiple ﬁles

3) If you specify SFX_*_00, the result will be the same as if

you specify “SFX_*”, and the following ﬁles will be

loaded.

You can use wild cards to specify multiple .KMP, .KSF, .AIF,

.WAV, AKAI Program, and AKAI Sample ﬁles, and load

them simultaneously.

SFX_A_00.WAV, SFX_A_01.WAV, SFX_B_00.WAV,

SFX_B_01.WAV, SFX_C_00.WAV

This capability can be used in 23) Load .KMP, 24) Load

.KSF, 25) Load .AIF, 26) Load .WAV, 27) Load AKAI

Sample File, and 28) Load AKAI Program ﬁle (ꢀ p .164)

4) If you specify * and execute loading, all of the WAVE

ﬁles will be loaded as follows.

PIANO.WAV, SFX_A_00.WAV, SFX_A_01.WAV,

SFX_B_00.WAV, SFX_B_01.WAV, SFX_C_00.WAV

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22) Load .KSC:

selected icon

23) Load .KMP:

selected icon

The .KMP ﬁles and .KSF ﬁles listed in the .KSC ﬁle will be

The selected .KMP ﬁle will be loaded as a multisample. The

loaded as multisamples and samples respectively.

.KSF ﬁles used by the .KMP will also be loaded as samples.

The .KSF ﬁles used by the .KMP ﬁle will be saved in

an identically-named directory that is created auto-

matically when the .KMP ﬁle is created.

1To load the data, press the OK button. To cancel without

loading, press the Cancel button.

The .KMP ﬁles and .KSF ﬁles listed in the .KSC ﬁle

are saved in a directory of the same name that is cre-

ated automatically at the same time as the .KSC ﬁle.

Samples will be loaded starting at the ﬁrst unoccupied

number following the last multisample or sample that

currently exists in the sample memory. Only valid multi-

samples or samples will be packed and loaded (Append

load).

If the .KSF ﬁles used by the .KMP ﬁle are not in the cur-

rent directory or below it, a dialog box will appear, allow-

ing you to specify the directory. Use the procedure “If a

ﬁle to be loaded cannot be found,…” (ꢀ p .157) to load the

required .KSF ﬁles.

1“Select .KSC Allocation” allows you to specify how the

multisamples and samples in the .KSC ﬁle will be loaded.

Append: The data will be loaded into the numbers after

the last multisample or sample number currently existing

in sample memory (RAM) (i.e., that were previously

sampled or loaded). In this case, only the valid multisam-

ples and samples will be packed and loaded. (ꢀ p .158

“.KSC Allocation” diagram)

If “Load

.PCG too” is checked when you load the

********

Since sample memory (RAM) overﬂow checking is per-

formed when loading each .KSF ﬁle, an overﬂow may

occur during the loading process.

data, programs within the .PCG ﬁle that use multisam-

ples from the .KSC ﬁle will automatically have the multi-

sample settings for their oscillators rewritten so that each

program uses the correct multisample. Drum kits in the

.PCG ﬁle that use samples from the .KSC ﬁle will auto-

matically have the sample settings for the drum kit

rewritten so that the drum kit uses the correct samples.

Clear: All multisamples and samples currently existing

in sample memory (RAM) will be cleared, and the multi-

samples and samples will be loaded in the same conﬁgu-

ration as when they were saved (ꢀ p .158 “.KSC

Allocation” diagram).

24) Load .KSF:

selected icon

The selected .KSF ﬁle will be loaded as a sample.

1To load the data, press the OK button. To cancel without

loading, press the Cancel button.

Choose “Append” if sample memory (RAM) already

contains multisamples and samples that you do not want

to erase, and you would like to load additional multisam-

ples and samples from media.

The sample will be loaded after the last multisample or

sample that currently exists in the sample memory

(RAM) (Append load).

Choose “Clear” if you want to reproduce the state in

which the data had been saved, for example immediately

after power-on.

Loading AIFF ﬁles and WAVE ﬁles

The TRITON STUDIO can load AIFF format or WAVE for-

mat ﬁles, which are formats used to save audio data on per-

sonal computers etc. The loaded data can be used as a

sample. When this data that has been loaded, it can be used

as a sample or a drumsample.

2If the current directory contains a .PCG ﬁle or .SNG ﬁle of

the same ﬁlename, you will be able to select the “Load

.PCG too” and/ or “Load

********

boxes.

.SNG too” check-

********

ꢀ“Load .PCG: 1”

25) Load .AIF:

selected icon

•

If you check “Load

the same name as the .KSC file will also be loaded.

ꢀ“Load .PCG: 2”

If you check “Load

.PCG too,” the .PCG file of

********

The selected AIFF ﬁle will be loaded as a sample.

.SNG too,” the .SNG file of

********

the same name as the .KSC file will also be loaded.

ꢀ“Load .PCG: 3”

3To load the data, press the OK button. To cancel without

loading, press the Cancel button.

1To load the data, press the OK button. To cancel without

loading, press the Cancel button.

If the .KSF ﬁles used by the .KMP ﬁle are not in the cur-

rent directory or below it, a dialog box will appear, allow-

ing you to specify the directory. Use the procedure “If a

ﬁle to be loaded cannot be found,…” (ꢀ p .157) to load the

required .KSF ﬁles.

The sample will be loaded after the last sample that cur-

rently exists in the sample memory (RAM) (Append

load).

You can load multiple ﬁles within the directory.

Since overﬂow checking of sample memory (RAM) is

performed when loading each individual .KSF ﬁle, it is

possible that an overﬂow may occur in the middle of

the loading process.

(ꢀ p .162)

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26) Load .WAV:

selected icon

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 STUDIO’s sample

name (15th and 16th characters).

The selected WAVE ﬁle will be loaded as a sample.

When you load two ﬁles whose sample names are iden-

tical 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.

1To load the data, press the OK button. To cancel without

loading, press the Cancel button.

Sample ﬁles

The sample will be loaded after the last sample that cur-

rently exists in the sample memory (RAM) (Append

load).

Parameter AKAI S1000/S3000

format

TRITON STUDIO format

after loading

Loop points Multiple settings possible Of the multiple loop points,

You can load multiple ﬁles within the directory.

(ꢀ p .162)

the settings for the ﬁrst

HOLD loop are used.

If there is no HOLD loop,

the longest loop will be

used.

Files with an extension of other than .AIF/ .WAV cannot

be recognized as AIFF/ WAVE ﬁles. In this case, use the

Utility “Rename” (0–3A) to change the last four charac-

ters of the ﬁlename to “.AIF”/ “.WAV”

Loop length Settable with resolution

of less than one sample

Resolution of less than one

sample is ignored

If the data that is loaded as a sample contains a loop

point, you can set “S.Ofs(Start Offset)” (Program P1: 1–

2a) on the TRITON STUDIO so that the sound will

begin from the loop point.

You can load multiple ﬁles within the directory.

(ꢀ p .162)

28) Load AKAI Program File:

selected icon

If data whose sample size is 8 bits or less is loaded, it

will be converted into 16 bit data inside the TRITON

STUDIO. This will mean that the amount of internal

memory consumed will be approximately twice as

large as the ﬁle size. The increase in size resulting from

this conversion may mean that it is impossible to save

that data on a media.

The selected Program ﬁle will be loaded as a multisample.

When the loaded data is saved to storage media, a Program

ﬁle will be saved as a .KMP ﬁle, and a Sample ﬁle will be

saved as a .KSF ﬁle.

1To load the data, press the OK button. To cancel without

loading, press the Cancel button.

The sample will be loaded after the last multisample or

sample that currently exists in the sample memory

(RAM) (Append load). Only valid Program ﬁles or Sam-

ples ﬁles will be packed and loaded (Append load).

If the Sample ﬁles used by the Program ﬁle are not in the

current directory or below it, a dialog box will appear,

allowing you to specify the directory. Use the procedure

“If a ﬁle to be loaded cannot be found,…” (ꢀ p .157) to

load the required Sample ﬁles.

Loading AKAI S1000/ S3000 format Sample ﬁles and

Program ﬁles

The TRITON STUDIO can load AKAI S1000/ S3000 format

Sample ﬁles and Program ﬁles (ꢀ p .165 “About AKAI Pro-

gram ﬁ les” for more infomation about compatibility). The

loaded Sample or Program ﬁle data can be used as a sample

or multisample respectively. When the loaded data is then

saved to storage media, it will be saved as a Korg format

.KSF ﬁle or .KMP ﬁle respectively.

AKAI S1000/ S3000 format stereo Sample ﬁles and Program

ﬁles whose names end in “-L” and “-R” can be loaded into

the TRITON STUDIO as stereo samples and multisamples.

When the above ﬁles are loaded, “-L” and “-R” will auto-

matically be moved to the end of the sample name or multi-

sample name (15th and 16th character) so that they can

automatically be recognized as stereo samples or multisam-

ples.

Since sample memory (RAM) overﬂow checking is per-

formed when loading each sample ﬁle, an overﬂow

may occur during the loading process.

If a loaded multisample is assigned samples whose

sample names end in “-L” and “-R,” an “-L” and “-R”

will automatically be added to the end (15th and 16th

characters) of the multisample name.

When you load two multisamples whose multisample

names are identical except for ending in “-L” and “-R,”

they will be recognized in Sampling mode as a stereo

multisample.

27) Load AKAI Sample File:

selected icon

The selected Sample will be loaded as a sample.

1To load the data, press the OK button. To cancel without

loading, press the Cancel button.

The sample will be loaded after the last sample that cur-

rently exists in the sample memory (RAM) by having

been sampled or loaded (Append load). If the loaded

data is then saved to storage media, it will be saved as a

Korg format .KSF ﬁle. (possible to export as a .AIF, .WAV

format ꢀ0–2H “Export Smpl AIF/ WAV”)

If the data that is loaded as a sample contains a loop

point, you can set “S.Offset” (Program P1: 1–2a) on the

TRITON STUDIO so that the sound will begin from the

loop point.

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About AKAI Program ﬁles

The TRITON STUDIO will load only the key-map related

parameters from the Program ﬁle.

0–2: Save

Here you can save various data from internal memory to

avariety of media.

Use the Open button and Up button to move to the desired

directory (i.e., change the current directory), and then select

the desired page menu command.

When you execute a Save operation, the data will be saved

in the same level of the disk hierarchy as the ﬁles that are

displayed.

AKAI format uses the concept of “key groups.” For each

key zone, up to four samples can be assigned, and these

four can be switched or crossfaded by velocity. Key zones

can also be crossfaded.

On the TRITON STUDIO, in contrast, there is one sample

for each key zone, and you can use up to four multisam-

ples to create a key map in the order of the velocity of each

key group. It is not possible to crossfade key zones.

The TRITON STUDIO contains an internal calendar

and clock. When you save a ﬁle, the date and time will

be assigned automatically. The date and time can be set

in “Set Data/ Time” (0–3E).

Example)

An AKAI format Program ﬁle “TESTPROGRAM” consists

of four key groups, and each key group consists of up to

three velocity zones. Key groups 1 and 2 are a layer whose

low range is the same. When this is loaded into the TRI-

TON STUDIO, three multisamples will be created, col-

lected by velocity zone, and the numerals 1, 2, and 3 will

be appended to each multisample name. At this time, the

top key will be determined by the bottom key of the sam-

ple that is assigned at the right, and if the bottom key is the

same (key groups 1 and 2 in the diagram), the higher-num-

bered key group will be used.

0–2

Program file

TESTPROGRAM

Key Group 1 Zone 1

Key Group 1 Zone 2

To avoid errors, do not subject the TRITON STUDIO to

vibration or physical shock while data is being written

to the CDRW-1 option (if installed).

Key Group 2 Zone 1

Key Group 2 Zone 2

Key Group 3 Zone 1

Key Group 3 Zone 2

Key Group 3 Zone 3

M 0–2: Page Menu Command

Key Group 4 Zone 1

Key Group 4 Zone 2

0–1A

0–1B

0–2A

0–2B

0–2C

0–2D

0–2E

0–2F

0–2G

0–2H

0–2I

Multisample

Key Group 3 Zone 1

Key Group 3 Zone 2

Key Group 3 Zone 3

Key Group 2 Zone 1

Key Group 2 Zone 2

Key Group 4 Zone 1

Key Group 4 Zone 2

TESTPROGRAM 1

TESTPROGRAM 2

TESTPROGRAM 3

Loading KCD ﬁles

When saving combinations with “Save All,” “Save PCG

& SNG,” or “Save PCG,” you should also try to save the

programs used by each timbre (and the drum kits used

by the programs) and the user arpeggio patterns at the

same time.

29) Load .KCD

The selected .KCD ﬁle will be loaded.

Similarly when saving programs, you should also save

the drum kit used by the program and the user arpeg-

gio pattern at the same time.

If multisamples or samples created in Sampling mode

are used in a program or drum kit, we recommend that

you save the data as “Save All.”

Also when using “Save PCG” or “Save Sampling Data”

to save an individual program, drum kit, or multisam-

ple or sample created in Sampling mode, we recom-

mend that you save the data in the same directory with

the same ﬁlename.

1Press the OK button to load, or press the Cancel button

to cancel without loading.

The loaded contents will be displayed in the Make Audio

CD page. As the data is being loaded, the WAVE ﬁles in

the list will be checked, and if a ﬁle does not exist, a mes-

sage of “File/ Path not found” will be displayed.

When using “Load PCG” to load a .PCG ﬁle, the .KSC

ﬁle of the same name will be loaded at the same time so

that the multisamples/ samples that were saved with

the program or drum kit will correspond correctly.

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Example: when the Selection button for Program is pressed

If the data being saved does not ﬁt on one volume of media

When saving a .PCG, .KSC, .KMP, or .KSF ﬁle, and the data

does not ﬁt on a single ﬂoppy disk (or other volume of

media), the display will ask “No space available on

medium”

If you press the All button, all banks will be checked.

If you press the Nothing button, all banks will be

unchecked.

Press the OK button to change the selections as speciﬁed,

or press the Cancel button to discard your changes.

To specify whether “Global Settings” will be saved, use

the check box in step 1.

1Make sure that you have sufﬁcient ﬂoppy disks (or other

media) to save the data, and press the OK button. Saving

will begin.

4To save the data, press the OK button. To cancel without

saving, press the Cancel button.

2When the disk is full, the following dialog box will

appear. Remove the ﬂoppy disk from the disk drive,

insert another ﬂoppy disk, and press the LCD screen to

make the TRITON STUDIO detect the disk.

If you want to specify a different SCSI device, choose

“Drive select” (0–1c), and specify the save-destination

media.

If “No space available on medium” dialog box will

appear. Refer to “If the data being saved does not ﬁ t on

one volume of media,” and use the procedure given there

to save the data.

When you save, ﬁles will be created in the current direc-

tory. If the data you save extends across two or more

disks, these ﬁles will be divided. In addition to the .PCG,

.SNG, and .KSC ﬁles that will be created with the speci-

ﬁed ﬁlename, one directory will also be created. The ﬁles

listed in NEWFILE.KSC will be saved in this directory.

3Press the Select button.

The Save process will be halted if you press the Cancel

button. If you then want to abort the Save process, press

the OK button.

If you press the Skip button, the indicated ﬁle will be

skipped, and the next ﬁle will be saved.

0–2A: Save All (PCG, SNG and KSC)

This command saves all programs, combinations, drum kits,

user arpeggio patterns, and global settings as a .PCG ﬁle,

songs and cues lists as a .SNG ﬁle, and multisamples and

samples created in Sampling mode as a .KSC ﬁle to the

speciﬁed media.

0–2B: Save PCG & SEQ

This command saves all internal memory programs, combi-

nations, drum kits, user arpeggio patterns, and global set-

tings as a .PCG ﬁle, and saves songs and cue lists to a .SNG

ﬁle on the speciﬁed media.

This command is valid only when the current directory is a

DOS directory.

This command is valid only when the current directory is a

DOS directory.

1Select “Save All” to access the dialog box.

1Select “Save PCG & SEQ” to access the dialog box.

2Use the text edit button to move to the text input dialog

box, and specify the ﬁlename. (ꢀBG p.57)

For example if you specify NEWFILE and execute the

save command, ﬁles named NEWFILE.PCG, NEW-

FILE.SNG, and NEWFILE.KSC will be saved to the

media.

2Use the text edit button to move to the text input dialog

box, and specify the ﬁlename.

For example if you specify NEWFILE and execute the

save command, ﬁles named NEWFILE.PCG and NEW-

FILE.SNG will be saved to the media.

3Select the bank(s) that you want to save.

Programs, combinations, drum kits, and arpeggio pat-

terns can be saved in units of banks. Information on the

bank to be saved is displayed below each Selection but-

ton. Banks that are checked will be saved.

3Select the bank(s) that you want to save.

(ꢀFor the procedure, refer to “0–2A: Save All 3”)

4To save the data, press the OK button. To cancel without

saving, press the Cancel button.

If you want to modify the selections, press the Selection

button to access the dialog box, and check the check

boxes for the data you want to save.

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3Use “To” to specify the contents that will be saved. (All

content will be saved in Korg format.) Use the following

ﬁve radio buttons to make your selection.

All: All multisamples and samples from the Sample

memory (RAM) will be saved as .KMP ﬁles and .KSF

ﬁles. Simultaneously, a .KSC ﬁle and a directory to con-

tain these ﬁles will also be created and saved.

The ﬁlename will be the .KSC ﬁlename and the directory

name.

0–2C: Save PCG

This command saves all internal memory programs, combi-

nations, drum kits, user arpeggio patterns, and global set-

tings as a .PCG ﬁle.

This command is valid only when the current directory is a

DOS directory.

1Select “Save PCG” to access the dialog box.

All Multisamples: All multisamples and samples (i.e.,

samples used by the multisamples) will be saved as

.KMP ﬁles and .KSF ﬁles. Simultaneously, a .KSC ﬁle and

a directory to contain these ﬁles will also be created and

saved.

The ﬁlename will be the .KSC ﬁlename and the directory

name.

All Samples: All samples will be saved as .KSF ﬁles.

Simultaneously, a .KSC and directory to contain these

ﬁles will also be created and saved.

The ﬁlename will be the .KSC ﬁlename and the directory

name.

One Multisample: The selected multisample will be

saved as a .KMP ﬁle. Simultaneously, a directory will also

be created, and the samples used by the multisample will

be saved in that directory.

2Use the text edit button to move to the text input dialog

box, and specify the ﬁlename.

For example if you specify NEWFILE and execute the

save command, a ﬁle named NEWFILE.PCG will be

saved to the media.

3Select the bank(s) that you want to save.

(ꢀFor the procedure, refer to “0–2A: Save All 3”)

4To save the data, press the OK button. To cancel without

saving, press the Cancel button.

The ﬁlename will be the .KMP ﬁlename and the directory

name.

Initially, the ﬁlename will automatically be set to the ﬁrst

ﬁve characters (uppercase) of the sixteen-character multi-

sample name + the multisample number.

[Examples]

0–2D: Save SEQ (Songs and Cue Lists)

This command saves all songs and cue lists from internal

memory as a .SNG ﬁle.

This command is valid only when the current directory is a

DOS directory.

000: NewMS_ _ _ _ _ _000 → NEWMS000.KMP

001: 108bpmDrLoop00 → 108BP001.KMP

One Sample: The selected sample will be saved as a .KSF

ﬁle.

1Select “Save SEQ” to access the dialog box.

The ﬁlename will be the .KSF ﬁlename name.

Initially, the ﬁlename will automatically be set to the ﬁrst

four characters (uppercase) of the sixteen-character sam-

ple name + the sample number.

[Examples]

0000: NewSample_0000 → NEWS0000.KSF

0001: C#3-EGuitar → C#3-0001.KSF

2Use the text edit button to move to the text input dialog

box, and specify the ﬁlename.

For example if you specify NEWFILE and execute the

save command, a ﬁle named NEWFILE.SNG will be

saved to the media.

3To save the data, press the OK button. To cancel without

saving, press the Cancel button.

If you wish to export the data in AIFF (.AIF) or WAVE

(.WAV) format, select the Utility “Export Smpl AIF/

WAV.”

0–2E: Save Sampling Data (Multisamples and

4To save the data, press the OK button. To cancel without

Samples)

saving, press the Cancel button.

When this command is executed, the following list of multi-

sample and sample data will be saved to media as Korg for-

mat .KMP ﬁles, .KSF ﬁles, and a .KSC ﬁle that collects these

ﬁles.

This is valid only when the current directory is a DOS direc-

tory.

If the page menu command “Translation” (0–1B) is

turned on, the names of .KMP ﬁles and .KSF ﬁles you

save will be displayed as the multisample name or sam-

ple name. This is convenient when you are searching

for the desired ﬁles on disk.

•

Multisample and sample data recorded or edited

Multisample and sample data loaded in Disk mode

Multisample and sample data in internal sample

memory (RAM)

0–2F: Save to Std MIDI File

(Save Song as Standard MIDI File)

This command saves the selected song from internal mem-

ory to storage media as a .MID ﬁle (Standard MIDI File).

This command is valid only when the current directory is a

DOS directory.

1Select “Save Sampling Data” to access the dialog box.

1Select “Save to Std MIDI File” to access the dialog box.

2Press the text edit button to move to the text dialog box,

and specify the ﬁlename (ꢀBG p.57).

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2In “Song,” so the song that you wish to save.

3Use the text edit button to access the text input dialog

box, and specify the ﬁlename. By default, the ﬁrst eight

characters (uppercase) of the song name will be assigned

automatically.

4Use the radio buttons to specify the format.

Format 0 will save sixteen channels of MIDI data

together in a single track.

may need to re-make certain settings, such as selecting

the sample for each index of a multisample.

Furthermore, the following parameters set in Sampling

mode are lost by “Export Smpl AIF/ WAV.”

• Sample Name

• Loop Tune (Sampling 2–1c. “Loop Tune”)

• Reverse (Sampling 2–1c. “Rev”)

• +12 dB (Sampling 2–1c)

Format 1 will save each MIDI channel to a separate track.

5To save the data, press the OK button. To cancel, press

the Cancel button.

Samples that are handled by the TRITON STUDIO as

stereo will be exported as two independent L and R ﬁles.

The song data you save here can be played back on a

device that supports Standard MIDI Files. However if

you intend to playback the data on the TRITON STUDIO,

we recommend that you use “Save SEQ” to save the data,

since this will allow a higher degree of reproducibility.

1Select “Export Smpl AIF/WAV” to access the dialog box.

0–2G: Save Exclusive

(Receive and Save MIDI Exclusive Data)

Accumulates the received exclusive data in internal mem-

ory, and then save the data to media as an .EXL ﬁle.

This command is valid only when the current directory is a

DOS directory.

2In “Format,” select either AIFF or WAVE as the ﬁle for-

mat for export.

3Press the text edit button to move to the text dialog box,

and specify the ﬁlename (ꢀBG p.57).

1When you select “Save Exclusive,” the TRITON STUDIO

will wait for exclusive data to be received. The following

dialog box will appear.

4In “To,” specify the content that will be exported.

All Samples: All samples will be exported.

It will not be possible to specify the ﬁlename. The ﬁle-

name will automatically be assigned as the ﬁrst four

characters (uppercase) of the sixteen-character sample

name + the sample number.

[Examples]

0000: NewSample_0000→NEWS0000.AIF

0001: C#3-EGuitar→C#3-0001.WAV

Samples in One MS: All samples used by the selected

multisample will be exported.

Only ﬁve characters of the ﬁlename can be speciﬁed. The

ﬁve-character ﬁlename + the index number (001–128) in

the multisample will be assigned automatically.

Initially, the ﬁlename will automatically be set to the ﬁrst

ﬁve characters (uppercase) of the sixteen-character multi-

sample name.

[Examples]

000: NewMS___000:

Sample selected for index 001 → MS000001.AIF

Sample selected for index 002 → MS000002.AIF

001: 108bpmDrLoop00:

2Transmit the exclusive data that you wish to save to the

TRITON STUDIO. While the data is being received, the

display will indicate “Status=RECEIVING MIDI DATA.”

When reception ends, the size of the received data and

the size of the remaining free area will be rewritten. The

display will change to “Status=AWAITING MIDI

DATA,” and you can continue transmitting exclusive

data to the TRITON STUDIO. During reception, the Can-

cel button and the OK button cannot be pressed.

3Press the text edit button to access the text input dialog

box, and specify the ﬁlename.

4To save the data, press the OK button. To cancel without

saving, press the Cancel button.

0–2H: Export Smpl AIF/ WAV

Sample selected for index 001 → 108BP001.AIF

Sample selected for index 002 → 108BP002.AIF

(Export Samples as AIFF/ WAVE)

Sample data in Sample memory (RAM) that was recorded or

edited in Sampling mode, or loaded in Disk mode, can be

exported (written) to media as an AIFF or WAVE format

sample ﬁle.

This is valid only when the current directory is a DOS direc-

tory.

When exporting All Samples or Samples in One MS,

and all of the sample data does not ﬁt on one volume of

media (e.g., ﬂoppy disk), another dialog box will

appear, directing you to specify the next media. (“If the

data being saved does not ﬁ t on one volume of media ”

ꢀ p .166) H owever at this time if a single sample is

larger than the capacity of the media, the sample cannot

be exported. Either specify media with a larger capac-

ity, or press Skip button to omit exporting that sample

and proceed to exporting the next sample.

Normally, it is recommended that you use Save All or

Save Sampling Data to save sample data in Korg format

(.KSC, .KMP, .KSF). This will allow you to save the data

in a way that preserves the state of the multisamples

(and the samples that they use) as they exist in Sample

memory (RAM).

Use “Export Smpl AIF/ WAV” if you wish to use an

AIFF or WAVE format compatible application on your

computer to work with samples that were recorded or

edited on the TRITON STUDIO.

One Sample: The single selected sample will be

exported.

The ﬁlename will be the ﬁlename of the .AIF or .WAV ﬁle.

Initially, the ﬁlename will automatically be set to the ﬁrst

four characters (uppercase) of the sixteen-character sam-

ple name + the sample number.

“Export Smpl AIF/ WAV” does not export multisample

ﬁles. The exported AIFF or WAVE format samples can

be re-loaded, but if the sample number when saving is

different than the sample number when loading, you

When exporting One Sample, it is not possible to

export sample data that will not ﬁt on a single ﬂoppy

disk (or a single volume of other media).

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5To export the data, press the OK button. To cancel with-

out exporting, press the Cancel button.

0–3: Utility

0–2l: Save Audio CD Track List

Here you can rename, copy, or delete the selected disk or

ﬁle, create a new directory, format, and set the date and

time.

After selecting a disk or ﬁle, select the desired page menu

command.

This command saves a track list that you created in the

Make Audio CD page. The drive and directory locations that

contain each WAVE ﬁle, and the names of the WAVE ﬁles

will be saved.

This command is valid only when the current directory is a

DOS directory.

0–3

1Select “Save Audio CD Track List” to access the dialog

box.

2Use the text edit button to move to the text input dialog

box, and specify the ﬁlename.

For example if you specify NEWFILE and save, NEW-

FILE.KCD will be saved to the media.

3Press the OK button to save, or press the Cancel button

to cancel without saving.

To avoid errors, do not subject the TRITON STUDIO to

vibration or physical shock while data is being written

to the CDRW-1 option (if installed) or while a disc is

being formatted.

M 0–3: Page Menu Command

0–1A

0–1B

0–3A

0–3B

0–3C

0–3D

0–3E

0–3F

0–3G

0–3H

0–3I

0–3A: Rename

This command renames the selected ﬁle or directory.

This command is valid only when a DOS ﬁle or a DOS direc-

tory is selected.

1Select the ﬁle or directory whose name you want to edit.

2Select “Rename” to access the dialog box.

3Press the text edit button to access the text input dialog

box, and modify the name.

4To rename the ﬁle or directory, press the OK button. To

cancel, press the Cancel button.

0–3B: Copy

This command copies the selected ﬁle or directory.

This command is valid only when a DOS ﬁle or a DOS direc-

tory is selected.

1Select the ﬁle or directory that you want to copy.

2Select “Copy” to access the dialog box.

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3“Copy” will show the name of the selected ﬁle or direc-

tory.

0–3D: Create Directory

This command creates a new directory within the current

directory.

If you wish to change the ﬁle or directory that will be

copied, use the text edit button to move to the text input

dialog box, and specify the ﬁlename that you wish to

copy. (ꢀBG p.57)

1Select “Create Directory” to access the dialog box.

(Can use */ ? as Wildcard): When you use the text edit

button to access the text input dialog box and specify the

name of the ﬁle or directory to be copied, you can use “*”

and “?” characters as wildcards. For example, if in the

above example you specify PRELOAD1.* (instead of

PRELOAD1.PCG), all ﬁlenames of PRELOAD1. with

any ﬁlename extension will be copied at the same time:

i.e., PRELOAD1.PCG, PRELOAD1.SNG,

2Use the text edit button to access the text input dialog

box, and specify the name of the new directory.

3To create the directory, press the OK button. To cancel

without creating the directory, press the Cancel button.

PRELOAD1.KSC, ...

0–3E: Set Date/ Time

Example)

This command sets the date and time of the TRITON STU-

DIO’s internal calendar.

PRELOAD1.* : PRELOAD1.PCG, PRELOAD1.SNG,

PRELOAD1.KSC, ...

PRELOAD?.PCG : PRELOAD1.PCG, PRELOAD2.PCG,

PRELOAD3.PCG, ...

1Select “Set Date/Time” to access the dialog box.

When wildcards are used, only ﬁles will be subject to

copying. Directories will not be copied.

4Use the Open button and Up button to select the copy

destination directory. If you wish to specify a different

SCSI device, use “Drive Select” (0–1c) to select it.

5If you wish to copy the ﬁle or directory with a different

name, use the text edit button (in the lower line) to access

the text input dialog box, and specify the name with

which the ﬁle or directory will be copied. If you are using

wildcards to simultaneously copy multiple ﬁles, it is not

possible to modify the ﬁlename.

2Set each parameter.

“Year”

“Month” 1–12

“Day” 1–31

1980–2079

“Hour” 0–23

“Minute” 0–59

“Second” 0–59 (For other than CD-R/ RW media, the

number of seconds recorded in the ﬁle will

always be an even-numbered value.)

6To copy the data, press the OK button. To cancel without

copying, press the Cancel button.

3To set the date and time, press the OK button. To cancel,

If you decide not to copy, press the Abort button.

press the Cancel button.

If the drive that you selected in “Drive Select” is remov-

able media (ﬂoppy disk, CD-R/ RW, MO disc, remov-

able hard disk etc.), it is not possible to copy to different

media on the same drive.

0–3F: Format

This command formats the selected media, such as a ﬂoppy

disk or external SCSI device. The volume label (a name for

the entire disk) you specify will be assigned to the disk. The

volume label you assign here will be displayed in “Drive

Select” (0–1c). The volume label can be a maximum of

eleven characters.

0–3C: Delete

This command deletes the selected ﬁle or directory.

This command is valid only if a DOS ﬁle or directory is

selected.

When you format, all data saved on that media will be

erased. If you had used a computer etc. to set up that

drive so that it can be used as multiple drives (parti-

tions), this data will also be erased. Be sure to double-

check before you format.

1Select the ﬁle or directory that you want to delete.

2Select “Delete” to access the dialog box.

After formatting, it is not possible to press the [COM-

PARE] key to return to the previous state.

3“Delete” will indicate the name of the selected ﬁle or

directory.

1Make sure that the media you want to format is inserted.

2Use “Drive Select” (0–1c) to select the media that will be

formatted.

If you wish to change the ﬁle or directory that is to be

deleted, use the text edit button to access the text input

dialog box, and specify the name of the ﬁle or directory

that you wish to delete.

3Select “Format” to access the dialog box.

(Can use */ ? as Wildcard): When you use the text edit

button to access the text input dialog box and specify the

name of the ﬁle to be deleted, you can use the “*” or “?”

characters as wildcards. This allows you to simulta-

neously delete multiple ﬁles with identical ﬁlenames and

different extensions, or ﬁles whose names are partially

identical (ꢀ0–3B “Copy”).

4In “Volume Label,” use the text edit button to access the

text input dialog box, and specify the volume label.

The previously-speciﬁed volume label will be displayed.

If no volume label had been speciﬁed for the disk, or if a

non-DOS disk was inserted, this will indicate “NEW

VOLUME.”

When wildcards are used, only ﬁles will be subject to

deletion. Directories will not be deleted.

4To delete the selected ﬁle or directory, press the OK but-

ton. To cancel without deleting, press the Cancel button.

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5Specify the initialization format. Normally you should

use Quick Format to initialize the disk, and use Full For-

mat if an error message of “Disk not Formatted” appears.

Quick Format: Selects this if the media has already been

physically formatted. Since only the system area of the

media need be formatted, this will require less time.

Full Format: Selects this when formatting media that has

not been physically formatted. You should also select this

type of formatting if writing errors occur frequently with

this media.

2Select “Rate Convert” to access the dialog box.

“Rate Convert” will indicate the name of the selected ﬁle.

3Use the Open button and Up button to select the save-

destination directory.

Normally, it is not necessary to perform a Full Format

on SCSI media that has been physically formatted at

512 bytes/ block. Perform the Quick Format for such

media.

If you want to specify another SCSI device, use “Direc-

tory select” to specify it.

4If you want to change the ﬁlename for saving, press the

text edit button in the lower line to access the text input

dialog box, and specify the ﬁlename for saving.

5Press the OK button to execute the Rate Convert com-

mand, or press the Cancel button to cancel without exe-

cuting.

Depending on the capacity of the media, executing Full

Format may require many hours, or may not be com-

pleted successfully.

6Specify the ﬁle system.

FAT16 can format a maximum of 4 Gbyte. If you are

using media larger than 4 Gbyte, use FAT32 format to

format it. (In the case of FAT32, the theoretical maximum

is 2 TB = 2,000 Gbytes.)

0–3I: Check Medium

This command checks the selected MS-DOS format media

for errors, and corrects them. Execute this command if you

frequently experience messages such as “Error in writing to

medium” while writing to disk, or “Buffer underrun error

occurred” while sampling to hard disk.

7To format the media, press the OK button. To cancel

without formatting, press the Cancel button.

After a ﬂoppy disk has been formatted by the TRITON

STUDIO, a 2HD ﬂoppy will hold 1.44 Mbyte (18 sectors/

track), and a 2DD ﬂoppy will hold 720 Kbyte (9 sectors/

track).

1Make sure that the media you want to check has been

inserted.

2Use “Drive select” to select the media that you want to

check.

3Select “Check Medium” to access the dialog box.

If you want to use a CD-R/ RW for writing packet data,

you must format it (ꢀ p .299). If you w i ll be using it as

an audio CD, formatting is not necessary.

0–3G: Convert to ISO9660 Format

This command converts UDF format CD-R media to

ISO9660 format.

If a ﬁle that was saved by the TRITON STUDIO to CD-R is

to be loaded by another device, you must execute this com-

mand to convert it to ISO9660 format.

Hard disk memory is used as temporary storage when mak-

ing this conversion. This command cannot be selected if a

hard drive is not connected.

4Press the OK button to execute the check, or press the

Cancel button to cancel.

5When checking has been completed, the recovered con-

tent will be displayed.

1Select “Convert to ISO9660” to access the dialog box.

If you want to stop the checking process before it has

been completed, press the Abort button. Checking will

require approximately 80 minutes for 5 Gbyte (FAT32)

media, but the time required will vary depending on

the media capacity and on the number of errors that are

found.

2Press the OK button to execute the conversion, or press

the Cancel button to cancel without executing.

Even if data is converted into ISO9660 format, some

ﬁles may not be readable by certain devices.

0–3H: Rate Convert

This command converts the sampling rate (frequency) of the

selected WAVE ﬁle from 48 kHz to 44.1 kHz.

This is valid only when a 48 kHz WAVE ﬁle is selected.

When you use the Make Audio CD page to write a WAVE

ﬁle to an audio CD, 48 kHz ﬁles will alternatively be con-

verted to 44.1 kHz. This command is useful when you want

to audition the sound converted to 44.1 kHz before writing

it to CD.

1Select the ﬁle or directory whose sampling rate (fre-

quency) you want to convert.

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Free

[00:00..., --:--]

0–4: Make Audio CD

Displays the time that remains on the media inserted in the

CD-R/ RW drive selected by “Drive select.”

If a CD-R/ RW drive is not connected, or if it contains no

media, or if the inserted media has already been ﬁnalized,

this will display --:--.

If the CDRW-1 option is installed, or if a CD-R/ RW drive is

connected as an external SCSI device, you can create an

audio CD in Disk mode.

Performances of the TRITON STUDIO’s sequencer etc. can

be resampled to the internal hard disk etc. as WAVE ﬁles,

and these can be used to create an audio CD.

0–4b: Audio track list

Audio CDs are created from 44.1 kHz or 48 kHz WAVE ﬁles.

In this page, you can use the Insert button and Cut button

etc. to arrange WAVE ﬁles in the audio track list, and then

execute the page menu command “Write to CD” to write

them to CD.

Track

(01...99)

Displays the track numbers of the WAVE ﬁles arranged in

the audio track list. (ꢀ0–4a “Track (Track Select)”)

WAVE File

WAVE ﬁles with a sampling frequency of 48 kHz will

automatically be converted to 44.1 kHz when written to

an audio CD (“Write to CD”).

Displays the names of the WAVE ﬁles.

To add a WAVE ﬁle, place the cursor at the WAVE ﬁle of the

audio track that follows the audio track you want to add,

and press the Insert button. To delete an audio track, place

the cursor at the audio track that you want to delete, and

press the Cut button.

If the cursor is located at the WAVE ﬁle name, you can

press the SAMPLING [START/ STOP] key to play back

that ﬁle. This is convenient when you want to audition

the sound. You can also erase the track data from CD-

RW media.

When you select a WAVE ﬁle (highlighted) and press

the SAMPLING [START/ STOP] key, the WAVE ﬁle will

play back. The lower line will indicate “(Sampling

START plays selected ﬁle).”

What is Finalize?

In order for an audio CD to be playable on a conventional

CD player, or to be played on the TRITON STUDIO (Global

0–4: Play Audio CD page, Sampling P5: Audio CD page), the

Finalize operation must be executed after all the desired

audio tracks have been written to the CD-R/ RW disc.

On the TRITON STUDIO, the page menu command “Write

to CD” allows you to simply write the audio tracks without

ﬁnalizing the disc, and this means that other audio tracks

can be added to that CD-R/ RW disc at a later time.

No more audio tracks can be added to a disc once that disc

has been ﬁnalized, so be sure that all desired audio tracks

have been written before you ﬁnalize.

Size, Rate, Time

This area displays information on the WAVE ﬁles in the

audio track list.

Size: Data size (bytes)

Rate: Sampling frequency (Hz)

Time: Time (minutes: seconds)

This information will not be displayed if you used

“Load .KCD” etc. to load an audio track list, and the

WAVE ﬁle is not found in the speciﬁed directory. In this

case, use the Cut button to delete that audio track, or

check whether the hard disk etc. is connected correctly.

0–4

0–4a

0–4c: Insert, Cut, Clear

0–4b

Insert

Adds an audio track to the audio track list.

Place the cursor at the WAVE ﬁle that follows the audio

track you want to add, and press the Insert button. The fol-

lowing dialog box will appear.

0–4c

0–4d

0–4a: Track, Total, Free

Track (Track Select)

[01...99, --]

Speciﬁes the track number that will be displayed at the top

of the audio track list.

If unﬁnalized media is inserted, this ﬁeld will indicate the

number that follows the last track number on that media.

For example if data up to “Track (Track Select)” 05 has

already been written, this will indicate 06 and following (up

to 99).

Use “Drive select” to select the drive (internal hard disk,

etc.) that contains the ﬁle you want to add, use the Open

button and Up button to move to the desired directory, and

select the WAVE ﬁle. (ꢀ0–1c, 0–1d)

Insert: Adds the selected (highlighted) WAVE ﬁle.

Insert All: Adds all WAVE ﬁles in the selected directory

whose sampling frequency is 44.1 kHz or 48 kHz. The ﬁles

will be added in the order in which they are displayed.

When you execute Insert or Insert All, the WAVE ﬁle(s) will

be added, and any subsequent audio tracks will be moved

toward the end of the list.

If “WAVE ﬁle” ====End==== is at the top, this will indicate

–. Up to 99 tracks can be registered using the Insert button.

Total

[00:00...]

Displays the total time of all WAVE ﬁles in the track list.

If the “Total” time is greater than “Free,” writing to CD-

R/ RW media will not be possible.

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If you select a 44.1 kHz or 48 kHz WAVE ﬁle, you can

press the SAMPLING [START/ STOP] key to play it

back. In this case, the lower line will indicate “(Sam-

pling START/ STOP plays selected ﬁle).”

2Select “Write to CD” to access the dialog box.

If you press the Exit button, the dialog box will close, and no

further WAVE ﬁles will be added.

You can continue adding as many WAVE ﬁles as desired

until you press the Exit button.

3Use “Speed” to specify the writing speed. The writing

speeds supported by your CD-R/ RW drive will be dis-

played.

Cut

Deletes the audio track.

Be aware that if your system has a slower data transfer

rate, using an excessively fast writing speed will pro-

duce writing errors. Depending on the drive you are

using, problems with the speed may make it impossible

to write, but you can perform a test beforehand to iden-

tify such problems. It is a good idea to perform a test

write when you write for the ﬁrst time, to verify the

speed limitations of your drive.

When you place the cursor at “WAVE File” of the audio

track that you want to delete, and press the Cut button, that

audio track will be deleted. Any subsequent audio tracks

will be moved forward.

Clear

Erases the audio track list.

If you want to keep an audio track list, use “Save Audio

CD Track List” (0–2I) to save it on ﬂoppy disk or other

medium.

Use “Mode” to specify the writing method.

Test: Tests whether the data can be written correctly. Data

will not actually be written to the CD-R/ RW media, but

all other processing will occur just as if data were actu-

ally being written. Use this when you want to check

whether writing can be performed correctly. If an error

occurs, the display will indicate “Error in writing to

medium.”

0–4d: Drive select

Drive select

[ID0...6, CDD: Name]

Selects the CD-R/ RW drive that contains the media that you

Test and Write: A test write will be performed, and if the

test is successful, the disc will actually be written. We rec-

ommend that you use this method for fast writing

speeds.

will use to create an audio CD. (ꢀ0–1c)

Drives other than a CD-R/ RW drive cannot be selected

here.

Write: The disk will only be written.

4Specify whether the CD-R/ RW media will be ﬁnalized

after the audio tracks have been written to it.

If “Execute ﬁnalize too” is checked, the disc will be ﬁnal-

ized.

M 0–4: Page Menu Command

0–4A

0–4B

0–4C

0–4D

If this is not checked, the disc will not be ﬁnalized.

If you want only to ﬁnalize the disc, use “Finalize

Audio CD” (0–4C).

5Press the OK button to execute writing or test writing to

the CD-R/ RW media, or press the Cancel button to can-

cel without executing.

0–4A: Swap Track

This command exchanges (swaps) the order of two audio

tracks.

WAVE ﬁles with a 48 kHz sampling frequency will be

converted to 44.1 kHz when they are written.

In order for this processing to be performed, free space

of approximately the same size as the WAVE ﬁle to be

converted will be required on the drive that contains

the WAVE ﬁle. Before executing, please make sure that

the drive containing the WAVE ﬁle has enough free

space.

1Select “Swap Track” to access the dialog box.

2Use “Source1” and “Source2” to select the two audio

tracks that you want to exchange.

3Press the OK button to execute the Swap Track opera-

tion, or press the Cancel button to cancel without execut-

ing.

If the track is shorter than 4 seconds, silence will be

automatically added to increase the length to 4 seconds.

Two seconds of silence will be added to the end of each

track except the last track.

0–4B: Write to CD

When this command is executed, the WAVE ﬁles speciﬁed in

the audio track list will be written as audio CD tracks. If

desired, you can also ﬁnalize the disc (ꢀ p .172) at this time.

0–4C: Finalize Audio CD

This command ﬁnalizes CD-R/ RW media to which audio

tracks have already been written.

To avoid errors, do not subject the TRITON STUDIO to

vibration or physical shock while data is being written

to the CDRW-1 option (if installed), or while formatting

is taking place.

To avoid errors, do not subject the TRITON STUDIO to

vibration or physical shock while data is being written

to the CDRW-1 option (if installed), or while formatting

is taking place.

1Create an audio track list, use “Drive select” to select the

CD-R/ RW drive, and make sure that CD-R/ RW media is

inserted in the drive.

1Use “Drive select” to select the drive, and make sure that

the drive contains valid media.

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2Select “Finalize Audio CD” to access the dialog box.

0–5: Play Audio CD

If the CDRW-1 option is installed, or if a CD-R/ RW drive is

connected as an external SCSI device, you can play back

audio CD’s in Disk mode.

3Press the OK button to execute the Finalize command, or

If you are using a SCSI-connected CD-ROM/ R/ RW drive,

connect the audio outputs of the drive to the AUDIO INPUT

1 and 2 of the TRITON STUDIO.

press the Cancel button to cancel without executing.

0–4D: Erase CD-RW

This command erases the audio tracks from CD-R/ RW

media.

It is convenient to use this method to verify a CD that you

created in the Make Audio CD page.

To avoid errors, do not subject the TRITON STUDIO to

vibration or physical shock while data is being written

to the CDRW-1 option (if installed), or while formatting

is taking place.

The audio CD will play back according to the Analog setting

for “Input (COMBI, PROG, SEQ, S.PLAY, DISK).”

It is not possible to play back an audio CD that has not

been ﬁnalized.

1Use “Drive select” to select the drive, and make sure that

it contains data.

0–5

2Select “Erase CD-RW” to access the dialog box.

0–5a

3Select the mode by which the audio tracks will be erased.

Quick Erase: Normally you will select this.

0–5b

Full Erase: The data will be erased completely. Substan-

tial time will be required for the erasure.

When you execute Quick Erase, the ﬁles and data will

appear to be gone, but the data itself will remain on the

disc until it is overwritten. If you want to erase data

that should not be seen by someone else, execute Full

Erase to erase the data completely.

The audio CD can be controlled by the SEQUENCER keys.

SEQUENCER[START/ STOP] key : Play/ Stop

[FF>>] key

: Fast-forward

: Rewind

[<<REW] key

[PAUSE] key

[LOCATE] key

: Pause

4Press the OK button to execute the Erase operation, or

: Return to the beginning

of the track

press the Cancel button to cancel without executing.

If the CDRW-1 option is installed, playing the TRITON

STUDIO’s keyboard or operating the controllers during

CD playback may produce physical shock that causes

the data to skip or read errors to occur, preventing play-

back from occurring normally. Please use caution.

0–5a: Location, Drive, Track, Index, Volume

Location

(00:00.0...)

Displays the current location of the audio track that is play-

ing. When stopped, this speciﬁes the location at which play-

back will begin.

When “Track” or “Index” are re-selected, this will be 00:00.0.

Drive

Speciﬁes the drive of the audio CD that will be played.

Only CD-ROM/ R/ RW drives can be selected.

Track

[01...]

Selects the audio CD track that will be played.

Index

Speciﬁes the index of the audio CD that will be played. This

is valid only if you have selected a track that has index data.

In the case of some CD-R/ RW drives, index informa-

tion cannot be obtained.

Volume

[0...127]

Speciﬁes the volume of the audio output from the CD-R/

RW drive.

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Since some CD-R/ RW drives do not support this, the

volume may not change when you adjust this setting.

0–6: Media Info (Media Information)

This displays information on the media that is selected by

“Drive Select” (0–1c).

0–5b: Input

Input

[Analog, S/ P DIF, mLAN]

0–6

Input1:

0–6a

Input2:

Level

[0...127]

Pan

[L000...C064...R127]

BUS (IFX/ Indiv.) Select

[L/ R, IFX1...5,1, 2, 3, 4, 1/ 2, 3/ 4, Off]

Send1 (MFX1), Send2 (MFX2)

[000...127]

Here you can specify the input source, input level, pan, bus,

and master effect send for analog/ digital audio devices.

Input settings are valid in Combination, Program,

0–6a: Media Information

Sequencer, Song Play, and Disk modes. (ꢀGlobal P0: 0–

3a)

Volume Label:

Normally you will set these parameters as follows.

The volume label of the media.

Input1 (L channel):

“Level” 127, “Pan” L000, “BUS (IFX/Indiv.) Select” L/R,

“Send1”/“Send2” 000

Drive:

This is the speciﬁed drive.

Input2 (R channel):

“Level” 127, “Pan” R127, “BUS (IFX/Indiv.) Select” L/R,

“Send1”/“Send2” 000

Device Type:

The type of media.

Product ID:

The Internal DD/ HD, vendor ID, product, and product ver-

sion, etc.

Format Type:

The type of format. If not formatted, this will indicate

“Unformatted.”

Total Size:

The capacity of the media (in bytes).

Free Size:

The free capacity of the media (in bytes).

Write Protect:

The write protect status of the media. This will indicate

“On” if protected, or “Off” if not protected.

Supports Removable:

This will indicate “Yes” if the media of the selected device

can be removed (e.g., ﬂoppy disk, CD-R/ RW disc, MO disc,

removable hard disk). If the media is ﬁxed, this will be

“No.”

Drive select

Selects the drive. (ꢀ0–1c)

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M 0–6: Page Menu Command

0–6A

0–6A: Scan SCSI device

This command allows you to re-mount a connected SCSI

device.

1Select “Scan SCSI device.”

The currently-connected SCSI devices will be re-scanned.

Once scanning is completed, any valid SCSI device can

be selected in “Drive Select.”

Never connect or disconnect a SCSI cable while the

power of the TRITON STUDIO or of a SCSI device is

turned on. Doing so can cause irreparable malfunc-

tions.

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8. Effect Guide

Sample

Recording

AUDIO INPUT (1, 2)

S/P DIF IN (L, R)

Insert Effect 1-5

Overview

mLAN AUDIO IN (1, 2)

Sample

Resampling

The effects section of the TRITON STUDIO consists of ﬁve

Insert Effects, two Master Effects, a stereo, three band Mas-

ter EQ, and a Mixer section that controls the effect routings.

You can select any of 102 digital Insert Effects or 89 digital

Master Effects, as listed below:

The external input from the AUDIO INPUT 1, 2, S/P DIF

IN, or mLAN (if the EXB-mLAN option is installed) jacks is

also valid in modes other than Sampling mode. In Program,

Combination, Sequencer, and Song Play modes, you can use

the insert effects, master effects, and master EQ. Settings

for external input from the AUDIO INPUT 1, 2, S/ P DIF IN,

and mLAN (if the EXB-mLAN option is installed) can be

made in “Input (COMBI, PROG, SEQ, S.PLAY, DISK)” (Glo-

bal P0: 0–3a).

Classiﬁcation of 102 effects

000–015 Filters and dynamics effect, such as EQ and compression

016–031 Pitch modulation and phase modulation effects, such as cho-

rus and phaser

032–040 Other modulation and pitch-shifting effects, such as rotary

speaker and pitch shifter

In these modes, the external input sound from each jack can

be processed by the TRITON STUDIO’s effects and sampled,

or the TRITON STUDIO can be used as a 6-in 6-out effect

processor. The TRITON STUDIO can also be used as a

vocoder effect (093: Vocoder) that uses external mic input to

control internal sounds.

041–051 Early reﬂection and delay effects

052–057 Reverb effects

058–089 Mono effects and mono chain effects, in which two mono

effects are internally connected in series

090–102 Double-size effects

Send

Return

Master Effect 1,2

Select the desired effects 000–089 from IFX 1, 2, 3, 4, and

5, and MFX 1 and 2. Effects 090–102 are double-size

effects and use twice the area, compared to other

effects. They are selected in IFX 2, 3, and 4.

OUTPUT

L/MONO, R

Oscillator

Filter

Amplifier

Insert Effect 1-5

Master EQ

AUDIO INPUT (1, 2)

S/P DIF IN (L, R)

mLAN AUDIO IN (1, 2)

When effects are applied to the external input sound

from the AUDIO INPUT 1, 2, S/ P DIF IN, and mLAN

(if the EXB-mLAN option is installed) jacks, certain

effect types or parameter settings may cause oscillation

to occur. If this occurs, adjust the input level, output

level, or effect parameters. Please be aware of this par-

ticularly when using an effect that has a high gain.

1. Effects in each mode

In Program mode, you can process sounds using Insert

Effects. This is something like processing an oscillator (OSC)

output sound using a ﬁlter and an ampliﬁer. Then, you can

apply a modulation and reverb effect or other Master Effect)

to the processed sound to add ambience and space. Finally,

before the sound is output from the OUTPUT (MAIN) L/

MONO, and R connectors, you can ﬁne-tune the tonal qual-

ity using the stereo, three-band Master EQ. You can adjust

these settings for each Program individually.

2. Dynamic modulation (Dmod)

Dynamic modulation is a function that enables you to con-

trol and change in real-time certain parameters ^*1of the TRI-

TON STUDIO that govern the intensity of the effects during

performance via the TRITON STUDIO’s controllers and

incoming MIDI messages.

Send

Return

Master Effect 1,2

OUTPUT

L/MONO, R

Master EQ

Oscillator

Filter

Amplifier

Insert Effect 1-5

In Combination mode, Sequencer mode, and Song Play

mode, you may process Program sounds for each timbre

and track using the Insert Effects, add ambience and space

to the entire sound using the Master Effects, and adjust the

overall tonal quality using the Master EQ.

You can make these settings for each Combination in Com-

bination mode, for each Song in Sequencer mode, and for

the Song Play mode individually.

You can also control the effect parameters using the BPM/ MIDI

Sync function . Using this function enables you to synchronize

the LFO speed of modulation effects or the delay time of delay

effects with the tempo of the arpeggiator or sequencer.

For more information, refer to “Dynamic Modulation Source

(Dmod)” (ꢀ p .246).

These effect parameters are marked with

(ꢀ p .187–).

Send

Return

Master Effect 1,2

The effect parameters marked with

function (ꢀ p .192–).

support this

OUTPUT

L/MONO, R

Timbre 1

Timbre 2

Track 1

Track 2

Master EQ

Insert Effect 1-5

Timbre 8

Track 16

3. Effect I/ O

In Sampling mode, you can sample while applying insert

effects to the internal audio input from AUDIO INPUT 1, 2,

S/ P DIF IN, or mLAN (if the EXB-mLAN is installed) jacks.

Settings in Sampling mode are made in Input (SAMPLING)

(Sampling P0: 0–2a). These settings are valid only for Sam-

pling mode.

To achieve the best tonal quality, signals sent to the Master

Effects should be output at the maximum level without clip-

ping. Also, use the “Wet/ Dry” parameter for the Insert

Effects and the “Output Level” or “Return 1, 2” parameter

for the Master Effects to adjust the effect output level.

You can also sample while applying an insert effect to the

samples assigned to a multisample. (Sampling P0: 0–2b)

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The TRITON STUDIO does not have an input level

meter to detect the effect input level. If the input level is

too low, the S/ N ratio may decrease. On the other hand,

if the input level is too high, clipping may occur.

Insert Effects (IFX 1, 2, 3, 4, 5)

The following table shows the parameters related to the

level settings:

1. In/ Out

Insert Effects (IFX 1, 2, 3, 4, 5) have a stereo input and a ste-

reo output. If you select Dry (no effect) for the “Wet/ Dry”

parameter, the stereo input signal will be output in stereo

without being processed by the effect. If you select Wet

(effect applied), the processed signal will be output in one of

the following ways:

Program mode

Input

OSC1/2 High, Low Level

Filter1/2 Trim

(P1)

(P3)

Amp1/2 Level

(P4)

Send1/2

(P8)

Effect

Effect Trim parameter ^*1

Effect Wet/Dry parameter

Return1, 2

(P8, P9)

(P9)

Mono In - Mono Out

Mono In - Stereo Out

Output

Wet

Effect

Stereo In - Stereo Out

Combination mode

If you select 000: No Effect, stereo input signals are output

in stereo without being processed.

The possible routing of stereo inputs and outputs is indi-

cated in the upper left corner of the block diagram.

Input

Volume

(P0, P1)

(P8)

Send1/2

Effect Trim parameter ^*1

Effect Wet/Dry parameter

Return1, 2

(P8, P9)

(P9)

Output

Pressing the ON/OFF button of IFX 1–5 in the P8: Insert FX

pages in each mode will toggle between ON and OFF. When

OFF is selected, the effect will be bypassed, and the stereo

input signal will be output in stereo without being pro-

cessed.

Sequencer mode

Input

Volume

(P0)

The TRITON STUDIO can also turn IFX1–5 off sepa-

rately from the setting of the ON/ OFF button by receiv-

ing MIDI control change message CC#92. Value 0 will

turn them off, and value 1–127 will turn them on. You

can also use “Effect Global SW” (Global P0: 0–1b) to

turn IFX1–5 on and off. This MIDI control is performed

on MIDI Global Channel “MIDI Channel” (Global P1:

1–1a).

Send1/2

(P8)

Effect Trim parameter ^*1

Effect Wet/Dry parameter

Return1. 2

(P8, P9)

(P9)

Output

Song Play mode

Input

Volume

(P0)

Send1/2

(P8)

Double-size effects

Effect Trim parameter ^*1

Effect Wet/Dry parameter

Return1, 2

(P8, P9)

(P9)

Double-size effects 090–102 use twice the area of what

other effects use.

Output

You can select them for Insert Effects IFX2, IFX3, and IFX4.

Note that if you select a double-size effect for IFX2, you can-

not use IFX3. In the same way, if you select a double-size

effect for IFX3 or IFX4, you cannot use IFX4 or IFX5 respec-

tively.

Sampling mode

Input

AUDIO INPUT LEVEL on the rear panel

Level

(P0)

(P8)

Effect Trim parameter ^*1

Selecting double-size effects for IFX2 and IFX4

Output

Effect Wet/Dry parameter

Global mode

Input

AUDIO INPUT LEVEL on the rear panel

Level

(P0)

Send1/2

Some effects may not have these parameters.

Use this parameter to set the Audio Input Level in all

modes other than Sampling mode.

Selecting a double-size effect for IFX3

The audio CD (input) level from the CDRW-1 option is

controlled by “Volume” in Sampling mode P5 or Disk

mode Play Audio CD.

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— Settings for drum programs —

2. Routing

You can use up to ﬁve channels (IFX 1, 2, 3, 4, and 5) for the

If you have selected “Drums” for “Oscillator Mode” (Pro-

gram P1: 1–1a) of a Program, the “USE DKit Setting” box

(Program P8: 8–1b) becomes available. If you check this box,

“BUS Select” (Global P5: 5–2b) for each key of the selected

DrumKit becomes effective.

Insert Effects in any mode.

2–1. Program mode

For example, you can send a snare sound to IFX1 to apply

the Gate effect, a kick sound to IFX2 to apply EQ, and other

sounds to AUDIO OUTPUT (MAIN) L/ MONO and R with-

out applying any Insert Effects. If you de-select the box, all

drum instrument outputs are sent to the bus speciﬁed by

“BUS Select” (Program P8: 8–1c). You may apply any Insert

Effects to all drum instruments, regardless of the DrumKit

settings.

Use “BUS Select” (Program P8: 8–1c) to set the destination

bus of the oscillator output.

L/R: The signal is not sent to the Insert Effects. Instead, it is

sent to AUDIO OUTPUT (MAIN) L/ MONO and R after the

Master EQ.

IFX1–5: The signal is sent to Insert Effects IFX 1, 2, 3, 4, 5.

1, 2, 3, 4, 1/2, 3/4: The signal is sent to AUDIO OUTPUT

(INDIVIDUAL) 1, 2, 3, 4 (“Individual Outputs ” ꢀ p .185).

The signal is not sent to the Insert Effects, Master Effects,

and or Master EQ.

Off: The signal is not sent to the L/ R bus, 1, 2, 3, or 4 busses.

After the Master Effects, the signal is output to AUDIO

OUTPUT (MAIN). Select this option if you connect the

Insert Effects with the Master Effects in series, with the send

level speciﬁed by “Send1 (MFX1)” and “Send2 (MFX2).”

2–2. Combination, Sequencer, and Song Play

modes

Use “BUS Select” (P8: “Routing” page in each mode) for

timbres (Combination) and tracks (Sequencer, Song Play) to

select an Insert Effect to apply to the corresponding timbres

and tracks. You can route multiple timbres and tracks to a

single Insert Effect.

As with Program mode, select L/R, IFX1–5, 1–4, 1/2, 3/4, or

Off for each timbre and track.

“Send1 (MFX1)” and “Send2 (MFX2)” become available if

“BUS Select” has been set to L/R or Off.

Use “Send1 (to MFX1)” and “Send2 (to MFX2)” (Program

P8: 8–1d) to specify the send level for the Master Effects.

This setting is effective if “BUS Select” is set to L/R or Off.

If “BUS Select” (Program P8: 8–1c) is set to IFX1–5, use

“Send1” and “Send2” (Program P8: 8–2a) to specify the send

level of the post-IFX signal (ꢀ“3. Mixer”).

If IFX1–5 is selected, use “Send1” and “Send2” for the post-

IFX signal (ꢀ“3. Mixer”).

Send1 responds to CC#93, and Send2 responds to

CC#91. At this time, the actual send level uses the value

of the Send 1 and 2 settings for Oscillators 1 and 2, mul-

tiplied by the Send 1 and 2 values received via MIDI.

Send1 responds to CC#93, and Send2 responds to

CC#91. At this time, the actual send level uses the value

of the Send 1 and 2 settings for Oscillators 1 and 2 of the

Programs (selected for the timbres and tracks), multi-

plied by the Send 1 and 2 values received via MIDI

(“Send Level” ꢀ p .183).

If you are connecting the Insert Effects in series, check the

“Chain” box (Program P8: 8–2a). If you check the box that is

located between IFX1 and IFX2, the output signal from IFX1

is sent to IFX2. When the Insert Effects are connected in

series, the values of the “Pan (CC#8),” “BUS Select,”

“Send1,” and “Send2” parameters for the post-IFX signal

will be used (ꢀ“3. Mixer”).

The following ﬁgure shows an example of Combination

mode. The Timbre 1 output is sent to IFX1 and the Timbre 2

output is sent to IFX2 according to the “BUS Select” setting.

Other timbres are sent to L/R. The output signal passes

through the Master EQ, then goes to AUDIO OUTPUT

(MAIN) L/ MONO and R.

The following ﬁgure shows an example of Oscillators 1 and

2 outputs being sent to IFX1.

In the following example, the “Chain” box between IFX1

and IFX2 is checked so that the IFX1 output is sent to IFX2.

“IFX1: 001: St. Amp Simulation” and “IFX2: 020: Stereo

Flanger” are inserted to Timbre 1. “IFX2: 020: Stereo

Flanger” is inserted to Timbre 2. The ﬁgure above (“Rout-

ing” pages) shows these settings. (In this example, IFX 3, 4,

and 5 are not being used.)

Check the “Chain” box to connect IFX1, 2, 3, 4, and 5 in

series in this order. The “Pan (CC#8),” “BUS Select,”

“Send1,” and “Send2” parameters for the post-IFX5 signal

will be used.

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— Settings for drum Programs —

2–3. Sampling mode

If a drum Program (“Oscillator Mode” Drums) is selected

for timbres in Combination mode and for tracks in

Sequencer mode and Song Play mode, you can select DKit

for “BUS Select.” If you select DKit, the “BUS Select” (Global

P5: 5–2b) settings for each key become effective, and each

drum instrument sound will be routed to the corresponding

buses (e.g.: the snare sound is sent to IFX1, kick sound to

IFX2, and other sounds to L/ MON and R). If you select any-

thing other than DKit, you may apply any Insert Effects to

all drum instruments, regardless of the DrumKit settings.

The external input sounds from the AUDIO INPUT 1, 2, S/ P

DIF IN, and mLAN (if the EXB-mLAN is installed) jacks can

be processed by the insert effects and sampled. You can also

apply insert effects to the samples assigned to a multisam-

ple, and resample the result. In addition, an audio CD

inserted in the CDRW-1 option can be played back, or pro-

cessed by insert effects and sampled.

If you want to apply insert effects to an external sound and

sample it, use “BUS Select” (Sampling P0: 0–2a) to set the

bus for Input1 and 2. Settings for the input sound from the

CDRW-1 are made by “Input” Analog, in the same way as

for the external input sound from AUDIO INPUT 1 and 2. If

you want to apply an insert effect to a sample and resample

it, make settings for “BUS Select” (Sampling P8: 8–1b).

In the respective “BUS Select,” specify the Input1 and 2 bus.

You can choose from L/R, IFX1–5, 1–4, 1/2, 3/4, and Off.

If you have selected DKit for “BUS Select,” you can select

“DrumKit IFX Patch” (Combination P8: 8–1C) from the page

menu. This option allows you to change the routing of the

Insert Effects temporarily by changing “BUS Select” for each

key. For example, assume that the DrumKit key assignment

is set so that a snare sound is routed to IFX1 and a kick sound

is routed to IFX2. In this case, if you wish to assign IFX 1 and

2 to the Programs used by other timbres and tracks, you can

view the routing so that these DrumKit sounds are routed to

IFX3 and IFX4 respectively. This type of patching is available

only with the keys for which “BUS Select” (Global P5: 5–2b)

is set to IFX1–5. You can check the settings with the Routing

map. After you set “DrumKit IFX Patch,” press the OK but-

ton to conﬁrm the setting. If you wish to restore the original

DrumKit setting, set IFX1 to IFX1, IFX2 to IFX2, IFX3 to IFX3,

IFX4 to IFX4, and IFX5 to IFX5.

In the example shown in the diagram below, the external

input sound from Input1 and 2 is sent to IFX1. As in other

modes, you can make insert effect settings in P8: Insert

Effect, and apply the insert effect to the external input sound

and sample the result.

In the following example, Drum Program is assigned to Tim-

bre 1, and normal Programs are assigned to Timbres 2 and 3.

“BUS Select” is set to DKit for Timbre 1, IFX1 for Timbre 2,

and IFX2 for Timbre 3. With Timbre 1, the “BUS Select” (Glo-

bal P5: 5–2b) for DrumKit setting becomes effective.

Here is an example of bus settings for applying IFX1 to the

samples assigned to a multisample, and resampling the

result.

For example, assume that the snare sound is routed to IFX1,

and the kick sound is routed to IFX2, and you wish to use an

effect for a drum Program that is different from the effects

for timbres 2 and 3. In this case, use “DrumKit IFX Patch.”

Select “DrumKit IFX Patch” from the page menu to tempo-

rarily change the setting for the DrumKit from IFX1 to IFX3,

and IFX2 to IFX4. When you conﬁrm the setting, the snare

sound will be routed to IFX3 and the kick sound will be

routed to IFX4.

When you resample, L/ R will automatically be selected

as the “BUS (IFX) Select” setting. Please be aware of

this if you continue sampling.

DrumKit IFX Patch dialog

For details on any of these sampling methods, refer to BG

p.39, 101.

2–4. Audio Input

In Program, Combination, Sequencer, Song Play, and Disk

modes, you can apply the insert effects, master effects, and

master EQ to the external input sounds from the AUDIO

INPUT 1, 2, S/ P DIF IN, and mLAN (if the EXB-mLAN

option is installed). The external input sounds will be routed

from these jacks to the effect(s) as speciﬁed by the “Input

(COMBI, PROG, SEQ, S.PLAY, DISK)” (Global P0: 0–3a) set-

tings.

After setting the parameters

In Disk mode, an inserted audio CD can be played back if

the CDRW-1 option is installed. The input sound from the

CDRW-1 is speciﬁed by “Input” Analog in the same way as

for the external input sound from AUDIO INPUT 1 and 2.

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If you want to play back an audio CD without applying

the TRITON STUDIO’s effects, set “Input” Analog set-

tings for Input1 to “Level” 127, “Pan” L000, “BUS

Select” L/R, “Send1, 2” 000, and set Input2 “Pan” to

R127 and the remaining parameters to the same set-

tings as for Input1.

3–1. Pan (CC#8)

This parameter enables you to set the pan of the post-IFX

signal.

If you are using the stereo-in/stereo-out Insert Effects

(ꢀ“In/ Out”), set this parameter to “C064” to enable the

“Pan” settings for the oscillators (Program P4: 4–1b, 4–4),

timbres (Combination P0: 0–2b, P1: 1–1b), tracks (Sequencer

P0: 0–3a/ 4a, Song Play P0: 0–3a/ 4a), and audio inputs (Sam-

pling P0: 0–2a, Global P0: 0–3a).

If you are using mono-in/stereo–out or mono-in/mono–out

Insert Effects (ꢀ“In/ Out”), the “Pan” settings for the oscil-

lators, timbres, tracks and audio inputs are ignored, and

they are set to Center. Use the “Pan (CC#8)” parameter (P8:

“Insert FX” page) to set the pan. “L000” is hard left, and

“R127” is hard right.

Insert Effect = Stereo In - Stereo Out

Use “BUS Select” (Global P0: 0–3a) to set Inputs 1/ 2 buses

by selecting from L/R, IFX1–5, 1–4, 1/2, 3/4, and Off.

“Send1 (to MFX1)” and “Send2 (to MFX2)” become effective

only when “BUS Select” (Global P0: 0–3a) is set to L/R or

Off. If IFX1–5 is selected, use “Send1” and “Send2” for the

post-IFX signal (ꢀ“3. Mixer”).

OSC1

Left

OSC2

Right

OSC1: Amp1 Pan=L000

OSC2: Amp2 Pan=R127

OSC1: Amp1 Pan=L032

OSC2: Amp2 Pan=R096

Center

Left

Center

Right

Post IFX Pan(CC#8)

C064

Post IFX Pan(CC#8)

C064

L032

L000

R096

R127

L032

L000

R096

R127

This setting is ignored in Sampling mode. Refer to “2–3.

Sampling Mode” for information on the Sampling

mode settings.

Left

Center

Left

Center

Right

Insert effect settings are made in P8: Insert Effect of 1 Pro-

gram, 1 Combination, 1 Song, and Song Play modes. For the

external input sound from the various input jacks, you can

use the TRITON STUDIO’s effects as a 6-in 6-out effect pro-

cessor, or use them in conjunction with the internal sounds.

For example, in Program mode or Combination mode, you

can route the incoming signal from AUDIO INPUTs 1 and 2

and the oscillator sound to “Insert Effect 093: Vocoder” in

order to set up a vocoder effect in which the internal sound

is controlled by the mic inputs (“093: V o coder ” ꢀ p .233).

Insert Effect = Mono In - Stereo Out

Mono In - Mono Out

OSC1

Left

OSC2

OSC1: Amp1 Pan=L000

OSC2: Amp2 Pan=R127

Center

Right

Post IFX Pan(CC#8)

C064

L032

L000

R096

R127

In Disk mode, the effects will have the settings of the

previously-selected mode.

Left

Center

Right

You can control these parameters via CC#8.

3. Mixer

3–2. BUS Sel. (BUS Select)

Use “Pan (CC#8),” “BUS Select,” “Send1,” and “Send2” of

the P8: “Insert FX” page for the post-IFX signal in all modes

to set the pan/ bus and the send level to the Master Effects

MFX1 and MFX2.

If you have checked the “Chain” box to connect the Insert

Effects in series, these parameters “Pan (CC#8),” “BUS

Select,” “Send1” and “Send2” for the post-IFX (last Insert

Effect in the chain) signal become effective.

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 OUT-

PUT (MAIN) L/ MONO and R outputs.

Select 1, 2, 3, 4, 1/2, or 3/4 to route the signals to OUTPUT

(INDIVIDUAL) 1, 2, 3, or 4 (ꢀ“Individual Outputs”). Select

“Off” so that no signals will be output to L/ R, 1, 2, 3, or 4. In

this case, the signals are routed from the Master Effects to

AUDIO OUTPUT (MAIN). This setting is used when you

are connecting the Insert Effects with the Master Effects in

series using “Send1 (MFX1)” and “Send2 (MFX2).”

The master effects cannot be used in Sampling mode.

This means that here you can set only the “Pan” (CC#8)

that follows the insert effects.

3–3. Send1, Send2

These parameters enable you to set the send level of the sig-

nals routed to Master Effects MFX1 and MFX2. These set-

tings are effective only when “BUS Select” is set to L/R or

Off.

If you are not using any Insert Effects, use “Send1” and

“Send2” of the P8: “Routing” page in Program, Combina-

tion, Sequencer, and Song play modes to set the Master

Effect send level (Use the Global P0: Input/ Sampling page

to set the send level for the audio inputs.).

“Send1” responds to CC#93 and “Send2” responds to

CC#91.

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4. Controlling the Insert Effects via

MIDI

Master Effects (MFX1, 2)

Using the Dynamic Modulation (Dmod) function enables

you to control all effect parameters in real-time during per-

formance from the controllers of the TRITON STUDIO or a

connected MIDI sequencer. You can also control the Pan

(CC#8),” “Send1,” and “Send2” parameters in the same

way.

1. In/ Out

The I/ Os of Master Effects MFX1 and MFX2 are mono-in/

stereo-out. “Send1” and “Send2” determine the send level

to the Master Effects (ꢀ“Routing” and “Mixer”). Stereo sig-

nals will be combined to a mono signal automatically and

sent to the effects.

4–1. Program mode and Sampling mode

The Master Effects do not output any Dry signals (signals

that are not processed by the effects). Therefore, they output

only Wet (signals that are processed by the effects) signals

(set via the “Wet/ Dry” of the “MFX1” and “MFX2” pages).

The output signals from the Master Effects are routed to the

L/ R bus with the output level speciﬁed by “Return1” and

“Return2.” These output signals are mixed with the output

signals from the bus speciﬁed by “BUS Select” (P8: “Rout-

ing” page in each mode) L/R, or with the output signals

from the bus speciﬁed by “BUS Select” (“Insert FX” page in

each mode) L/R, then routed to the Master EQ.

You can control the parameters on MIDI Global channel

(MIDI Channel” (Global P1: 1–1a).

4–2. Combination mode

Use “Ctrl Ch” parameters of the “IFX1–5” pages to set up

the control channels for IFX1, 2, 3, 4, and 5. Select an appro-

priate option from Ch01–16, Gch, and All Routed.

Ch01–16: Select this when you want to control each insert

effect from a different channel. An “*” symbol will be dis-

played at the right of the MIDI channel Ch01–16 of the tim-

bre that is routed to each insert effect. If the routed timbres

have different MIDI channel settings, this parameter is used

to specify the channel that will control the insert effect.

Gch: Select this option if you wish to control the parameters

on MIDI Global channel “MIDI Channel” (Global P1: 1–1a).

This is a common setting.

All Routed: Select this option to control the parameters on

all the channels (channels 1–16 that have a “*” mark) that are

routed to the corresponding Insert Effects.

4–3. Sequencer mode and Song Play mode

Selecting “000: No Effect” will mute the output. The pro-

cessed signal will be output in one of the following ways,

according to the type of effects 001–089.

Use “Ctrl Ch” parameters of the “IFX1–5” pages to set up

the control channels for IFX1, 2, 3, 4, and 5. Select an appro-

priate option from Ch01–16 and All Routed.

Ch01–16: Select this when you want to control each insert

effect from a different channel. An “*” symbol will be dis-

played at the right of the MIDI channel Ch01–16 of the track

that is routed to each insert effect. If two or more tracks with

differing MIDI channels Ch01–16 are being sent to a single

insert effect, this parameter is used to specify the one track

that will control the insert effect.

Effect

Mono In - Mono Out

Mono In - Stereo Out

Wet

Effect

Stereo In - Stereo Out

The possible routing of effect signal inputs and outputs is

indicated in the upper left corner of the block diagram.

All Routed: Select this option to control the parameters on

all the channels (channels 1–16 that have a “*” mark) that are

routed to the corresponding Insert Effects.

“All Routed” is a typical option. If you wish to control the

parameters on a single channel, you may select it from

Ch01–16.

Pressing the ON/OFF button for MFX1 and 2 of the P9: Mas-

ter FX page in each mode will toggle between ON and OFF.

When OFF is selected, the output signals will be muted.

The TRITON STUDIO can also turn MFX 1 and 2 off

separately from the setting of the ON/ OFF button by

receiving MIDI control change message CC#94 and

CC#95 respectively. Value 0 will turn them off, and

value 1–127 will turn them on. You can also use “Effect

Global SW” (Global P0: 0–1b) to turn MFX1 and 2 on

and off. This MIDI control is performed on MIDI Global

Channel “MIDI Channel” (Global P1: 1–1a).

Double-size effects

You cannot select double-size effects for Master Effects

MFX1 and MFX2.

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Send1 responds to CC#93 and Send2 responds to

CC#91 on MIDI Global channel “MIDI Channel” (Glo-

bal P1: 1–1a). At this time, the actual send level uses the

value of the Send 1 and 2 settings for Oscillators 1 and

2, multiplied by the Send 1 and 2 values received via

MIDI.

2. Routing

You can use up to two channels (MFX1 and 2) for the Master

Effects in any mode other than in Sampling mode. (You can-

not use the Master Effects in Sampling mode.) If you are not

using any Insert Effects in any mode, the Master Effects send

levels are determined by the “Send1 (MFX1)” and “Send2

(MFX2)” parameters speciﬁed independently for the oscilla-

tors (Program), timbres (Combination), tracks (Sequencer

and Song Play), and audio inputs (Global). For example, you

can apply substantial reverberation to a piano sound

assigned to the timbre and tracks, a small amount of rever-

beration to the strings sound, and no reverberation to the

bass sound. If you are using the Insert Effects, set the

“Send1” and “Send2” parameters for the post-IFX signals.

If you have selected “Drums” for “Oscillator Mode” (Pro-

gram P1: 1–1a) of a Program, the “USE DKit Setting” box

(Program P8: 8–1b) becomes available.

If you check this box, Send1 and Send2 levels for each key

of the selected DrumKit become effective. If “BUS Select”

(Global P5: 5–2b) is set to L/R or Off for a drum instrument

key, “Send1 (to MFX1)” and “Send2(toMFX2)” (Global P5:

5–2b) become effective. If “BUS Select” is set to IFX1–5,

“Send1” and “Send2” (Program P8: 8–2a) become effective.

If this is unchecked, the routing will be the same as when

“Oscillator Mode” is Single or Double, and the “Send1

(MFX1)” and “Send2 (MFX2)” (Program P8: 8–1d) settings

or the post-IFX1–5 “Send1” and “Send2” settings of the P8:

Insert FX page IFX1–5 (Program P8: 8–2a) will apply to all

drum instruments.

2–1. Program mode

Use the “Send1 (to MFX1)” and “Send2 (to MFX2)” parame-

ters of the P8: “Routing” page, or the “Send1” and “Send2”

parameters of the P8: “Insert FX” page for the post-IFX1–5

signals, to set the Master Effect send level.

If you have set “BUS Select” to L/R or Off, “Send1 (MFX1)”

and “Send2 (MFX2)” of the “Routing” page are effective.

These parameters can be set for oscillators 1 and 2 individu-

ally.

If you have set “BUS Select” to IFX1–5, “Send1” and

“Send2” of the “Insert FX” page for the post-IFX1–5 signals

are effective. If you are using the Insert Effects in chain

(series), the “Send1” and “Send2” parameters for the post-

IFX (last IFX) are effective.

If you have set “BUS Select” to 1, 2, 3, 4, 1/2, or 3/4, the oscil-

lator signals are output directly to AUDIO OUTPUT (INDI-

VIDUAL) 1, 2, 3, or 4 (ꢀ“Individual Outputs”). In this case

the Send 1 and Send 2 settings are ignored, and the Master

Effects will not be applied. (ꢀ p .185)

2–2. Combination, Sequencer, and Song Play

modes

Use “Send1 (MFX1)” and “Send2 (MFX2)” (P8: “Routing”

page) for timbres (Combination) and tracks (Sequencer,

Song Play) to set the Send1 and 2 levels for each timbre and

track. As with Program mode, if “BUS Select” is set to L/R

or Off, “Send1 (MFX1)” and “Send2 (MFX2)” become effec-

tive. At this time, the actual levels use these Send1 and 2

level values, multiplied by the send level values of oscilla-

tors 1 and 2 (“Oscillator Mode” is set to “Double”) of the

Program P8: “Routing” page.

– Send level –

For example, if a Program’s “OSC1 Send1” is set to 127,

“Send2” set to 064, “OSC2 Send1” set to 064, “Send2” set to

127, a Combination’s “Send1” set to 064, and “Send2” set to

127, the actual send levels of the combination are calculated

as follows:

OSC1 Send1=127 (100%)*064(50%)=064(50%)

OSC1 Send2=064 (50%)*127(100%)=064(50%)

OSC2 Send1=064 (50%)*064(50%)=032(25%)

OSC2 Send2=127 (100%)*127(100%)=127(100%)

If IFX1–5 is selected for “BUS Select”, use the “Send1” and

“Send2” parameters for the post-IFX signals.

If 1, 2, 3, 4, 1/2, or 3/4 is selected instead, these Send1 and 2

settings are ignored and the Master Effect is not applied.

Send1 responds to CC#93, and Send2 responds to

CC#91. If “Send1 (MFX1)” and Send2 (MFX2)” for each

timbre/ track are effective, the parameter will be con-

trolled on the MIDI channels set for the corresponding

timbres and tracks. If the “Send1” and “Send2” param-

eters for the post-IFX1–5 signals are effective, they can

be controlled on the MIDI channels assigned to IFX1–5.

The following examples are in Combination mode. In the

upper ﬁgure, “BUS Select” is set so that Timbre 1 is routed

to IFX1, Timbre 2 to IFX2, Timbre 3 to IFX3, Timbre 4 to

IFX4, Timbres 5 and 6 to IFX5, and Timbres 7 and 8 to L/R.

In this case, use “Send1” and “Send2” for the post-IFX1(001:

St. Amp Simulation) signal to set the send level of the Tim-

bre 1 routed to the Master Effect. (In this example they are

set to 032 and 127.) In the same way, use “Send1” and

“Send2” for the post-IFX2, 3, and 4 signals to set the send

levels of Timbres 2, 3, and 4, and use the “Send1” and

“Send2” parameters for the post-IFX5 signal to set the send

levels of Timbres 5 and 6. For Timbres 7 and 8, the settings of

“Send1 (MFX1)” and “Send2 (MFX2)” will be effective. (At

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this time, the actual send levels use these Send 1 and 2 val-

ues multiplied by the Send1 and 2 settings for Program

oscillators 1 and 2.)

If you want to play back an audio CD without applying

the TRITON STUDIO’s effects, set “Input” Analog set-

tings for Input1 to “Level” 127, “Pan” L000, “BUS

Select” L/R, “Send1, 2” 000, and set Input2 “Pan” to

R127 and the remaining parameters to the same set-

tings as for Input1.

Set the send level of the Input 1 and 2 signals routed to the

Master Effects, using “Send1 (to MFX1)” and “Send2 (to

MFX2) (Global P0: 0–3a). These settings become effective

only when “BUS Select” is set to L/R or Off. If IFX1–5 is

selected, use the “Send1” and “Send2” parameters (ꢀ“3.

Mixer”). If 1, 2, 3, 4, 1/2, or 3/4 is selected, the Send 1 and

Send 2 settings are ignored.

These settings are ignored in Sampling mode.

Use P9: Master Effect in Program, Combination, Song, and

Song Play modes to set the Master Effects and Master EQ.

In Disk mode, the effects will be set as they were in the

previously-selected mode.

3. Mixer

The send levels will determine the levels at which the oscil-

lator (Program), timbre (Combination), track (Sequencer),

and audio input (set in the Program/ Combination/

Sequencer P0: Sampling page or the Global P0: Input/ Sam-

pling page) signals are input to the master effects. In the P9:

Master FX page of each mode, you can specify the output

level, chaining (series connection) between master effects,

and adjust the master EQ gain.

If drum Programs are selected for timbres in Combination

mode and for tracks in Sequencer mode and Song Play

mode, you can select “DKit” for “BUS Select.” If you select

“DKit,” the “BUS Select” (Global P5: 5–2b) settings for each

key become effective, and each drum instrument sound will

be routed to the corresponding buses. At this time, the

actual send levels use these Send 1 and 2 values, multiplied

by the Send1 and 2 settings for each DrumKit key. (Use the

“Send1” and “Send2” parameters for the post-IFX1–5 signal

to set the send levels for the DrumKit keys for which the

“BUS Select” parameters are set to IFX1–5.) If L/R or Off are

selected, this Send1 or 2 level will be multiplied by the send

levels speciﬁed in the Program P8: Routing page parameters

“OSC1 Send1 (to MFX1)” and “Send2 (to MFX2)” (Program

P8: 8–1d), in the same way as when “Oscillator Mode” is

Single or Double. If “BUS Select” is set to IFX1–5, use

“Send1” and “Send2” for the post-IFX signal. If “BUS Select”

is set to 1, 2, 3, 4, 1/2, or 3/4, the Send 1 and 2 settings will be

ignored.

3–1. Return1, Return2

These parameters determine the level of signals output from

MFX1 and MFX2. A value on the left side of the “Wet/ Dry”

parameter of a target effect for MFX 1 and 2 is used as the

output level (25% with the “Wet/Dry” parameter setting of

25:75, 100% with the Wet setting, and 0% with the Dry set-

ting). The signals with the “Return1” and “Return2” settings

are multiplied by these output levels, and sent to the L/ R

bus, then mixed with the output signals for which “BUS

Select” is set to L/R or for which “BUS Select” of the “Insert

FX” page is set to L/R.

For example, with MFX1 “Wet/Dry” set to 50:50 (50%) and

“Return1” set to 64 (50%), the resultant effect level will be

25%. The effect level is maximum (100%) when “Wet/Dry” is

set to “Wet” and “Return1” is set to 127.

2–3. Sampling Mode

You cannot use the Master Effects and Master EQ in Sam-

pling mode.

2–4. Audio Input

3–2. Chain check box

In Program, Combination, Sequencer, Song Play, and Disk

modes, the insert effects, master effects, and master EQ can

be applied to the external input sound from the AUDIO

INPUT 1, 2, S/ P DIF IN, and mLAN jacks. The external

sound input from these jacks will be routed to the effects

according to the “Input (COMBI, PROG, SEQ, S.PLAY,

DISK)” (Global P0: 0–3a) settings.

Press this box to chain MFX1 and MFX2 to each other.

The following ﬁgure indicates that the output from “MFX1:

016: Stereo Chorus” is added to “MFX2: 052: Reverb Hall”

input.

In Disk mode, you can play back an audio CD if the CDRW-

1 option is installed. Settings for the sound input from the

CDRW-1 are made by “Input” Analog, in the same way as

for the external sound input from AUDIO 1 and 2.

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3–3. Chain Direction

Main Output

If you have checked the “Chain” box, you can set the direc-

tion of the connection here. You can also visually conﬁrm the

direction on the LCD.

The main L/ MONO and R outputs of the TRITON STUDIO

are output from the AUDIO OUTPUT (MAIN) L/ MONO

and R jacks, the S/ P DIF OUT (MAIN) jack, and the head-

phone jack. If the EXB-DI option is installed, these outputs

can be digitally output from the DIGITAL OUT jack, and

from the mLAN connector if the EXB-mLAN option is

installed.

3–4. Chain Signal

This parameter enables you to select signals routed between

MFX1 and 2. If the chain direction (order) is from MFX1 to

MFX2, selecting LR Mix will cause the stereo L/ R outputs

from MFX1 to be mixed and input to MFX2. This setting is

useful when you wish to serially connect delays that are

panned to L and R (e.g., “043: L/C/R Delay”). Selecting L

Only or R Only will cause only one channel of stereo out-

puts from MFX1 to be input to MFX2. This setting is suitable

for a chain connection of a reverb effect and a modulation

effect such as 016: Stereo Chorus.

Individual Outputs

The TRITON STUDIO is equipped with four individual

AUDIO OUTPUTs (INDIVIDUALs). You can route the oscil-

lator (Program), timbre (Combination), and track

(Sequencer) output or the post-IFX signals to these four indi-

vidual outputs.

These can be digitally output from the DIGITAL OUT jack if

the EXB-DI option is installed, or from the mLAN connector

if the EXB-mLAN option is installed.

3–5. Chain Level

This parameter determines the level of signals routed from

one MFX to the other MFX in a chain connection.

3–6. Master EQ Gain [dB]

Use “BUS Select” of the P8: “Routing” page in Program,

Combination, Sequencer, or Song Play mode to route the

oscillators (Program), timbres (Combination), or tracks

(Sequencer, Song Play) to AUDIO OUTPUTs (INDIVID-

UAL). If you are using the Insert Effects, use “BUS Select”

of the P8: Insert FX page to route the post-IFX signals.

1, 2, 3, 4: Mono signals are routed to AUDIO OUTPUTs

(INDIVIDUAL).

1/2, 3/4: Stereo signals are routed to AUDIO OUTPUTs

(INDIVIDUAL). Use AUDIO OUTPUTs (INDIVIDUAL) 1/ 2

in stereo for 1/ 2, and use AUDIO OUTPUTS (INDIVID-

UAL) 3/ 4 in stereo for 3/4.

These parameters are used to set the gain of the Low, Mid,

and High stereo three-band EQ that is located right before

AUDIO OUTPUT (MAIN) L/ Mono and R. Low and High

EQs are of the shelving type, and Mid EQ is a band type

equalizer. These slider settings are linked with the Low, Mid,

and High “Gain [dB]” parameters of the “MasterEQ” page.

Use this “MasterEQ” page to set the center frequency, band

width (for Mid), and dynamic modulation of the EQ bands.

4. Controlling the Master Effects via

MIDI

Main Outout / Individual Output

HEADPHONES

Main Output

You can use the Dynamic Modulation (Dmod) function to

control all Master Effects parameters in real-time from the

TRITON STUDIO’s controllers or from an external MIDI

sequencer.

S/P DIF Sampe Rate

(Global 0-2a)

AUDIO OUTPUT

L/R

DAC

(MAIN) L/MONO, R

(Digital to Analog Converter)

S/P DIF OUT (MAIN)

Individual Output

Indiv.1, 2, 3, 4

AUDIO OUTPUT

(INDIVIDUAL) 1, 2, 3, 4

DAC

In Program mode, the parameters are controlled on MIDI

Global channel “MIDI Channel” (Global P1: 1–1a).

In Combination mode, Sequencer mode, and Song Play

mode, you can set the control channels for MFX1 and MFX2

using the “Ctrl Ch” parameters of the “MFX1–2” pages.

Select the desired option from Ch01–16, and Gch.

Ch01–16: Select this option if you wish to control the param-

eters for each Master Effect on different channels.

Gch: Select this option if you wish to control the parameters

on MIDI Global channel “MIDI Channel” (Global P1: 1–1a).

This is the normal setting.

(Digital to Analog Converter)

DIGITAL OUT

1 - 6 [EXB-DI]

mLAN AUDIO OUT

L, R, 1 - 4 [EXB-mLAN]

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 is applied to the signal input from the L/ R

bus. For more information on the parameters (ꢀ p .239).

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Effect/ Mixer Block Diagram

Program mode

Effect / Mixer Block Diagram in Program Mode

P8: Insert Effect

P9: Master Effect

IFX / Indiv.Out

BUS Select

Pan

Send1 Send2

L/R BUS

Oscillator 1

Oscillator 2

BUS Select

= IFX1

BUS Select

= L/R

Analog Input 1

Analog Input 2

BUS Select

= IFX1

BUS Select

= L/R

S/P DIF IN L

S/P DIF IN R

BUS Select

= L/R

BUS Select

= IFX5

mLAN IN 1

mLAN IN 2

BUS Select

= IFX5

Program P0: Sampling

(Global P0: Input/Sampling)

"Input" (Send1, Send2)

Program P0: Sampling

(Global P0: Input/Sampling)

"Input"

Post IFX

Chain Insert Effects Pan(CC#8) BUS Select

AUDIO OUTPUT

(MAIN) L/Mono, R

Post IFX

Send1 / 2

stereo

Master EQ

Select from:

stereo

IFX1 BUS

IFX2 BUS

IFX3 BUS

IFX4 BUS

IFX5 BUS

IFX1

IFX2

IFX3

IFX4

IFX5

L/R

IFX1

IFX2

IFX3

IFX4

IFX5

ꢁ

stereo

BUS Select

= L/R

BUS Select

= L/R

1/2

3/4

Off

Select from:

L/R

Chain Master Effects Return1 / 2

MFX1

mono

stereo

MFX2

1/2

3/4

Off

mono

stereo

mono

AUDIO OUTPUT

(INDIVIDUAL)1/2/3/4

Combination mode, Sequencer mode, Song Play mode, Disk mode

Effect / Mixer Block Diagram in Combination / Sequencer / Song Play Mode / Disk Mode

P8: Insert Effect

P9: Master Effect

IFX / Indiv.Out

BUS Select

Pan

Send1 Send2

L/R BUS

BUS Select

= L/R

Timbre / Track 1

Timbre / Track 2

Timbre / Track 3

Timbre / Track 4

BUS Select

= IFX1

BUS Select

= IFX3

BUS Select

= Off

BUS Select

= 1/2

Timbre / Track 8

Track 16

AUDIO OUTPUT

(MAIN) L/Mono, R

stereo

Master EQ

BUS Select

= 3/4

BUS Select

= L/R

Analog Input 1

Analog Input 2

S/P DIF IN L

BUS Select

= IFX1

BUS Select

= L/R

BUS Select

= L/R

S/P DIF IN R

BUS Select

= IFX4

mLAN IN 1

mLAN IN 2

BUS Select

= IFX5

Combination/Sequencer P0: Sampling,

Disk Play Audio CD (Global P0: Input/Sampling)

"Input (Send1, Send2)"

Combination/Sequencer P0: Sampling,

Disk Play Audio CD (Global P0: Input/Sampling)

"Input"

Post IFX

Chain Insert Effects Pan(CC#8) BUS Select

Post IFX

Send1 / 2

Select from:

(DKIT)

L/R

IFX1

IFX2

IFX3

IFX4

IFX5

1/2

stereo

IFX1 BUS

IFX2 BUS

IFX3 BUS

IFX4 BUS

IFX5 BUS

IFX1

IFX2

IFX3

IFX4

IFX5

ꢁ

stereo

BUS Select

= L/R

BUS Select

= L/R

BUS Select

= 1/2

BUS Select

= Off

3/4

Off

Select from:

L/R

Chain Master Effects Return1 / 2

MFX1

mono

stereo

MFX2

1/2

3/4

Off

mono

stereo

mono

AUDIO OUTPUT

(INDIVIDUAL)1/2/3/4

Sampling mode

Effect / Mixer Block Diagram in Sampling Mode

P8: Insert Effect

IFX / Indiv.Out

L/R BUS

Pan

BUS Select

= IFX1

Mono Sample

Stereo Sample L

Stereo Sample R

BUS Select

= IFX1

BUS Select

= L/R

Analog Input 1

Analog Input 2

BUS Select

= IFX4

BUS Select

= L/R

S/P DIF IN L

S/P DIF IN R

BUS Select

= L/R

BUS Select

= IFX5

mLAN IN 1

mLAN IN 2

BUS Select

= IFX5

Sampling P0: Input/Setup

"Input"

Post IFX

Pan(CC#8)

Sample Recording

(Resampling)

Level Meter

stereo

Chain Insert Effects

P0: Input/Setup:

Select from:

stereo

"Source BUS

L/R"

IFX1 BUS

IFX2 BUS

IFX3 BUS

IFX4 BUS

IFX5 BUS

IFX1

IFX2

IFX3

IFX4

IFX5

L/R

IFX1

IFX2

IFX3

IFX4

IFX5

ꢁ

stereo

1/2

3/4

Off

mono

AUDIO OUTPUT

(INDIVIDUAL)1/2/3/4

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Pre LEQ Gain [dB]

–15.0...+15.0dB

Sets the gain of Low EQ

Filter/ Dynamic

Pre HEQ Gain [dB]

–15.0...+15.0dB

Sets the gain of High EQ

Filter and dynamics control effects

Output Level

0...100

Sets the output level of the compressor

ꢀ,

Src

Off...Tempo

Selects the modulation source for the compressor output level

000: No Effect

Select this option when you do not use any effects. The Insert

Effect section outputs unprocessed signals and the Master

Effect section mutes the output.

Amt

–100...+100

Sets the modulation amount of the compressor output level

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

001: St. Amp Simulation

Sets the modulation amount of the effect balance

(Stereo Amp Simulation)

a: Envelope Select

This effect simulates the frequency response characteristics of

guitar ampliﬁers. It produces a realistic effect as though the

sound were being played through a guitar amp. It is also

effective for organ and drum sounds.

This parameter selects whether the left and right channels are

linked to control both signals simultaneously, or whether each

channel is controlled independently.

b: Sensitivity, f: Output Level

The “Sensitivity” parameter sets the sensitivity of the compressor.

If this parameter is set to a higher value, lower level sounds will

be boosted. With a higher Sensitivity, the overall volume level is

higher. To adjust the ﬁnal volume level, use the “Output Level”

parameter.

Stereo In - Stereo Out

Left

Wet / Dry

Amp Simulation Filter

Compressor - Sensitivity

Level

Wet

Sensitivity=100

Right

Wet / Dry

Sensitivity=40

Dry

Time

Ampliﬁer Type

SS, EL84, 6L6

Selects the type of guitar ampliﬁer

c: Attack

Wet/Dry

Dry, 1:99...99:1, Wet

This parameter controls the attack level.

Sets the balance between the effect and dry sounds

Compressor - Attack

Level

Src

Off...Tempo

Selects the modulation source of the effect balance

Attack=80

Attack=20

Wet

Amt

–100...+100

Sets the modulation amount of the effect balance

Dry

Time

002: Stereo Compressor

This effect compresses the input signal to regulate the level

and give a “punchy” effect. It is useful for guitar, piano, and

drum sounds. This is a stereo compressor. You can link left

and right channels, or use each channel separately.

003: Stereo Limiter

The Limiter regulates the input signal level. It is similar to the

Compressor, except that the Limiter compresses only signals

that exceed the speciﬁed level to lower unnecessary peak sig-

nals. The Limiter applies a peaking-type EQ to the trigger sig-

nal (which controls the degree of the Limiter effect), allowing

you to set any band width to be covered. This effect is a stereo

limiter. You can link left and right channels, or use each chan-

nel individually.

Stereo In - Stereo Out

Left

Wet / Dry

EQ Trim

LEQ

HEQ

Compressor

Output Level

Envelope - Control

Envelope Select

Output Level

Compressor

EQ Trim

LEQ

HEQ

Stereo In - Stereo Out

Right

Wet / Dry

Left

Wet / Dry

Gain Adjust

Limiter

Side PEQ

Envelope - Control

Trigger Monitor

Envelope Select

L/R Mix, L/R Individually

Envelope - Control

Determines whether the left and right channels are linked or used

separately

Envelope Select

ꢀ

Limiter

Gain Adjust

Sensitivity

Sets the sensitivity

1...100

ꢀ

Right

Wet / Dry

Attack

Sets the attack level

1...100

ꢀ

EQ Trim

Sets the EQ input level

0...100

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Limiter - Attack / Release

Threshold

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

ꢀ

Dry

Wet

Ratio

1.0:1...50.0:1, Inf:1

ꢀ

Sets the signal compression ratio

Threshold [dB]

Sets the level above which the compressor is applied

–40...0dB

ꢀ

Ratio=Inf : 1

Attack=1

Release=1

Attack

Sets the attack time

1...100

ꢀ

Release

Sets the release time

1...100

ꢀ

Ratio=Inf : 1

Attack=100

Release=100

Gain Adjust [dB]

Sets the output gain

–Inf, –38...+24dB

Release

ꢀ,

Attack

Src

Off...Tempo

Selects the modulation source for the output gain

Amt

–63...+63

Sets the modulation amount of the output gain

f: Side PEQ Insert, g: Side PEQ Cutoff [Hz], g: Q, g: Gain [dB]

These parameters are used to set the EQ applied to the trigger sig-

nal.

Side PEQ Insert

Toggles between on/off of the trigger signal’s EQ

Off, On

ꢀ

The Limiter determines whether the compression is applied or

not, based on the post-EQ trigger signal. Setting the equalizer

allows you to set the Limiter to respond to any frequency band.

Trigger Monitor

Off, On

Switches between effect output monitor and trigger signal monitor

ꢀ

Side PEQ Cutoff [Hz]

Sets the EQ center frequency for the trigger signal

20...12.00kHz

ꢀ

f:Trigger Monitor

Setting this parameter On will cause the trigger signal to be out-

put, instead of the effect sound. Use this parameter to check the

trigger signal with EQ applied.

0.5...10.0

Sets the EQ bandwidth for the trigger signal

Gain [dB]

–18.0...+18.0dB

Usually, set this to Off.

Sets the EQ gain for the trigger signal

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

004: Multiband Limiter

Selects the modulation source of the effect balance

Amt

–100...+100

This effect applies the Limiter to the low range, mid range,

and high range of the input signal. You can control dynamics

for each range to adjust the sound pressure of the low range,

mid range, and high range in a different way from the EQ.

Sets the modulation amount of the effect balance

a: Envelope Select

When L/R Mix is selected for this parameter, the left and right

channels are linked to control the Limiter using the mixed signal.

If L Only (or R Only) is selected, the left and right channels are

linked, and the Limiter is controlled via only the left (or right)

channel.

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Band-Pass Filters

Low

Limiter

Envelope - Control

Mid Low Offset

With L/R individually, the left and right channels control the Lim-

iter individually.

Limiter

Gain Adjust

Envelope - Control

Mid Offset

High

Limiter

b: Ratio, c:Threshold [dB], e: Gain Adjust [dB]

This parameter sets the signal compression “Ratio”. Compression

is applied only when the signal level exceeds the “Threshold”

value.

Envelope - Control

High Offset

Right

Wet / Dry

Adjust the output level using the “Gain Adjust” parameter, since

compression causes the entire level to be reduced.

Limiter - Threshold / Ratio

Ratio

1.0:1...50.0:1, Inf:1

Sets the signal compression ratio

ꢀ Fx:003

Threshold [dB]

Sets the level above which the compressor is applied

–40...0dB

ꢀ Fx:003

Ratio=1.0 : 1

Output Level

Attack

Sets the attack time

1...100

ꢀ Fx:003

Ratio=2.0 : 1

Threshold

Ratio=4.0 : 1

Ration=Inf : 1

Release

Sets the release time

1...100

ꢀ Fx:003

Low Offset [dB]

Gain of the low-range trigger signal

–40...0dB

ꢀ

Louder

Input Level

Mid Offset [dB]

Gain of the mid-range trigger signal

–40...0dB

ꢀ

Ratio=1.0 : 1

Ratio=2.0 : 1

Ratio=4.0 : 1

Dry

Level

High Offset [dB]

Gain of the high-range trigger signal

–40...0dB

ꢀ

Threshold

Gain Adjust [dB]

Sets the output gain

–Inf, –38...+24dB

ꢀ Fx:003,

Ratio=Inf : 1

Time

Src

Off...Tempo

Selects the modulation source for the output gain

d: Attack, d: Release

Amt

–63...+63

These parameters set the attack time and release time. A higher

attack time will cause the compression to be applied more slowly.

Sets the modulation amount of the output gain

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c:Threshold, d: Attack, d: Release

Wet/Dry

Dry, 1:99...99:1, Wet

This parameter sets the signal level below which Gate is applied

when “Envelope Select” is set to L/R Mix, L Only, or R Only.

The Attack and Release parameters set the Gate attack time and

release time.

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

Gate - Threshold

Sets the modulation amount of the effect balance

Output Level

e: Low Offset [dB], f: Mid Offset [dB], g: High Offset [dB]

These parameters set the gain of the trigger signal.

Threshold

For example, if you do not want to apply compression to the high

range, reduce the “High Offset” value down below the “Thresh-

old” level. In this way, the high range limiter will not respond,

and compression will not be applied.

Louder

Input Level

Gate - Attack / Release

Threshold

Dry

005: Stereo Gate

This effect mutes the input signal if its level is lower than the

speciﬁed level. It also reverses the on and off operation of the

gate, and uses Note On and Off messages to turn the gate on

and off.

Wet

Attack=1

Release=1

Wet

Stereo In - Stereo Out

Attack=100

Release=100

Left

Wet / Dry

Release

Attack

Delay

Gate

Envelope - Control

e: Delay Time

Delay

This parameter sets the delay time of the Gate input. If the sound

has a very fast attack, increase the delay time so that the signal

will be input after the Gate is opened. This will preserve the attack

part of the sound.

Envelope Select

Right

Wet / Dry

Gate+Sus

Envelope Select

D-mod, L/R Mix, L Only, R Only

Selects from Control via the modulation source, mixing the left and

right signals, Only left, and Only right

Src

Selects the modulation source that controls the gate when Envelope

Select = D-mod

ꢀ,

006: OD/ Hi.Gain Wah

Off...Gate2+Dmpr

(Overdrive/ Hi.Gain Wah)

This distortion effect utilizes an Overdrive mode and a Hi-

Gain mode. Controlling the wah effect, the 3-band EQ, and

the amp simulation will allow you to create versatile distor-

tion sounds. This effect is suitable for guitar and organ

sounds.

Polarity

+, –

ꢀ

Switches between non-reversed and reversed Gate on/off

Threshold

0...100

ꢀ

Sets the level to which the Gate is applied

Attack

Sets the attack time

1...100

ꢀ

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Release

Sets the release time

1...100

ꢀ

Mode: Overdrive / Hi-Gain

Drive

Pre Low-cut

Wah

3 Band PEQ

Amp Simulation

Delay Time [msec]

Sets the delay time of the gate input

0...100msec

ꢀ

Driver

Output Level

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Direct Mix

Right

Src

Off...Tempo

Wet / Dry

Selects the modulation source of the effect balance

-mod

Amt

–100...+100

Sets the modulation amount of the effect balance

Wah

Off, On

a: Envelope Select, a: Src

Switches Wah on/off

ꢀ,

The “Envelope Select” parameter selects whether the gate on/ off

is triggered by the level of the input signal, or controlled directly

by the modulation source. The Src parameter speciﬁes the modu-

lation source, selected from Off to Gate2+Dmpr.

With “Envelope Select” = L/R Mix, the left and right channel sig-

nal mixture will trigger the gate on/ off. When L Only or R Only

is selected, the gate is controlled by either of the channel signals.

Src

Off...Tempo

Selects the modulation source that switches the Wah on and off

Toggle, Moment

Selects the switching mode for the modulation source that switches

the Wah on and off

ꢀ

Wah Sweep Range

Sets the range of Wah

–10...+10

ꢀ,

Wah Sweep Src

Selects the modulation source that controls the Wah

Off...Tempo

ꢀ

b: Polarity

This parameter reverses the Gate on/ off operation. With a nega-

tive value, the gate is closed when the input signal level exceeds

the Threshold. The gate operation controlled by the modulation

source is also reversed.

Drive Mode

Overdrive, Hi-Gain

Switches between overdrive and hi-gain distortion

Drive

1...100

ꢀ

Sets the degree of distortion

Pre Low-cut

0...10

ꢀ

Sets the low range cut amount of the distortion input

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Output Level

Sets the output level

0...50

007: St. Parametric 4EQ

ꢀ,

(Stereo Parametric 4-Band EQ)

Src

Off...Tempo

Selects the modulation source for the output level

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.

Amt

–50...+50

Sets the modulation amount of the output level

Low Cutoff [Hz]

20...1.0kHz

Sets the center frequency for Low EQ (shelving type)

Stereo In - Stereo Out

Left

Wet / Dry

Band1 Band2 Band3

Band4

Gain [dB]

Sets the gain of Low EQ

–18...+18dB

300...10.00kHz

PEQ

PEQ PEQ

Trim

LEQ

HEQ

Mid1 Cutoff [Hz]

Sets the center frequency for Mid/High EQ 1 (peaking type)

LEQ

PEQ

HEQ

PEQ

0.5...10.0

ꢀ

Sets the band width of Mid/High EQ 1

PEQ

Right

Gain [dB]

–18...+18dB

Wet / Dry

Sets the gain of Mid/High EQ 1

-mod

Mid2 Cutoff [Hz]

500...20.00kHz

Sets the center frequency for Mid/High EQ 2 (peaking type)

0.5...10.0

ꢀ

Trim

0...100

Sets the band width of Mid/High EQ 2

Sets the input level

Gain [dB]

Sets the gain of Mid/High EQ 2

–18...+18dB

Band1 Type

Selects the type of Band 1

Peaking, Shelving-Low

ꢀ

Direct Mix

0...50

Band4 Type

Selects the type of Band 4

Peaking, Shelving-High

ꢀ

Sets the amount of the dry sound mixed to the distortion

Speaker Simulation

Switches the speaker simulation on/off

Off, On

Band2 Dynamic Gain Src

Selects the modulation source of the Band 2 gain

Off...Tempo

ꢀ

Wet/Dry

Dry, 1:99...99:1, Wet

Amt [dB]

–18...+18dB

ꢀ

Sets the balance between the effect and dry sounds

Sets the modulation amount of Band 2 gain

Src

Off...Tempo

Band1 Cutoff [Hz]

Sets the center frequency of Band 1

20...1.00kHz

Selects the modulation source of the effect balance

Amt

–100...+100

0.5...10.0

ꢀ Fx:006

Sets the modulation amount of the effect balance

Sets the bandwidth of Band 1

Gain [dB]

Sets the gain of Band 1

–18.0...+18.0dB

a:Wah

The Wah parameter switches the wah effect on/ off.

Band2 Cutoff [Hz]

50...10.00kHz

Sets the center frequency of Band 2

a: Sw

0.5...10.0

ꢀ Fx:006

This parameter sets how the wah effect is switched on and off via

the modulation source.

When “Sw” = Moment, the wah effect is usually turned off. It is

turned on only when you press the pedal or operate the joystick.

Sets the bandwidth of Band 2

Gain [dB]

Sets the gain of Band 2

–18.0...+18.0dB

ꢀ,

Band3 Cutoff [Hz]

Sets the center frequency of Band 3

300...10.00kHz

When a value for the modulation source is less than 64,

“off” speed is selected, and when the value is 64 or higher,

“on” is selected.

0.5...10.0

ꢀ Fx:006

Sets the bandwidth of Band 3

Gain [dB]

Sets the gain of Band 3

–18.0...+18.0dB

When “Sw” = Toggle, the wah effect is switched between on and

off each time you press the pedal or operate the joystick.

Band4 Cutoff [Hz]

Sets the center frequency of Band 4

500...20.00kHz

The switch will be turned on/ off each time the value of the

modulation source exceeds 64.

0.5...10.0

ꢀ Fx:006

Sets the bandwidth of Band 4

b:Wah Sweep Range, b:Wah Sweep Src

Gain [dB]

Sets the gain of Band 4

–18.0...+18.0dB

This parameter sets the sweep range of the wah center frequency.

A negative value will reverse the direction of sweep. The wah cen-

ter frequency can be controlled by the modulation source speci-

ﬁed in the “Wah Sweep Src” parameter.

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Selects the modulation source of the effect balance

d: Drive, e: Output Level

The degree of distortion is determined by the level of input signal

and the setting of “Drive”. Raising the “Drive” setting will cause

the entire volume level to increase. Use the “Output Level”

parameter to adjust the volume level. The “Output Level” param-

eter uses the signal level input to the 3-Band EQ. If clipping occurs

at the 3-Band EQ, adjust the “Output Level” parameter.

Amt

–100...+100

Sets the modulation amount of the effect balance

b: Band1 Type, c: Band4 Type

Selects a ﬁlter type for Band 1 and 4.

Parametric 4EQ - Band1, Band4 Type

3dB

d: Pre Low-cut

+Gain

0dB

Band4 Type=Shelving High

Band4 Type=Peaking

Cutting the signal in the low range before it is input to the Distor-

tion will create a sharp distortion.

Band1 Type=Shelving Low

Band1 Type=Peaking

3dB

g: Q, h: Q

–Gain

These parameters set the bandwidth of each equalizer. The higher

the value, the narrower the band becomes.

Band1 Cutoff

Band4 Cutoff

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d: Band2 Dynamic Gain Src, d: Amt [dB], f: Gain [dB]

009: St. Wah/ Auto Wah

You can control the gain of Band 2 using the modulation source.

(Stereo Wah/ Auto Wah)

Parametric 4EQ - Band2 Dynamic Gain Control

-mod

+15dB

This stereo wah effect allows you to create sounds from vin-

tage wah pedal simulation to auto-wah simulation, and much

broader range settings.

Band2 Cutoff

+6dB

0dB

+6dB

0dB

Band2 Cutoff

–9dB

-mod

Stereo In - Stereo Out

Left

Wet / Dry

Band2 Gain[dB]= +6.0

Band2 Dynamic Gain Amt[dB]= +9.0

Band2 Gain[dB]= +6.0

Band2 Dynamic Gain Amt[dB]= –15.0

Wah

Envelope Sens

Sweep Mode

Envelope Shape

Auto

D-mod

Response

-mod

LFO

008: St. Graphic 7EQ

Wah

Right

(Stereo Graphic 7 Band EQ)

Wet / Dry

This is a stereo 7-band graphic equalizer. The bar graph of the

gain setting for each band gives you a clear, visual idea of fre-

quency responses. You can select a center frequency setting

for each band from twelve types, according to the sound.

Frequency Bottom

Sets the lower limit of the wah center frequency

0...100

ꢀ

Frequency Top

Sets the upper limit of the wah center frequency

0...100

ꢀ

Stereo In - Stereo Out

Sweep Mode

Auto, D-mod, LFO

Left

Wet / Dry

Selects the control from auto-wah, modulation source, and LFO

ꢀ,

Trim

Band1 Band2 Band3 Band4 Band5 Band6 Band7

Src

Off...Tempo

Selects the modulation source for the wah when Sweep Mode=D-

mod

Trim

Response

0...100

Band1 Band2 Band3 Band4 Band5 Band6 Band7

Sets the response speed when Sweep Mode = Auto or D-mod

Right

Wet / Dry

Envelope Sens (Envelope Sensitivity)

Sets the sensitivity of auto-wah

0...100

ꢀ

Envelope Shape

Sets the sweep curve of auto-wah

–100...+100

ꢀ

Type

1:Wide 1, 2:Wide 2, 3:Wide 3, 4:Half Wide 1, 5:Half Wide 2,

6:Half Wide 3, 7:Low, 8:Wide Low, 9:Mid, 10:Wide Mid, 11:High,

12:Wide High

Selects a combination of center frequencies for each band

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

ꢀ

ꢀ,

Trim

0...100

–18.0...+18.0dB

Dry, 1:99...99:1, Wet

Src

Off...Tempo

–20.00...+20.00Hz

Off, On

Sets the input level

Selects the modulation source of LFO speed

Band1 [dB]

Sets the gain of Band 1

Amt

Sets the modulation amount of LFO speed

Band2 [dB]

Sets the gain of Band 2

BPM/MIDI Sync

Switches between using the frequency of the LFO speed and using

the tempo and notes

ꢀ,

Band3 [dB]

Sets the gain of Band 3

BPM

MIDI, 40...240

ꢀ

Selects MIDI Clock and assigns tempo

Band4 [dB]

Sets the gain of Band 4

Base Note

ꢁ , ꢃ ꢂ , ꢃ , ꢀ ꢂ , ꢀ , ꢄ ꢂ , ꢄ ,

ꢅ

Selects the type of notes that specify the LFO speed

ꢀ

Band5 [dB]

Sets the gain of Band 5

Times

x1...x16

ꢀ

Sets the number of notes that specify the LFO speed

Band6 [dB]

Sets the gain of Band 6

Resonance

Sets the resonance amount

0...100

Off, On

Band7 [dB]

Sets the gain of Band 7

Low Pass Filter

Switches the Wah Low Pass Filter on and off

Wet/Dry

Sets the balance between the effect and dry sounds

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Selects the modulation source of the effect balance

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

a:Type

This parameter selects a combination of center frequencies for

each band. Each center frequency is shown on the right edge of

the LCD.

You can conﬁgure a 21-Band Graphic EQ ranging from 80Hz to

18kHz if you route three Graphic 7Band EQ effects in series, with

a setting of 7:Low, 9:Mid, and 11:High for each EQ.

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a: Frequency Bottom, a: Frequency Top

010: St. Random Filter

The sweep width and direction of the wah ﬁlter are determined

by the “Frequency Top” and “Frequency Bottom” settings.

(Stereo Random Filter)

Sweep Mode=D-mod

Frequency

Top=75

Frequency

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

Bottom=60

Wah

Woo

Stereo In - Stereo Out

Top=30

-mod

Woo

Bottom=25

Left

Wet / Dry

-mod

Higher

Zero

Max

Zero

Max

Filter

Sweep Mode=Auto

Wah

Frequency

Bottom=75

Frequency

Top=75

Right

Wah

Wet / Dry

LFO Phase

LFO: Step-Tri/Random

Envelope

Woo

Bottom=25

Top=25

Woo

LFO Waveform

Selects LFO Waveform

Step-Tri, Random

ꢀ

Envelope

Time

LFO Phase [degree]

Sets the LFO phase difference between the left and right

–180...+180

b: Sweep Mode

ꢀ

This parameter changes the wah control mode. Setting “Sweep

Mode” to Auto will select an auto-wah that sweeps according to

envelope changes in the input signal level. Auto-wah is frequently

used for funk guitar parts and clav sounds.

When “Sweep Mode” is set to D-mod, you can control the ﬁlter

directly via the modulation source in the same way as a wah

pedal.

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

ꢀ,

Src

Off...Tempo

Selects the modulation source used for both LFO speed and step

speed

Amt

–20.00...+20.00Hz

Sets the modulation amount of LFO speed

When “Sweep Mode” is set to LFO, the effect uses LFO to sweep

in cycle.

LFO Step Freq (Frequency) [Hz]

Sets the LFO step speed (speed that changes in steps) ꢀ,

0.05...50.00Hz

Amt

–50.00...+50.00Hz

c: Envelope Sens (Envelope Sensitivity)

Sets the modulation amount of LFO step speed

This parameter sets the sensitivity of auto-wah. Increase the value

if the input signal is too low to sweep. Reduce the value if the

input signal is so high that the ﬁlter is stopped temporarily.

BPM/MIDI Sync

Off, On

Switches between using the frequency of the LFO speed and using

the tempo and notes

ꢀ Fx:009,

c: Envelope Shape

BPM

MIDI, 40...240

ꢀ Fx:009, ꢀ

Selects MIDI Clock and assigns tempo

This parameter determines the sweep curve for auto-wah.

Base Note

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

Envelope Shape

Level

Selects the type of notes that specify the LFO speed

ꢀ Fx:009

Times

x1...x16

Envelope

Sets the number of notes that specify the LFO speed

ꢀ Fx:009

value = 0...+100

Step Base Note

Selects the type of notes to specify the LFO step speed ꢀ,

ꢈ ꢁ ꢂ ꢈ ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

value = 0...–100

Time

Times

x1...x32

ꢀ

Sets the number of notes to specify the LFO step speed

d: LFO Frequency [Hz], e: BPM/MIDI Sync

Manual

0...100

When “BPM/ MIDI Sync”=Off, the LFO speed uses the LFO Fre-

quency parameter setting. When “BPM/ MIDI Sync”=On, the

LFO speed follows the “BPM”, “Base Note”, and “Times” settings.

Sets the ﬁlter center frequency

Depth

Sets the modulation depth of ﬁlter center frequency

e: BPM, e: Base Note, e:Times

Src

Off...Tempo

–100...+100

0...100

Selects the modulation source of ﬁlter modulation

One cycle of LFO sweep is obtained by multiplying the length of a

note ( …ꢅ) (selected for “Base Note”, in relation to the tempo

speciﬁed in (“BPM”, or the MIDI Clock tempo if “BPM” is set to

MIDI) by the number speciﬁed in the Times parameter.

Amt

Sets the modulation amount of ﬁlter modulation

Resonance

Sets the resonance amount

Wet/Dry

–Wet...–1:99, Dry, 1:99...Wet

Sets the balance between the effect and dry sounds

ꢀ,

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

a: LFO Waveform, c: LFO Frequency [Hz],

d: LFO Step Freq (Frequency) [Hz]

When “LFO Waveform” is set to Step-Tri, LFO is a step-shape, tri-

angle waveform. The “LFO Frequency” parameter sets the origi-

nal triangle waveform speed. Changing the “LFO Step Freq”

parameter enables you to adjust the width of the steps.

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When “LFO Waveform” is set to Random, the “LFO Step Freq”

parameter uses a random LFO cycle.

Enhancer Depth

0...100

Sets the determines to what degree the Enhancer effect is applied

Random Filter LFO

LFO Frequency

Src

Off...Tempo

–100...+100

Selects the modulation source of the Enhancer width

Amt

LFO Step Freq

Sets the modulation amount of the Enhancer width

LFO Step Freq

Random

Step-Tri

EQ Trim

Sets the 2-band EQ input level

0...100

Pre LEQ Gain [dB]

Sets the gain of Low EQ

–15.0...+15.0dB

b: LFO Phase [degree]

Offsetting the left and right phases alters how modulation is

applied to the left and right channels, creating a swelling affect.

LFO Phase

Pre HEQ Gain [dB]

Sets the gain of High EQ

Wet/Dry

Dry, 1:99...99:1, Wet

+90

+180 [degree]

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

–180 –90 0 [degree]

Sets the modulation amount of the effect balance

a: Exciter Blend

This parameter sets the depth (intensity) of the Exciter effect. Pos-

itive values give a frequency pattern (to be emphasized) different

from negative values.

e: BPM, f: Step Base Note, f:Times

The width of an LFO step, or a cycle of random LFO, is obtained

by multiplying the length of a note ( …ꢅ) (selected for “Step Base

Note”, in relation to the tempo speciﬁed in “BPM,” or the MIDI

Clock tempo if “BPM” is set to MIDI) by the number speciﬁed in

the “Times” parameter.

b: Emphatic Point

This parameter sets the frequency to be emphasized. Higher val-

ues will emphasize lower frequencies.

c: Enhancer Dly L [msec], d: Enhancer Dly R [msec]

These parameters set the delay time for the Enhancer left and

right channel. Specifying a slightly different delay time for the left

and right channel will add a stereo image, depth, and width to the

sound.

j:Wet/Dry

The effect sound’s phase will be reversed when you set this

parameter in the range of values from –Wet to –1:99.

011: St. Exciter/ Enhncr

012: St. Sub Oscillator

(Stereo Exciter/ Enhancer)

(Stereo Sub Oscillator)

This effect is a combination of the Exciter, which adds a punch

to the sound and the Enhancer, which adds spread and pres-

ence.

This effect adds very low frequencies to the input signal. It is

very useful when simulating a roaring drum sound or

emphasizing powerful low range. This effect is different from

the equalizer in that you can add very low range harmonics.

You can also adjust the oscillator frequency to match a partic-

ular note number, for use as an octaver.

Stereo In - Stereo Out

Left

Wet / Dry

LEQ HEQ

Exciter

EQ Trim

Delay

Stereo In - Stereo Out

Depth

Left

Delay

EQ Trim

Wet / Dry

Exciter

Envelope Shape

Enhancer

Envelope Sens

Pre LPF

Right

Wet / Dry

Sine Oscillator

Pitch

Fixed

-mod

Fixed Frequency

Note Interval, Fine

OSC Mode

-mod

Note No.

Note (Key Follow)

Envelope Sens

Pre LPF

Envelope Shape

Exciter Blend

Sets the intensity (depth) of the Exciter effect

–100...+100

ꢀ,

Right

Wet / Dry

Src

Off...Tempo

Selects the modulation source of the Exciter intensity

OSC Mode

Note (Key Follow), Fixed

Amt

–100...+100

Determines whether the oscillator frequency follows the note number

Sets the modulation amount of the Exciter intensity

or whether it is ﬁxed

ꢀ

Emphatic Point

Sets the frequency to be emphasized

0...70

Note Interval

–48...0

ꢀ,

Sets the pitch difference from the note number when OSC

Mode=Note (Key Follow)

ꢀ

Src

Off...Tempo

Selects the modulation source of the frequency to be emphasized

Note Fine

–100...+100

ꢀ

Fine adjustment of the oscillator frequency

Amt

–70...+70

Sets the amount of modulation of the frequency to be emphasized

Enhancer Dly L (Enhancer Delay L) [msec]

Sets the delay time for the Enhancer left channel

0.0...50.0msec

ꢀ

Enhancer Dly R (Enhancer Delay R) [msec]

Sets the delay time for the Enhancer right channel

0.0...50.0msec

ꢀ

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Fixed Frequency [Hz]

Sets the oscillator frequency when OSC Mode=Fixed

10.0...80.0Hz

Off...Tempo

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

ꢀ Fx:009,

Src

Off...Tempo

–20.00...+20.00Hz

Off, On

Selects the modulation source for the oscillator frequency when OSC

Mode=Fixed

Selects the modulation source of LFO speed

Amt

–80...+80Hz

Sets the modulation amount of LFO speed

Sets the oscillator frequency modulation amount when OSC

Mode=Fixed

BPM/MIDI Sync

Switches between using the frequency of the LFO speed and using

Envelope Pre LPF

1...100

the tempo and notes

ꢀ Fx:009,

Sets the upper limit of the frequency range for which very low har-

monics are added

BPM

MIDI, 40...240

ꢀ

Selects MIDI Clock and assigns tempo

ꢀ Fx:009

Envelope Sens (Envelope Sensitivity)

0...100

Base Note

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

Sets the sensitivity with which very low harmonics are added

Selects the type of notes that specify the LFO speed

ꢀ Fx:009

Envelope Shape

–100...+100

Times

x1...x16

ꢀ Fx:009

Sets the oscillator’s volume envelope curve

Sets the number of notes that specify the LFO speed

Wet/Dry

Dry, 1:99...99:1, Wet

Formant Shift

Sets the frequency to which the effect is applied

–100...+100

ꢀ

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Resonance

0...100

ꢀ

Selects the modulation source of the effect balance

Sets the Level of resonance of the voice pattern

Amt

–100...+100

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the modulation amount of the effect balance

Sets the balance between the effect and dry sounds

Src

Off...Tempo

a: OSC Mode, b: Note Interval, b: Note Fine

Selects the modulation source of the effect balance

The “OSC Mode” parameter selects the oscillator operation mode.

When Note (Key Follow) is selected, the oscillator’s frequency is

determined based on the note number, allowing you to use it as

an octaver. The “Note Interval” parameter sets the pitch offset

from the original note number by semitone steps. The “Note Fine”

parameter allows you to ﬁne-tune in steps of cents.

Amt

–100...+100

Sets the modulation amount of the effect balance

c:Voice Top, d:Voice Center, e:Voice Bottom

These parameters assign vowels to the top, center, and bottom

position of the controller.

E.g.: When “Voice Top”=A, “Voice Center”=I, and “Voice Bot-

tom”=U:

If “Sweep Mode ”is set to D-mod and Ribbon is selected as the

modulation source, moving your ﬁnger from the right to left of

the ribbon controller will change the sound from “a” to “i,” then

“u.”

d: Envelope Pre LPF

This parameter sets the upper limit of the frequency range to

which very low harmonics are added. Adjust this parameter if

you do not want to add lower harmonics to the higher range.

If Sweep Mode is set to LFO, the sound will change cyclically

from “a” to “i,” “u,” “i,” then “a.”

013: Talking Modulator

Talking Modulator Control

This effect adds an unusual character, like a human voice, to

the input signal. Modulating the tone via dynamic modula-

tion, you can create an interesting effect that sounds as if the

guitar or synthesizer is talking.

Voice Bottom

Voice Center

Voice Top

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

JS X

Ribbon

-mod

+ Max

Zero

– Max

JS +Y

JS –Y

etc…

Zero

Talking Modulator A-I-U-E-O

h: Formant Shift

Right

This parameter adjusts the frequency level to which the effect is

applied. If you wish to apply the effect to a higher-range sound,

set this parameter to a higher value; to apply the effect to a lower-

range sound, set this to a lower value.

Wet / Dry

Voice Top: A

Voice Center: I

Voice Bottom: U

Sweep Mode

-mod

D-mod

LFO

h: Resonance

Sweep Mode

D-mod, LFO

This parameter sets the intensity of resonance for the voice pat-

tern. A larger value will add more character to the sound.

Switches between modulation source control and LFO control

Manual Voice Control

Bottom, 1...49, Center, 51...99, Top

Off...Tempo

Voice pattern control

Src

Selects the modulation source that controls the voice pattern

Voice Top

A, I, U, E, O

ꢀ

Selects a vowel sound at the top end of control

Voice Center

Selects a vowel sound in the center of control

A, I, U, E, O

ꢀ

Voice Bottom

Selects a vowel sound at the bottom end of control

A, I, U, E, O

ꢀ

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014: Stereo Decimator

015: St. Analog Record

This effect creates a rough sound like a cheap sampler by low-

ering the sampling frequency and data bit length. You can

also simulate noise unique to a sampler (aliasing).

(Stereo Analog Record)

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.

Stereo In - Stereo Out

Left

Wet / Dry

Stereo In - Stereo Out

High Damp Output Level

Pre LPF Resolution

Sampling Frequency

Decimator

Left

Wet / Dry

EQ Trim

Pre EQ

Analog Record

Simulation

-mod

LFO

Pre LPF

High Damp Output Level

Resolution

Right

Wet / Dry

EQ Trim

Pre EQ

Right

Wet / Dry

Pre LPF

Off, On

Selects whether the harmonic noise caused by a decrease in sam-

pling frequency is generated or not

ꢀ

Speed [RPM]

Sets the r.p.m. of a record

33 1/3, 45, 78

High Damp [%]

Sets the ratio of cut of the high range

0...100%

1.00k...48.00kHz

Off...Tempo

Flutter

0...100

ꢀ

Sets the modulation depth

Sampling Freq (Sampling Frequency) [Hz]

Sets the sampling frequency

Noise Density

Sets the noise density

0...100

Src

Selects the modulation source of the sampling frequency

Noise Tone

Sets the noise tone

0...100

Amt

–48.00k...+48.00kHz

Sets the modulation amount of the sampling frequency

Noise Level

Sets the noise level

0...100

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

Src

Off...Tempo

–100...+100

Selects the modulation source for the noise level

Src

Off...Tempo

–20.00...+20.00Hz

0...100

Selects the modulation source of LFO speed

Amt

Sets the modulation amount of the noise level

Amt

Sets the modulation amount of LFO speed

Click Level

Sets the click noise level

0...100

ꢀ,

Depth

Sets the depth of the sampling frequency LFO modulation

Src

Off...Tempo

–100...+100

0...100

Selects the modulation source for the click noise level

Src

Off...Tempo

Selects the LFO modulation source of the sampling frequency

Amt

Sets the modulation amount of the click noise level

Amt

–100...+100

Sets the LFO modulation amount of the sampling frequency

EQ Trim

Sets the EQ input level

Resolution

Sets the data bit length

4...24

ꢀ

Pre EQ Cutoff [Hz]

Sets the EQ center frequency

300...10.00kHz

0.5...10.0

Output Level

0...100

Sets the output level

ꢀ,

Sets the EQ band width

Src

Off...Tempo

Selects the modulation source for the output

level

Gain [dB]

Sets the EQ gain

–18.0...+18.0dB

Amt

–100...+100

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the modulation amount of the output level

Sets the balance between the effect and dry sounds

Wet/Dry

Dry, 1:99...99:1, Wet

Src

Off...Tempo

Sets the balance between the effect and dry sounds

Selects the modulation source of the effect balance

Src

Off...Tempo

Amt

–100...+100

Selects the modulation source of the effect balance

Sets the modulation amount of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

b: Flutter

This parameter enables you to set the depth of the modulation

caused by a warped turntable.

a: Pre LPF

If a sampler with a very low sampling frequency receives very

high-pitched sound that could not be heard during playback, it

could generate pitch noise that is unrelated to the original sound.

Set “Pre LPF” to ON to prevent this noise from being generated.

If you set the “Sampling Freq” to about 3kHz and set “Pre LPF” to

OFF, you can create a sound like a ring modulator.

e: Click Level

This parameter enables you to set the level of the click noise that

occurs once every rotation of the turntable. This simulation repro-

duces record noise, and the noise generated after the music on a

vinyl record ﬁnishes.

e: Resolution, f: Output Level

If you set a smaller value for the “Resolution” parameter, the

sound may be distorted. The volume level may also be changed.

Use “Output Level” to adjust the level.

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e: L Pre Delay [msec], f: R Pre Delay [msec]

Setting the left and right delay time individually allows you to

control the stereo image.

Pitch/ Phase Mod.

Pitch/ phase modulation effects

017: St. Harmonic Chorus

016: Stereo Chorus

(Stereo Harmonic Chorus)

This effect adds thickness and warmth to the sound by modu-

lating 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. This can

be used to apply a chorus effect to a bass sound without mak-

ing the sound thinner. You can also use this chorus block with

feedback as a ﬂanger.

Stereo In - Stereo Out

Left

Wet / Dry

Low Level

Wet / Dry

LEQ

HEQ

Chorus

Chorus/Flanger

EQ Trim

High Level

High Damp

Feedback

High Damp

High/Low Split Point

Low Level

Right

Wet / Dry

LFO Phase

LFO: Tri / Sine

LFO Waveform

Selects LFO Waveform

Triangle, Sine

LFO Waveform

Selects LFO Waveform

Triangle, Sine

LFO Phase [degree]

Sets the LFO phase difference between the left and right ꢀ Fx:010

–180...+180

LFO Phase [degree]

Sets the LFO phase difference between the left and right ꢀ Fx:010

–180...+180

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

ꢀ Fx:009,

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

ꢀ Fx:009,

Src

Off...Tempo

–20.00...+20.00Hz

Off, On

Src

Off...Tempo

–20.00...+20.00Hz

Off, On

Selects the modulation source of LFO speed

Amt

Sets the modulation amount of LFO speed

BPM/MIDI Sync

Switches between using the frequency of the LFO speed and using

the tempo and notes

Switches between using the frequency of the LFO speed and using

the tempo and notes

ꢀ Fx:009,

BPM

MIDI, 40...240

BPM

MIDI, 40...240

Selects MIDI Clock and assigns tempo

ꢀ Fx:009

Selects MIDI Clock and assigns tempo

ꢀ Fx:009

Base Note

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

Base Note

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

Selects the type of notes that specify the LFO speed

ꢀ Fx:009

Selects the type of notes that specify the LFO speed

ꢀ Fx:009

Times

x1...x16

ꢀ Fx:009

Times

x1...x16

ꢀ Fx:009

Sets the number of notes that specify the LFO speed

L Pre Delay [msec]

Sets the delay time for the left channel

0.0...50.0msec

ꢀ

Pre Delay [msec]

Sets the delay time from the original sound

0.0...50.0msec

R Pre Delay [msec]

Sets the delay time for the right channel

0.0...50.0msec

ꢀ

Depth

0...100

Sets the depth of LFO modulation

Depth

0...100

Src

Off...Tempo

Sets the depth of LFO modulation

Selects the modulation source of the LFO modulation depth

Src

Off...Tempo

Amt

–100...+100

Selects the modulation source of the LFO modulation depth

Sets the modulation amount of the LFO modulation depth

Amt

–100...+100

High/Low Split Point

Sets the frequency split point between the low and high range

1...100

Sets the modulation amount of the LFO modulation depth

ꢀ

EQ Trim

Sets the EQ input level

0...100

Feedback

–100...+100

ꢀ

Sets the feed back amount of the chorus block

Pre LEQ Gain [dB]

Sets the gain of Low EQ

–15.0...+15.0dB

High Damp [%]

Sets the high range damping amount of the chorus block

0...100%

0...100

Pre HEQ Gain [dB]

Sets the gain of High EQ

Low Level

Sets the low range output level

Wet/Dry

–Wet...–1:99, Dry, 1:99...Wet

High Level

Sets the high range (chorus) output level

Sets the balance between the effect and dry sounds

ꢀ Fx:010,

Wet/Dry

Dry, 1:99...99:1, Wet

Src

Off...Tempo

Sets the balance between the effect and dry sounds

Selects the modulation source of the effect balance

Src

Off...Tempo

Amt

–100...+100

Selects the modulation source of the effect balance

Sets the modulation amount of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

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g: High/Low Split Point

Wet/Dry

Dry, 1:99...99:1, Wet

This parameter sets the frequency that splits the high and low

range. Only the high range will be sent to the chorus block.

Sets the balance between the effect and dry sounds

Amt

–100...+100

Sets the modulation amount of the effect balance

h: Feedback

Sets the feedback amount of the chorus block. Increasing the feed-

back will allow you to use the effect as a ﬂanger.

019: 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.

018: Multitap Cho/ Delay

(Multitap Chorus/ Delay)

This effect has four chorus blocks with a different LFO phase.

You can create a complex stereo image by setting each block’s

delay time, depth, output level, and pan individually. You can

also ﬁx some of the chorus blocks to combine the chorus and

delay effects.

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Ensemble

Wet: Mono In - Stereo Out

Left

Dry: Stereo In -Stereo Out

Wet / Dry

Feedback

Right

Wet / Dry

Tap1 Delay

Tap2 Delay

Tap3 Delay

Tap4 Delay

Level

Pan

Shimmer

LFO

Level

Speed

Sets the LFO speed

1...100

Right

0 [degree]

Wet / Dry

180 [degree]

90 [degree]

270 [degree]

Src

Off...Tempo

–100...+100

0...100

LFO: Triangle

Selects the modulation source of LFO speed

Amt

Sets the modulation amount of LFO speed

LFO Frequency [Hz]

Sets the LFO speed

0.02...13.00Hz

0...570msec

0...30

Depth

Sets the depth of LFO modulation

Tap1(000) [msec]

Sets the Tap1 (LFO phase=0 degrees) delay time

Src

Off...Tempo

Selects the modulation source of the LFO modulation depth

Depth

Sets the Tap1 chorus depth

Amt

–100...+100

Sets the modulation amount of the LFO modulation depth

Level

0...30

Sets the Tap1 output level

Shimmer

0...100

ꢀ

Sets the amount of shimmering of the LFO waveform

Pan

L6...L1, C, R1...R6

0...570msec

Sets the Tap1 stereo image

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Tap2(180) [msec]

Sets the Tap2 (LFO phase=180 degrees) delay time

Src

Off...Tempo

Selects the modulation source of the effect balance

Depth

0...30

Sets the Tap2 chorus depth

Amt

–100...+100

Sets the modulation amount of the effect balance

Level

Sets the Tap2 output level

c: Shimmer

Pan

L6...L1, C, R1...R6

0...570msec

0...30

This parameter sets the amount of shimmering of the LFO wave-

form. Increasing this value adds more shimmering, making the

chorus effect more complex and richer.

Sets the Tap2 stereo image

Tap3(090) [msec]

Sets the Tap3 (LFO phase=90 degrees) delay time

Ensemble LFO

Depth

Level

Sets the Tap3 chorus depth

Shimmer

Level

0...30

Sets the Tap3 output level

Pan

L6...L1, C, R1...R6

0...570msec

Sets the Tap3 stereo image

Time

Tap4(270) [msec]

Sets the Tap4 (LFO phase=270 degrees) delay time

Depth

0...30

Sets the Tap4 chorus depth

Level

Sets the Tap4 output level

Pan

L6...L1, C, R1...R6

–100...+100

Sets the Tap4 stereo image

Tap1 Feedback

Sets the Tap1 feedback amount

Src

Off...Tempo

Selects the modulation source of Tap1 feedback amount and effect

balance

Amt

–100...+100

Sets the Tap1 feedback amount and modulation amount

197

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g: High Damp [%]

020: Stereo Flanger

This parameter sets the amount of damping of the feedback in the

high range. Increasing the value will cut high-range harmonics.

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.

021: St. Random Flanger

(Stereo Random Flanger)

Stereo In - Stereo Out

Left

Wet / Dry

The stereo effect uses a step-shape waveform and random

LFO for modulation, creating a unique ﬂanging effect.

Flanger

Feedback

Stereo In - Stereo Out

Left

High Damp

Flanger

Wet / Dry

Flanger

Feedback

Right

Wet / Dry

LFO Phase

LFO Shape

LFO: Tri / Sine

High Damp

Flanger

Right

Wet / Dry

Delay Time [msec]

Sets the delay time from the original sound

0.0...50.0msec

Triangle, Sine

LFO Phase

LFO: Step-Tri/Random

LFO Waveform

Selects LFO Waveform

LFO Shape

–100...+100

ꢀ

Delay Time [msec]

Sets the delay time from the original sound

0.0...50.0msec

Determines how much the LFO waveform is changed

LFO Phase [degree]

Sets the LFO phase difference between the left and right ꢀ Fx:010

–180...+180

LFO Waveform

Selects LFO Waveform

Step-Tri, Random

ꢀ Fx:010

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

ꢀ Fx:009,

LFO Phase [degree]

Sets the LFO phase difference between the left and right ꢀ Fx:010

–180...+180

Src

Off...Tempo

–20.00...+20.00Hz

Off, On

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

ꢀ Fx:010,

Selects the modulation source of LFO speed

Amt

Src

Off...Tempo

Sets the modulation amount of LFO speed

Selects the modulation source used for both LFO speed and step

speed

BPM/MIDI Sync

Switches between using the frequency of the LFO speed and using

the tempo and notes

Amt

–20.00...+20.00Hz

ꢀ Fx:009,

Sets the modulation amount of LFO speed

BPM

MIDI, 40...240

LFO Step Freq (Frequency) [Hz]

Sets the LFO step speed (speed that changes in steps)

ꢀ Fx:010,

0.05...50.00Hz

Selects MIDI Clock and assigns tempo

ꢀ Fx:009

Base Note

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

Selects the type of notes that specify the LFO speed

ꢀ Fx:009

Amt

–50.00...+50.00Hz

Sets the modulation amount of LFO step speed

Times

x1...x16

Sets the number of notes that specify the LFO speed

ꢀ Fx:009

BPM/MIDI Sync

Off, On

Switches between using the frequency of the LFO speed and using

Depth

0...100

the tempo and notes

ꢀ Fx:009,

Sets the depth of LFO modulation

BPM

MIDI, 40...240

ꢀ Fx:009, 010

Feedback

Sets the feedback amount

–100...+100

ꢀ

Selects MIDI Clock and assigns tempo

Base Note

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

High Damp [%]

Sets the feedback damping amount in the high range

0...100%

ꢀ

Selects the type of notes that specify the LFO speed

ꢀ Fx:009

Times

x1...x16

Wet/Dry

Sets the balance between the effect and dry sounds

ꢀ Fx:010,

–Wet...–1:99, Dry, 1:99...Wet

Sets the number of notes that specify the LFO speed

ꢀ Fx:009

Step Base Note

Selects the type of notes to specify the LFO step speed

ꢈ ꢁ ꢂ ꢈ ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

Src

Off...Tempo

ꢀ Fx:010,

Selects the modulation source of the effect balance

Times

x1...x32

Amt

–100...+100

Sets the number of notes to specify the LFO step speed ꢀ Fx:010

Sets the modulation amount of the effect balance

Depth

0...100

Sets the depth of LFO modulation

b: LFO Shape

Feedback

Sets the feedback amount

–100...+100

ꢀ Fx:020

Changing the LFO waveform shape controls the peak sweep of

ﬂanging effects.

High Damp [%]

0...100%

LFO Shape

Sets the feedback damping amount in the high range

ꢀ Fx:020

LFO Shape = 0...+100

LFO Shape = 0...–100

Wet/Dry

Sets the balance between the effect and dry sounds

ꢀ Fx:010, 020,

–Wet...–1:99, Dry, 1:99...Wet

LFO Waveform=Sine

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

g: Feedback, h:Wet/Dry

The peak shape of the positive and negative “Feedback” value is

different. The harmonics will be emphasized when the effect

sound is mixed with the dry sound if you set a positive value for

both “Feedback” and “Wet/ Dry”, and if you set a negative value

for both “Feedback” and “Wet/ Dry”.

198

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022: St. Env. Flanger

023: Stereo Phaser

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.

(Stereo Envelope Flanger)

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 modula-

tion source.

Stereo In - Stereo Out

Left

Wet / Dry

Stereo In - Stereo Out

Left

Phaser

Wet / Dry

Flanger

Feedback

Resonance

High Damp

Phaser

High Damp

Flanger

Right

Wet / Dry

LFO Phase

Right

LFO Shape

LFO: Tri / Sine

Wet / Dry

D-mod

Sweep Mode

-mod

EG Attack/Decay

LFO Waveform

Triangle, Sine

Selects LFO Waveform

L Dly Bottom [msec] (L Delay Bottom)

0.0...50.0msec

LFO Shape

–100...+100

ꢀ Fx:020

Sets the lower limit of the delay time on the left channel ꢀ Fx:009

Determines how much the LFO waveform is changed

L Dly Top [msec] (L Delay Top)

0.0...50.0msec

LFO Phase [degree]

Sets the LFO phase difference between the left and right ꢀ Fx:010

–180...+180

Sets the upper limit of the delay time on the left channel ꢀ Fx:009

R Dly Bottom [msec] (R Delay Bottom) 0.0...50.0msec

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

ꢀ Fx:009,

Sets the lower limit of the delay time on the right channel ꢀ Fx:009

R Dly Top [msec] (R Delay Top) 0.0...50.0msec

Src

Off...Tempo

–20.00...+20.00Hz

Off, On

Sets the upper limit of the delay time on the right channel ꢀ Fx:009

Selects the modulation source of LFO speed

Sweep Mode EG, D-mod

Determines whether the ﬂanger is controlled by the envelope gener-

Amt

Sets the modulation amount of LFO speed

ator or by the modulation source

ꢀ,

BPM/MIDI Sync

Src

Off...Tempo

Switches between using the frequency of the LFO speed and using

the tempo and notes

Selects the modulation source that triggers the EG (when EG is

selected for Sweep Mode), or modulation source that causes the

ﬂanger to sweep (when D-mod is selected for Sweep Mode)

ꢀ Fx:009,

ꢀ

BPM

MIDI, 40...240

Selects MIDI Clock and assigns tempo

ꢀ Fx:009

EG Attack

Sets the EG attack speed

1...100

ꢀ

Base Note

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

Selects the type of notes that specify the LFO speed

ꢀ Fx:009

EG Decay

Sets the EG decay speed

1...100

ꢀ

Times

x1...x16

Sets the number of notes that specify the LFO speed

ꢀ Fx:009

Feedback

–100...+100

Sets the feedback amount

ꢀ Fx:020

Manual

0...100

Sets the frequency to which the effect is applied

High Damp [%]

Sets the feedback damping amount in the high range

0...100%

ꢀ Fx:020

Depth

0...100

Sets the depth of LFO modulation

Wet/Dry

Sets the balance between the effect and dry sounds

ꢀ010, 020,

–Wet...–1:99, Dry, 1:99...Wet

Src

Off...Tempo

Selects the modulation source for the LFO modulation depth

Src

Off...Tempo

Amt

–100...+100

Selects the modulation source of the effect balance

Sets the modulation amount of the LFO modulation depth

Amt

–100...+100

Resonance

Sets the resonance amount

–100...+100

ꢀ

Sets the modulation amount of the effect balance

High Damp [%]

Sets the resonance damping amount in the high range

0...100%

ꢀ

c: Sweep Mode, c: Src

This parameter switches the ﬂanger control mode. With “Sweep

Mode” = EG, the ﬂanger will sweep using the envelope generator.

This envelope generator is included in the envelope ﬂanger, and

not related to the Pitch EG, Filter EG, or Amp EG.

The “Src” parameter selects the source that starts the envelope

generator. If you select, for example, Gate, the envelope generator

will start when the note-on message is received.

Wet/Dry

Sets the balance between the effect and dry sounds

ꢀ Fx:010,

–Wet...–1:99, Dry, 1:99...Wet

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

When “Sweep Mode” = D-mod, the modulation source can con-

trol the ﬂanger directly. Select the modulation source using the

“Src” parameter.

g: Resonance, h:Wet/Dry

The peak shape of the positive and negative Feedback value is dif-

ferent. The harmonics will be emphasized when the effect sound

is mixed with the dry sound, if you set a positive value for both

“Resonance” and “Wet/ Dry”, and if you set a negative value for

both “Resonance” and “Wet/ Dry”.

The effect is off when a value for the modulation source

speciﬁed for the “Src” parameter is smaller than 64, and the

effect is on when the value is 64 or higher. The Envelope

Generator is triggered when the value changes from 63 or

smaller to 64 or higher.

g: High Damp [%]

This parameter sets the amount of damping of the resonance in

the high range. Increasing the value will cut high-range harmon-

ics.

d: EG Attack, d: EG Decay

Attack and Decay speed are the only adjustable parameters on

this EG.

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024: St. Random Phaser

025: 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 modula-

tion. You will obtain the same pattern of phasing each time

you play. You can also control the Phaser directly using the

modulation source.

Stereo In - Stereo Out

Left

Stereo In - Stereo Out

Wet / Dry

Left

Wet / Dry

Phaser

Resonance

High Damp

Phaser

High Damp

Phaser

Right

Wet / Dry

LFO Phase

Right

Wet / Dry

D-mod

-mod

LFO: Step-Tri/Random

Sweep Mode

EG Attack/Decay

LFO Waveform

Selects LFO Waveform

Step-Tri, Step-Sin, Random

ꢀ Fx:010

L Manu Bottom (L Manual Bottom)

0...100

Sets the lower limit of the frequency range for the effect on the left

LFO Phase [degree]

Sets the LFO phase difference between the left and right ꢀ Fx:010

–180...+180

channel

ꢀ Fx:009

L Manu Top (L Manual Top)

Sets the upper limit of the frequency range for the effect on the left

channel

0...100

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

ꢀ Fx:010,

ꢀ Fx:009

Src

Off...Tempo

R Manu Bottom (R Manual Bottom)

Sets the lower limit of the frequency range for the effect on the right

channel

0...100

Selects the modulation source commonly used for LFO speed and

step speed

ꢀ Fx:009

Amt

–20.00...+20.00Hz

R Manu Top (R Manual Top)

0...100

Sets the modulation amount of LFO speed

Sets the upper limit of the frequency range for the effect on the right

LFO Step Freq (Frequency) [Hz]

Sets the LFO step speed

0.05...50.00Hz

ꢀ Fx:010,

channel

ꢀ Fx:009

Sweep Mode

EG, D-mod

Amt

–50.00...+50.00Hz

Determines whether the ﬂanger is controlled by the envelope gener-

Sets the modulation amount of LFO step speed

ator or by the modulation source

ꢀ Fx:022,

BPM/MIDI Sync

Off, On

Src

Off...Tempo

Switches between using the frequency of the LFO speed and using

the tempo and notes

Selects the modulation source that triggers the EG (when EG is

selected for Sweep Mode), or modulation source that causes the

ﬂanger to sweep (when D-mod is selected for Sweep Mode)

ꢀ Fx:009,

BPM

MIDI, 40...240

Selects MIDI Clock and assigns tempo

ꢀ009, 010

EG Attack

Sets the EG attack speed

1...100

ꢀ Fx:022

Base Note

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

Selects the type of notes that specify the LFO speed

ꢀ Fx:009

EG Decay

Sets the EG decay speed

1...100

ꢀ Fx:022

Times

x1...x16

Sets the number of notes that specify the LFO speed

ꢀ Fx:009

Resonance

Sets the resonance amount

–100...+100

ꢀ Fx:023

Step Base Note

ꢈ ꢁ ꢂ ꢈ ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

Selects the type of notes to specify the LFO step speed

High Damp [%]

Sets the resonance damping amount in the high range

0...100%

ꢀ Fx:023

ꢀ Fx:010,

Times

x1...x32

Wet/Dry

Sets the balance between the effect and dry sounds

ꢀ Fx:010, 023,

–Wet...–1:99, Dry, 1:99...Wet

Sets the number of notes to specify the LFO step speed ꢀ Fx:010

Manual

0...100

Sets the frequency to which the effect is applied

Src

Off...Tempo

Selects the modulation source of the effect balance

Depth

Sets the depth of LFO modulation

Amt

–100...+100

Sets the modulation amount of the effect balance

Resonance

–100...+100

Sets the resonance amount

ꢀ Fx:023

High Damp [%]

0...100%

Sets the resonance damping amount in the high range

ꢀ Fx:023

Wet/Dry

Sets the balance between the effect and dry sounds

ꢀ Fx:010, 023,

–Wet...–1:99, Dry, 1:99...Wet

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

200

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026: St. Biphase Mod.

027: Stereo Vibrato

This effect causes the pitch of the input signal to shimmer.

Using the AutoFade allows you to increase or decrease the

shimmering speed.

(Stereo Biphase Modulation)

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.

Stereo In - Stereo Out

Left

Wet / Dry

Vibrato

Stereo In - Stereo Out

Left

Wet / Dry

Chorus/Flanger

High Damp

Right

Feedback

Wet / Dry

LFO: Tri / Sine

AutoFade

LFO Shape

High Damp

Chorus/Flanger

Fade-In Delay

LFO Frequency

Right

Wet / Dry

180 [degree]

LFO1: Tri / Sine

LFO2: Tri / Sine

AUTOFADE Src

Selects the modulation source that starts AutoFade

Off...Tempo

ꢀ,

Fade-In Rate

Sets the rate of fade-in

1...100

ꢀ

LFO1 Waveform

Selects LFO1 waveform

Triangle, Sine

Fade-In Delay [msec]

Sets the fade-in delay time

00...2000msec

ꢀ

LFO2 Waveform

Selects LFO2 waveform

LFO Waveform

Selects LFO Waveform

Triangle, Sine

LFO Phase Sw

Switches the LFO phase difference between left and right

0 degree, 180 degree

LFO Shape

–100...+100

ꢀ Fx:020

Determines how much the LFO waveform is changed

LFO1 Frequency [Hz]

Sets the LFO1 speed

0.02...30.00Hz

LFO Frequency Mod

Switches between D-mod and AUTOFADE for the LFO frequency

modulation

D-mod, AUTOFADE

ꢀ

Src

Off...Tempo

–30.00...+30.00

0.02...30.00Hz

–30.00...+30.00

0...100

Selects the modulation source of LFO1&2 speed

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

ꢀ Fx:009,

Amt

Sets the modulation amount of LFO1 speed

Src

Off...Tempo

–20.00...+20.00Hz

Off, On

Selects the modulation source of LFO speed

LFO2 Frequency [Hz]

Sets the LFO2 speed

Amt

Sets the modulation amount of LFO speed

Amt

Sets the modulation amount of LFO2 speed

BPM/MIDI Sync

Switches between using the frequency of the LFO speed and using

the tempo and notes

Depth1

ꢀ Fx:009,

Sets the depth of LFO1 modulation

BPM

MIDI, 40...240

Src

Off...Tempo

Selects MIDI Clock and assigns tempo

ꢀ Fx:009

Selects the modulation source of LFO1&2 modulation depth

Base Note

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

Amt

–100...+100

Selects the type of notes that specify the LFO speed

ꢀ Fx:009

Sets the modulation amount of LFO1 modulation depth

Times

x1...x16

ꢀ Fx:009

Depth2

0...100

Sets the number of notes that specify the LFO speed

Sets the depth of LFO2 modulation

Depth

0...100

Amt

–100...+100

Sets the depth of LFO modulation

Sets the modulation amount of LFO2 modulation depth

Src

Off...Tempo

L Pre Delay [msec]

Sets the delay time for the left channel

0.0...50.0msec

Selects the modulation source of the LFO modulation depth

ꢀ Fx:016

Amt

–100...+100

R Pre Delay [msec]

Sets the delay time for the right channel

0.0...50.0msec

Sets the modulation amount of the LFO modulation depth

ꢀ Fx:016

Wet/Dry

Dry, 1:99...99:1, Wet

Feedback

Sets the feedback amount

–100...+100

ꢀ Fx:017

Sets the balance between the effect and dry sounds

Src

Off...Tempo

High Damp [%]

Sets the damping amount in the high range

0...100%

Selects the modulation source of the effect balance

Amt

–100...+100

Wet/Dry

Sets the balance between the effect and dry sounds

ꢀ Fx:010,

–Wet...–1:99, Dry, 1:99...Wet

Sets the modulation amount of the effect balance

Src

Off...Tempo

d: LFO Frequency Mod, a: AUTOFADE Src, a: Fade-In Rate

b: Fade-In Delay [msec]

Selects the modulation source of the effect balance

When “LFO Frequency Mod” is set to AUTOFADE, you can use

the modulation source selected in “AUTO FADE Src” as a trigger

to automatically fade in the modulation amount. When “BPM/

MIDI Sync” is set to On, you cannot use this.

Amt

–100...+100

Sets the modulation amount of the effect balance

Bi-Phase Modulation LFO

The “Fade-in Rate” parameter speciﬁes the rate of fade-in. The

“Fade-in Delay” parameter determines the time from AutoFade

modulation source ON until the fade-in starts.

LFO1

LFO2

Depth1

Depth2

The following is an example of fade-in where the LFO speed is

increased from “1.0Hz” to “4.0Hz” when a note-on message is

received.

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“AUTOFADE Src”=Gate1, “LFO Frequency [Hz]”=1.0

“LFO Frequency Mod”=AUTOFADE, “Amt”=3.0

Feedback

Sets the feedback amount

–100...+100

ꢀ Fx:020

High Damp [%]

Sets the feedback damping amount in the high range

0...100%

ꢀ Fx:020

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.

Wet/Dry Mod

D-mod, AUTOFADE

Switches between D-mod and AUTOFADE for the effect balance

modulation

Wet/Dry

ꢀ Fx:027

–Wet...–1:99, Dry, 1:99...Wet

AUTOFADE AutoFade

Sets the balance between the effect and dry sounds

ꢀ Fx:010, 020,

AUTOFADE Src=Gate1

LFO Frequency[Hz]=1.0

LFO Freq. Mod=AUTOFADE

Amt=+3.0

Gate1 Signal

AUTOFADE

Src

Off...Tempo

Selects the modulation source of the effect balance

All Note Off

Note On

Amt

–100...+100

LFO Frequency

=1.0+3.0=4.0Hz

Fade-In Rate

Fade-In Dealy

Sets the modulation amount of the effect balance

LFO Frequency

=1.0Hz

029: 2Voice Resonator

This effect resonates the input signal at a speciﬁed pitch. You

can set the pitch, output level, and pan settings for two reso-

nators individually. You can control the resonance intensity

via an LFO.

028: St. Auto Fade Mod.

(Stereo Auto Fade Modulation)

This stereo chorus/ ﬂanger effect enables you to control the

LFO speed and effect balance using auto fade, and you can

spread the sound by offsetting the phase of the left and right

LFOs from each other.

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

High Damp

Resonator

Level Pan

Trim

Resonance

Stereo In - Stereo Out

Left

Wet / Dry

Resonator

Level

Pan

Trim

High Damp

Delay

Right

Wet / Dry

Feedback

-mod

Invert: On/Off

High Damp

Delay

LFO

Pitch, Fine [cent]

Control Mode

Manual

Right

Wet / Dry

LFO Phase

LFO Shape

LFO: Tri / Sine

AutoFade

Control Mode

Switches the controls of resonance intensity

Manual, LFO, D-mod

LFO Frequency

Wet / Dry

ꢀ,

LFO/D-mod Invert

Off, On

Reverses the Voice 1 and 2 control when LFO/D-mod is selected

ꢀ

AUTOFADE Src

Selects the modulation source that starts AutoFade

Off...Tempo

ꢀ Fx:027,

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

Rate

1...100

ꢀ Fx:027

D-mod Src

Off...Tempo

Sets the rate of fade-in

Selects the modulation source that controls resonance intensity

Fade-In Dly (Fade-In Delay) [msec]

Sets the fade-in delay time

00...2000msec

Mod. Depth

–100...+100

ꢀ Fx:027

Sets the amount of resonance intensity control via LFO/D-mod

LFO Waveform

Selects LFO Waveform

Triangle, Sine

Trim

0...100

Sets the input level at the resonator

LFO Shape

–100...+100

ꢀ Fx:020

Voice1: Pitch

Sets the voice1 Pitch for resonance

C0...B8

–50...+50

Determines how much the LFO waveform is changed

LFO Phase [degree]

Sets the LFO phase difference between the left and right ꢀ Fx:010

–180...+180

Fine [cent]

Fine-adjusts the voice 1 pitch for resonance

LFO Frequency Mod D-mod, AUTOFADE

Switches between D-mod and AUTOFADE for the LFO frequency

modulation

Voice1: Resonance

Sets the intensity of resonance when Control Mode = Manual

–100...+100

ꢀ

ꢀ Fx:027

High Damp [%] 0...100%

Sets the damping amount of resonant sound in the high range

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

ꢀ

Voice1: Level

Sets the Voice1 output level

0...100

Src

Off...Tempo

Selects the modulation source of LFO speed

Pan

L6...R6

Amt

–20.00...+20.00Hz

0.0...500.0msec

0...200

Sets the Voice1 stereo image

Sets the modulation amount of LFO speed

Voice2: Pitch

Sets the Voice2 Pitch for resonance

C0...B8

L Delay Time [msec]

Sets the left channel delay time

Fine [cent]

–50...+50

R Delay Time [msec]

Sets the right channel delay time

Fine-adjusts the voice 2 pitch for resonance

Voice2: Resonance

Sets the intensity of resonance when Control Mode = Manual

–100...+100

Depth

ꢀ

Sets the depth of LFO modulation

High Damp [%] 0...100%

Sets the damping amount of resonant sound in the high range

ꢀ

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Voice2: Level

Sets the Voice2 output level

0...100

L6...R6

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

ꢀ Fx:009,

Pan

Src

Off...Tempo

–20.00...+20.00Hz

Off, On

Sets the Voice2 stereo image

Selects the modulation source of LFO speed

Wet/Dry

Dry, 1:99...99:1, Wet

Amt

Sets the balance between the effect and dry sounds

Sets the modulation amount of LFO speed

Src

Off...Tempo

BPM/MIDI Sync

Selects the modulation source of the effect balance

Switches between using the frequency of the LFO speed and using

the tempo and notes

ꢀ Fx:009,

Amt

–100...+100

Sets the modulation amount of the effect balance

BPM

MIDI, 40...240

Selects MIDI Clock and assigns tempo

ꢀ Fx:009

a: Control Mode, e:Voice1: Resonance, h:Voice2: Resonance

This parameter determines the resonance intensity.

When “Control Mode” = Manual, the “Resonance” parameter

sets the intensity of resonance. If the “Resonance” parameter has a

negative value, harmonics will be changed, and resonance will

occur at a pitch one octave lower.

Base Note

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

Selects the type of notes that specify the LFO speed

ꢀ Fx:009

Times

x1...x16

Sets the number of notes that specify the LFO speed

ꢀ Fx:009

Pitch Depth

Sets the pitch variation of the moving sound

0...100

ꢀ,

When “Control Mode” = LFO, the intensity of resonance varies

according to the LFO. The LFO sways between positive and nega-

tive values, causing resonance to occur between speciﬁed pitches

an octave apart in turn.

Src

Off...Tempo

Selects the modulation source of pitch variation

Amt

–100...+100

Sets the modulation amount of pitch variation

When “Control Mode” = D-mod, the resonance is controlled by

the dynamic modulation source. If JS X or Ribbon is assigned as

the modulation source, the pitch an octave higher and lower can

be controlled, similar to when LFO is selected for Control Mode.

Pan Depth

Sets the panning of the moving sound

–100...+100

ꢀ,

Src

Off...Tempo

Selects the modulation source of panning

Amt

–100...+100

a: LFO/D-mod Invert

Sets the modulation amount of panning

When “Control Mode” = LFO or D-mod, the controlled phase of

either Voice 1 or 2 will be reversed. When the resonance pitch is

set for Voice 1 (Resonance has a positive value), Voice 2 will reso-

nate at a pitch an octave below (Resonance has a negative value).

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Selects the modulation source of the effect balance

d:Voice1: Pitch, d: Fine [cent], g:Voice2: Pitch, g: Fine [cent]

The Pitch parameter speciﬁes the pitch of resonance by note

name. The “Fine” parameter allows for ﬁne adjustment in steps of

cents.

Amt

–100...+100

Sets the modulation amount of the effect balance

a: LFO Mode, a: Src, b: LFO Sync

The “LFO Mode” parameter switches LFO operation mode. When

Loop is selected, the Doppler effect will be created repeatedly. If

“LFO Sync” is set to On, the LFO will be reset when the modula-

tion source speciﬁed with the “Src” parameter is turned on.

When “LFO Mode” is set to 1-Shot, the Doppler effect is created

only once when the modulation source speciﬁed in the “Src” ﬁeld

is turned on. At this time if you do not set the “Src” parameter, the

Doppler effect will not be created, and no effect sound will be out-

put.

e: High Damp [%], h: High Damp [%]

This parameter sets the damping amount of resonant sound in the

high range. Lower values will make a metallic sound with a

higher range of harmonics.

030: Doppler

This effect simulates the “Doppler effect” of a moving sound

with a changing pitch, similar to the siren of an passing

ambulance. Mixing the effect sound with the dry sound will

create a unique chorus effect.

The effect is off when a value for the modulation source

speciﬁed for the “Src” parameter is smaller than 64, and the

effect is on when the value is 64 or higher. The Doppler

effect is triggered when the value changes from 63 or

smaller to 64 or higher.

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

e: Pitch Depth

With the Doppler effect, the pitch is raised when the sound

approaches, and the pitch is lowered when the sound goes away.

This parameter sets this pitch variation.

Doppler

Pan Depth

f: Pan Depth

Right

This parameter sets the width of the stereo image of the effect

sound. With larger values, the sound seems to come and go from

much further away. With positive values, the sound moves from

left to right; with negative values, the sound moves from right to

left.

Wet / Dry

LFO

-mod

LFO Mode = 1-Shot

Trigger

Doppler - Pitch / Pan Depth

Pitch

LFO Mode

Switches LFO operation mode

Loop, 1-Shot

ꢀ,

Pan Depth

= (+) value

Pan Depth

= (–) value

Src

Off...Tempo

Original Pitch

Pitch Depth

When LFO Mode is set to 1-Shot, this modulation source triggers the

LFO

ꢀ

LFO Sync

Off, On

Center

Left

Right

Switches between LFO reset on and off when LFO Mode is set to

Loop

ꢀ

Pan Depth

< <<<<<< >>>>>> >

Volume

Louder

203

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f: Direct Mix

031: Scratch

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 Wet/ Dry to Wet to use this parameter effectively.

This effect is applied by recording the input signal and mov-

ing the modulation source. It simulates the sound of scratches

you can make using a turntable.

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Direct

Mix

Scratch

Rec Control

Right

Wet / Dry

D-mod

-mod

Envelope Control

Input

Envelope Select

-mod

Scratch Source

Selects the modulation source for simulation control

Off...Tempo

ꢀ,

Response

0...100

ꢀ

Sets the speed of the response to the Scratch Source

Envelope Select

D-mod, Input

Selects whether the start and end of recording is controlled via the

modulation source or the input signal level

ꢀ,

Src

Off...Tempo

Selects the modulation source that controls recording when Enve-

lope Select is set to D-mod

ꢀ

Threshold

0...100

Sets the recording start level when Envelope Select is set to Input

ꢀ

Response

0...100

ꢀ

Sets the speed of the response to the end of recording

Direct Mix

Selects how a dry sound is mixed

Always On, Always Off, Cross Fade

ꢀ

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

a: Scratch Source, b: Response

The Scratch Source parameter enables you to select the modula-

tion source that controls simulation. The value of the modulation

source corresponds to the playback position. The Response

parameter enables you to set the speed of the response to the

modulation source.

Scratch Source

Start

Playback Position

End

Recorded Sound

Scratch Source

Scratch!

Zero

JS X

-mod

+ Max

Ribbon

– Max

JS+Y

JS–Y

etc…

+ Max

Zero

c: Envelope Select, c: Src, d:Threshold

When “Envelope Select” is set to D-mod, the input signal will be

recorded only when the modulation source value is 64 or higher.

When “Envelope Select” is set to Input, the input signal will be

recorded only when its level is over the Threshold value.

The maximum recording time is 1365msec. If this is exceeded, the

recorded data will start being erased from the top.

e: Response

This parameter enables you to set the speed of the response to the

end of recording. Set a smaller value when you are recording a

phrase or rhythm pattern, and set a higher value if you are record-

ing only one note.

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b: LFO Phase [degree]

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.

Mod./ P.Shift

Other modulation and pitch shift effects

033: St. Env. Tremolo

032: Stereo Tremolo

(Stereo Envelope Tremolo)

This effect modulates the volume level of the input signal.

The effect is stereo, and offsetting the LFO of the left and right

phases from each other produces a tremolo effect between left

and right.

This effect uses the input signal level to modulate a stereo

tremolo. You can simulate a tremolo effect that becomes

deeper as it fades out while the level gets lower.

Stereo In - Stereo Out

Left

Wet / Dry

Tremolo

Right

Wet / Dry

LFO Phase

LFO Shape

LFO: Tri/Sin/Vintage

LFO: Tri/Sin/Vintage/Up/Down

LFO Shape

Envelope

Envelope Shape

Envelope Sens

LFO Waveform

Selects LFO Waveform

Triangle, Sine, Vintage, Up, Down

ꢀ

LFO Shape

–100...+100

ꢀ Fx:020

Envelope Sens (Envelope Sensitivity)

Sets the envelope sensitivity of the input signal

0...100

Determines how much the LFO waveform is changed

LFO Phase [degree]

Sets the LFO phase difference between the left and right

–180...+180

Envelope Shape

Sets the envelope curve shape of the input signal

–100...+100

ꢀ

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

ꢀ Fx:009,

LFO Waveform

Selects LFO Waveform

Triangle, Sine, Vintage

Src

Off...Tempo

–20.00...+20.00Hz

Off, On

LFO Shape

–100...+100

ꢀ Fx:020

Selects the modulation source of LFO speed

Determines how much the LFO waveform is changed

Amt

LFO Phase [degree]

Sets the LFO phase difference between the left and right ꢀ Fx:032

–180...+180

Sets the modulation amount of LFO speed

BPM/MIDI Sync

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

ꢀ

Switches between using the frequency of the LFO speed and using

the tempo and notes

ꢀ Fx:009,

Envelope Amount [Hz]

Sets the changes of the LFO speed according to the input signal

level

–20.00...+20.00Hz

BPM

MIDI, 40...240

Selects MIDI Clock and assigns tempo

ꢀ Fx:009

ꢀ

Base Note

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

Depth

0...100

ꢀ

Selects the type of notes that specify the LFO speed

ꢀ Fx:009

Sets the depth of LFO modulation

Times

x1...x16

ꢀ Fx:009

Envelope Amount

Sets the changes of the modulation depth according to the input sig-

–100...+100

Sets the number of notes that specify the LFO speed

nal level

ꢀ

Depth

0...100

Off...Tempo

–100...+100

Sets the depth of LFO modulation

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Selects the modulation source of the depth of modulation

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

Sets the modulation amount of the depth of modulation

Amt

–100...+100

Sets the modulation amount of the effect balance

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

d: LFO Frequency [Hz], d: Envelope Amount [Hz],

e: Depth, e: Envelope Amount

Src

Off...Tempo

Selects the modulation source of the effect balance

These parameters set the modulation via an envelope (input sig-

nal level).

Amt

–100...+100

Sets the modulation amount of the effect balance

The “LFO speed” is obtained by adding the “LFO Frequency”

value to the “Envelope Amount” value multiplied by the input

signal. The LFO modulation depth is obtained by adding the

Depth value to the “Envelope Amount” value multiplied by the

input signal level.

a:LFO Waveform

This parameter selects the LFO waveform. Vintage wave simu-

lates the characteristics of the tremolo created on a guitar ampli-

ﬁer. Combining this effect with the Amp Simulation will make a

realistic, vintage tremolo ampliﬁer sound.

•

The following example indicates that the “Depth” is 0 with an

LFO Frequency of 1.0Hz and the maximum input, and that

the “Depth” is 100 with a Frequency of 8.0Hz with zero input.

“LFO Frequency [Hz]”=8.0, “Envelope Amount [Hz]”=–7.0

Tremolo - LFO Waveform

Triangle

Vintage

Down

Sine

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“Depth”=100, “Envelope Amount”=–100

nel will cross over each other.

You need to input different sounds to each channel in order for

this parameter to be effective.

Shimmer

Level

Dry Envelope

LFO Frequency[Hz]=8.0

Envelope Amount[Hz]= –7.0Hz

Depth=100

Stereo Auto Pan - LFO Phase

Envelope Amount= –100

LFO Phase = 0 degrees

LFO Phase = 90 degrees

L-In

LFO Phase = 180 degrees

L-In

R-In

L-In

Time

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

034: Stereo Auto Pan

L-In

R-In

L-In

R-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.

L-In

R-In

L-In

R-In

Left

Right

Center

Output Stereo Image

Stereo In - Stereo Out

Left

Wet / Dry

Pan

035: St. Phaser + Trml

Depth

(Stereo Phaser + Tremolo)

Pan

This effect has a stereo phaser and tremolo LFOs linked

together. Swelling phaser modulation and tremolo effects

synchronize with each other, creating a soothing modulation

effect. It is suitable for electric piano type sounds.

Right

Wet / Dry

LFO Phase

LFO: Tri / Sin

LFO Shape

Stereo In - Stereo Out

Left

Wet / Dry

LFO Waveform

Selects LFO Waveform

Triangle, Sine

Phaser

Tremolo

Phaser Wet / Dry

LFO Shape

–100...+100

ꢀ

Resonance

Determines how much the LFO waveform is changed

Phaser Wet / Dry

LFO Phase [degree]

–180...+180

Sets the LFO phase difference between the left and right

ꢀ

Right

Wet / Dry

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

ꢀ Fx:009,

LFO Type

LFO

LFO Shape

LFO Phase

Src

Off...Tempo

–20.00...+20.00Hz

Off, On

Selects the modulation source of LFO speed

Amt

Type:

Phs - Trml...Phs LR - Trml LR

Sets the modulation amount of LFO speed

Selects the type of the tremolo and phaser LFOs

ꢀ

BPM/MIDI Sync

LFO Phase [degree]

–180...+180

Switches between using the frequency of the LFO speed and using

the tempo and notes

Sets the phase difference between the tremolo and phaser LFOs

ꢀ Fx:009,

ꢀ

BPM

MIDI, 40...240

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

ꢀ Fx:009,

Selects MIDI Clock and assigns tempo

ꢀ Fx:009

Base Note

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

Src

Off...Tempo

–20.00...+20.00Hz

Off, On

Selects the type of notes that specify the LFO speed

ꢀ Fx:009

Selects the modulation source of LFO speed

Times

x1...x16

ꢀ Fx:009

Amt

Sets the number of notes that specify the LFO speed

Sets the modulation amount of LFO speed

Depth

0...100

Off...Tempo

–100...+100

BPM/MIDI Sync

Sets the depth of LFO modulation

Switches between using the frequency of the LFO speed and using

the tempo and notes

ꢀ Fx:009,

Src

Selects the modulation source of the depth of modulation

BPM

MIDI, 40...240

Selects MIDI Clock and assigns tempo

ꢀ Fx:009

Amt

Sets the modulation amount of the depth of modulation

Base Note

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

Selects the type of notes that specify the LFO speed

ꢀ Fx:009

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Times

x1...x16

Sets the number of notes that specify the LFO speed

ꢀ Fx:009

Src

Off...Tempo

Selects the modulation source of the effect balance

Phaser Manual

Sets the phaser frequency range

0...100

–100...+100

0...100

Amt

–100...+100

Sets the modulation amount of the effect balance

Resonance

Sets the phaser resonance amount

a: LFO Shape

Phaser Depth

Sets the phaser modulation depth

You can change the panning curve by modifying the LFO wave-

form.

Src

Off...Tempo

Selects the modulation source for the phaser modulation depth

b: LFO Phase

Amt

–100...+100

This parameter determines the difference in the left and right LFO

phases. When you change the value gradually from 0, the sound

from the left and right channels will chase each other around. If

you set the parameter to +180 or –180, the sound from each chan-

Sets the modulation amount for the phaser modulation depth

Phaser Wet/Dry

Sets the balance between the phaser effect and dry sounds

–Wet...–2:99, Dry, 2:99...Wet

ꢀ

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Tremolo Shape

Sets the degree of the tremolo LFO shaping

–100...+100

ꢀ Fx:020

LFO Frequency [Hz]

Sets the LFO speed of the oscillator frequency modulation

0.02...20.00Hz

ꢀ Fx:009,

Tremolo Depth

Sets the tremolo modulation depth

0...100

Src

Off...Tempo

Selects the modulation source of LFO speed

Src

Off...Tempo

Selects the modulation source for the tremolo modulation depth

Amt

–20.00...+20.00Hz

Sets the modulation amount of LFO speed

Amt

–100...+100

Sets the modulation amount of the tremolo modulation depth

BPM/MIDI Sync

Off, On

Switches between using the frequency of the LFO speed and using

Wet/Dry

Dry, 1:99...99:1, Wet

the tempo and notes

ꢀ Fx:009,

Sets the balance between the effect and dry sounds

ꢀ,

BPM

MIDI, 40...240

Src

Off...Tempo

Selects MIDI Clock and assigns tempo

ꢀ Fx:009

Selects the modulation source of the effect balance

Base Note

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

Amt

–100...+100

Selects the type of notes that specify the LFO speed

ꢀ Fx:009

Sets the modulation amount of the effect balance

Times

x1...x16

Sets the number of notes that specify the LFO speed

ꢀ Fx:009

a:Type, a: LFO Phase [degree]

LFO Depth

0...100

Select the type of phaser LFO and tremolo LFO for the “Type”

parameter. How the effect sound moves or rotates depends on the

type of LFO. Selecting “LFO Phase” enables you to offset the tim-

ing of the phaser peak and control a subtle movement and rota-

tion of the sound.

Sets the depth of LFO modulation for the oscillator frequency

Src

Off...Tempo

Selects the modulation source of the depth of modulation

Amt

–100...+100

Sets the modulation amount of the depth of modulation

f: Phaser WetDry, i:Wet/Dry

The “Phaser Wet/ Dry” parameter sets the balance between the

phaser output and the dry sound. The “Wet/ Dry” parameter sets

the balance between the ﬁnal phaser and tremolo output level and

the dry sound.

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

036: St. Ring Modulator

a: Pre LPF

This parameter enables you to set the damping amount of the

high range sound input to the ring modulator. If the input sound

contains lots of harmonics, the effect may sound dirty. In this case,

cut a certain amount of high range.

(Stereo Ring Modulator)

This effect creates a metallic sound by applying the oscillators

to the input signal. Use the LFO or Dynamic Modulation to

modulate the oscillator to create a radical modulation. Match-

ing the oscillator frequency with a note number will produce

a ring modulation effect in speciﬁc key ranges.

b: OSC Mode

This parameter determines whether or not the oscillator fre-

quency follows the note number.

Stereo In - Stereo Out

c: Fixed Frequency [Hz]

Left

Wet / Dry

This parameter sets the oscillator frequency when “OSC Mode” is

Pre LPF

set to Fixed.

Ring Modulator

d: Note Offset, d: Note Fine

These parameters for the oscillator are used when “OSC Mode” is

set to Note (Key Follow). The “Note Offset” sets the pitch differ-

ence from the original note in semitone steps. The “Note Fine”

parameter ﬁne-adjusts the pitch in cent steps. Matching the oscil-

lator frequency with the note number produces a ring modulation

effect in the correct key.

Pre LPF

Ring Modulator

Right

Wet / Dry

Sine Oscillator

Pitch

Fixed

Fixed Frequency

Note No.

OSC Mode

Note Offset, Fine

Note (Key Follow)

LFO

Pre LPF

0...100

Sets the damping amount of the high range input to the ring modula-

tor

ꢀ

OSC Mode

Fixed, Note (Key Follow)

Switching between specifying the oscillator frequency and using a

note number

ꢀ

Fixed Frequency [Hz]

0...12.00kHz

Sets the oscillator frequency when OSC Mode is set to Fixed

ꢀ,

Src

Off...Tempo

Selects the modulation source for the oscillator frequency when OSC

Mode is set to Fixed

Amt

–12.00...+12.00kHz

Sets the modulation amount of the oscillator frequency when OSC

Mode is set to Fixed

Note Offset

–48...+48

Sets the pitch difference from the original note when OSC Mode is

set to Note (Key Follow)

ꢀ

Note Fine

Fine-adjusts the oscillator frequency

–100...+100

ꢀ

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Mode

Slow, Medium, Fast

ꢀ

037: Detune

Switches Pitch Shifter mode

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.

Pitch Shift [1/2tone]

Sets the pitch shift amount by steps of a semitone

–24...+24

ꢀ,

Src

Off...Tempo

ꢀ

Selects the modulation source of pitch shift amount

Amt

–24...+24

ꢀ

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Sets the modulation amount of pitch shift amount

Wet / Dry

Fine [cent]

–100...+100cent

Sets the pitch shift amount by steps of a cent

ꢀ,

Input Level

High Damp

Feedback

Amt

–100...+100cent

ꢀ

Delay

Detune

Sets the modulation amount of pitch shift amount

Delay Time [msec]

Sets the delay time

0...1000msec

Input Level

Right

Wet / Dry

Feedback Position

Switches the feedback connection.

Pre, Post

ꢀ

Feedback

Sets the feedback amount

–100...+100

ꢀ

Pitch Shift [cent]

Sets the pitch difference from the input signal

–100...+100cent

Off...Tempo

High Damp [%]

Sets the damping amount in the high range

0...100%

Src

Selects the modulation source of the pitch shift

Input Level Dmod [%]

Sets the modulation amount of the input level

–100...+100

ꢀ Fx:037,

Amt

–100...+100cent

0...1000msec

–100...+100

0...100%

Sets the modulation amount of the pitch shift

Src

Off...Tempo

ꢀ Fx:037

Delay Time [msec]

Sets the delay time

Selects the modulation source for the input level

Wet/Dry

Dry, 1:99...99:1, Wet

Feedback

Sets the feedback amount

Sets the balance between the effect and dry sounds

Src

Off...Tempo

High Damp [%]

Sets the damping amount in the high range

Selects the modulation source of the effect balance

Amt

–100...+100

Input Level Dmod [%]

Sets the modulation amount of the input level

–100...+100

ꢀ,

Sets the modulation amount of the effect balance

a: Mode

Src

Off...Tempo

ꢀ

Selects the modulation source for the input level

This parameter switches the pitch shifter operating mode. With

Slow, tonal quality will not be changed too much. With Fast, the

effect becomes a Pitch Shifter that has a quick response, but may

change the tone. Medium is in between these two. If you do not

need to set too much pitch shift amount, set this parameter to

Slow. If you wish to change the pitch signiﬁcantly, use Fast.

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

b: Pitch Shift [1/2tone], b: Src, b: Amt, c: Fine [cent], c: Amt

The amount of pitch shift will use the value of the “Pitch Shift”

plus the “Fine” value. The amount of modulation will use the c:

Amt value plus d: “Amt.”

d: Input Level Dmod [%], d: Src

This parameter sets the dynamic modulation of the input level.

Input Level D-mod

Input Level

x1.0

Input Level

x1.0

Modulation Source is used both for “Pitch Shift” and “Fine.”

Amt= +50

Amt= –50

Amt= +100

Amt= –100

e: Feedback Position, f: Feedback

When “Feedback Position” is set to Pre, the pitch shifter output is

again input to the pitch shifter. Therefore, if you specify a higher

value for the Feedback parameter, the pitch will be raised (or low-

ered) more and more each time feedback is repeated.

If “Feedback Position” is set to Post, the feedback signal will not

pass through the pitch shifter again. Even if you specify a higher

value for the Feedback parameter, the pitch-shifted sound will be

repeated at the same pitch.

x0.5

-mod

Higher

Zero

Max

Zero

Max

038: Pitch Shifter

This effect changes the pitch of the input signal. You can select

from three types: Fast (quick response), Medium, and Slow

(preserves tonal quality). You can also create an effect in

which the pitch is gradually raised (or dropped) using the

delay with feedback.

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Input Level

High Damp

Delay

Post

Pitch Shifter

Pre

Feedback Position

Feedback

Input Level

Right

Wet / Dry

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039: Pitch Shift Mod.

040: Rotary Speaker

This effect simulates a rotary speaker, and obtains a more real-

istic sound by simulating the rotor in the low range and the

horn in the high range separately. The effect also simulates the

stereo microphone settings.

(Pitch Shift Modulation)

This effect modulates the detuned pitch shift amount using an

LFO, adding a clear spread and width to the sound by pan-

ning the effect sound and dry sound to the left and right. This

is especially effective when the effect sound and dry sound

output from stereo speakers are mixed.

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Horn

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Mic Distance

Mic Spread

Wet / Dry

Rotary Speaker Horn/Rotor

Balance

Rotor

Speaker Simulation

Pitch Shifter

Right

-mod

Wet / Dry

Mode Switch: Rotate/Stop

Speed Switch: Slow/Fast

Manual Speed Control

-mod

Pan

Right

Wet / Dry

LFO: Tri / Sqr

Mode Switch

Switches between speaker rotation and stop

Rotate, Stop

Off...Tempo

Pitch Shift [cent]

Sets the pitch difference from the input signal

–100...+100cent

ꢀ

Src

Selects the modulation source that toggles between rotation and

stop

LFO Waveform

Selects LFO Waveform

Triangle, Square

Toggle, Moment

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

ꢀ Fx:009,

Selects switching mode of the modulation source that toggles

between rotation and stop

ꢀ

Src

Off...Tempo

–20.00...+20.00Hz

Off, On

Speed Switch

Slow, Fast

Selects the modulation source of LFO speed

Switches the speaker rotation speed between slow and fast

Amt

Src

Off...Tempo

Sets the modulation amount of LFO speed

Selects the modulation source that toggles between slow and fast

BPM/MIDI Sync

Toggle, Moment

Switches between using the frequency of the LFO speed and using

the tempo and notes

Selects switching mode of the modulation source that toggles

between slow and fast

ꢀ Fx:009,

ꢀ

BPM

MIDI, 40...240

Manual Speed Ctrl (Manual Speed Control)

Selects the modulation source in case the rotation speed is changed

Off...Tempo

Selects MIDI Clock and assigns tempo

ꢀ Fx:009

directly

ꢀ,

Base Note

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

Selects the type of notes that specify the LFO speed

ꢀ Fx:009

Horn Acceleration

How quickly the horn rotation speed in the high range is switched

0...100

Times

x1...x16

ꢀ

Sets the number of notes that specify the LFO speed

ꢀ Fx:009

Horn Ratio

Stop, 0.50...2.00

Depth

–100...+100

Adjusts the (high-range side) horn rotation speed. Standard value is

1.00. Selecting “Stop” will stop the rotation

Sets the LFO modulation depth for pitch shift amount

ꢀ,

Src

Off...Tempo

Rotor Acceleration

Determines how quickly the rotor rotation speed in the low range is

switched

0...100

Selects the modulation source of the depth of modulation

Amt

–100...+100

ꢀ

Sets the modulation amount of the depth of modulation

Rotor Ratio

Stop, 0.50...2.00

Pan

L, 1:99...99:1, R

Adjusts the (low-range side) rotor rotation speed. Standard value is

1.00. Selecting “Stop” will stop the rotation

Sets the panning effect sound and dry sound separately

ꢀ

Wet/Dry Dry, 1:99...99:1, Wet

Horn/Rotor Balance

Sets the level balance between the high-range horn and low-range

rotor

Rotor, 1...99, Horn

Sets the balance between the effect and dry sounds

ꢀ,

Src

Off...Tempo

Selects the modulation source of the effect balance

Mic Distance

0...100

Sets the distance between the microphone and rotary speaker

ꢀ

Amt

–100...+100

Sets the modulation amount of the effect balance

Mic Spread

0...100

ꢀ

Sets the angle of left and right microphones

a: Pitch Shift [cent], e: Depth

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

These parameters set the amount of pitch shift and amount of

modulation by means of the LFO.

Src

Off...Tempo

Selects the modulation source of the effect balance

Pitch Shift Mod - Pitch Shift / Depth

Pitch

Amt

–100...+100

LFO Waveform=Triangle

Depth (+value)

Sets the modulation amount of the effect balance

Pitch Shift (+ value)

Original Pitch

a: Sw

LFO Waveform=Square

Depth (–value)

This parameter sets how the modulation source switches between

rotation and stop.

When “Sw” = Toggle, the speaker rotates or stops alternately each

time you press the pedal or operate the joystick.

f: Pan, g:Wet/Dry

The Pan parameter pans the effect sound and dry sound to the left

and right. With L, the effect sound is panned left, and the dry

sound is panned right. With a Wet/ Dry = Wet setting, the effect

and dry sound will be output in a proportion of 1:1.

Each time the value for the modulation source exceeds 64,

the speaker rotates or stops alternately.

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When “Sw” = Moment, the speaker is rotating. It stops only when

you press the pedal or operate the joystick.

ER/ Delay

Rotation will occur when the value of the modulation

source is less than 64, and will stop when the value is 64 or

greater.

Early reﬂection and delay effects

b: Sw

This parameter sets how the rotation speed (slow and fast) is

switched via the modulation source.

When “Sw” = Toggle, the speed is switched between slow and

fast each time you press the pedal or operate the joystick.

041: Early Reﬂections

This effect is only the early reﬂection part of a reverberation

sound, and adds presence to the sound. You can select one of

the four decay curves.

Slow/ fast will alternate each time the value of the modula-

tion source exceeds 64.

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

When “Sw” = Moment, the speed is usually slow. It becomes fast

EQ Trim

only when you press the pedal or operate the joystick.

LEQ

HEQ

Pre Delay

Early Reflections

When a value for the modulation source is less than 64,

“slow” speed is selected, and when the value is 64 or higher,

“fast” is selected.

EQ Trim

Right

Wet / Dry

c: Manual Speed Ctrl

If you wish to control the speaker rotation speed manually, not

switching between Slow and Fast, select the modulation source in

the “Manual Speed Ctrl” ﬁeld. If manual control is not necessary,

set this ﬁeld to Off.

Type

Sharp, Loose, Modulated, Reverse

Selects the decay curve for the early reﬂection

ꢀ

ER Time [msec]

Sets the time length of early reﬂection

10...800msec

d: Horn Acceleration, e: Rotor Acceleration

On a real rotary speaker, the rotation speed is accelerated or decel-

erated gradually after you switch the speed. The “Horn Accelera-

tion” parameter sets the speed at which the rotation is accelerated

or decelerated.

Pre Delay [msec]

Sets the time taken from the original sound to the ﬁrst early reﬂection

0...200msec

EQ Trim

0...100

–15.0...+15.0dB

Sets the input level of EQ applied to the effect sound

Pre LEQ Gain [dB]

g: Mic Distance, g: Mic Spread

Sets the gain of Low EQ

This is a simulation of stereo microphone settings.

Pre HEQ Gain [dB]

Rotary Speaker - Mic Placement

Sets the gain of High EQ

Mic Spread

Microphone

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Mic Distance

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

a:Type

Rotary Speaker (Top View)

This parameter selects the decay curve for the early reﬂection.

Early Reflections - Type

Sharp

Loose

Modulated

Reverse

Dry

ER Time

Pre Delay

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When “Envelope Select” is set to D-mod, the input signal will be

recorded only when the value of the modulation source selected

by the Src parameter is 64 or higher.

When “Envelope Select” is set to Input, the input signal will be

recorded only when its level exceeds the Threshold level.

When recording is completed, reverse playback starts immedi-

ately.

042: 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

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Direct

Mix

Auto Reverse

Rec/Reverse Play

Control

043: L/ C/ R Delay

This multitap delay outputs three Tap signals to the left, right,

and center respectively. You can also adjust the left and right

spread of the delay sound.

Right

Wet / Dry

D-mod

Input

Envelope Select

-mod

Envelope Control

Wet: Mono In - Stereo Out

Left

Dry: Stereo In -Stereo Out

Rec Mode

Single, Multi

ꢀ

Wet / Dry

Sets the recording mode

L Delay

Input Level D-mod

Level

Reverse Time [msec]

20...1320msec

ꢀ

Sets the maximum duration of the reverse playback

Envelope Select

Selects whether the start and end of recording is controlled via the

modulation source or the input signal level

Spread

C Delay

High Damp

Low Damp

D-mod, Input

Feedback

R Delay

Input Level D-mod

ꢀ,

Right

Wet / Dry

Src

Off...Tempo

Selects the modulation source that controls recording when Enve-

lope Select is set to D-mod

ꢀ

L Delay Time [msec]

Sets the delay time of TapL

0...1360msec

0...50

Threshold

0...100

Sets the recording start level when Envelope Select is set to Input

ꢀ

Level

Sets the output level of TapL

Response

0...100

ꢀ Fx:031

Sets the speed of the response to the end of recording

C Delay Time [msec]

Sets the delay time of TapC

0...1360msec

0...50

Direct Mix

Selects how a dry sound is mixed

Always On, Always Off, Cross Fade

ꢀ Fx:031

Level

Sets the output level of TapC

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

R Delay Time [msec]

Sets the delay time of TapR

0...1360msec

0...50

Src

Off...Tempo

Selects the modulation source of the effect balance

Level

Sets the output level of TapR

Amt

–100...+100

Sets the modulation amount of the effect balance

Feedback (C Delay)

–100...+100

Sets the feedback amountof TapC

a: Rec Mode, b: Reverse Time

Src

Off...Tempo

When ”Rec Mode“ is set to Single, you can set up to 1320msec for

“Reverse Time. ”If recording starts during the reverse playback,

the playback will be interrupted.

When “Rec Mode” is set to Multi, you can make another record-

ing during the reverse playback. However, the maximum Reverse

Time is limited to 660msec.

If you wish to record a phrase or rhythm pattern, set “Rec Mode”

to Single. If you record only one note, set “Rec Mode” to Multi.

The “Reverse Time” parameter speciﬁes the maximum duration

of the reverse playback. The part in excess of this limit will not be

played in reverse. If you wish to add short pieces of the reverse

playback of single notes, make the “Reverse Time” shorter.

Selects the modulation source of the TapC feedback amount

Amt

–100...+100

Sets the modulation amount of the TapC feedback amount

High Damp [%]

Sets the damping amount in the high range

0...100%

ꢀ

Low Damp [%]

Sets the damping amount in the low range

0...100%

ꢀ

Input Level Dmod [%]

Sets the modulation amount of the input level

–100...+100

ꢀ Fx:037,

Src

Off...Tempo

ꢀ Fx:037

Selects the modulation source for the input level

Spread

0...50

ꢀ

Rec Mode/Reverse Time

Sets the width of the stereo image of the effect sound

Rec

Reverse Rec

Reverse

Envelope Select = Input

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Input

Src

Off...Tempo

Time

Selects the modulation source of the effect balance

Amt

–100...+100

Rec Mode = Single

Rec Mode = Multi

Sets the modulation amount of the effect balance

e: High Damp [%], e: Low Damp [%]

These parameters set the damping amount of high range and low

range. The tone of the delayed sound becomes darker and lighter

as it feeds back.

Reverse Time

g: Spread

This parameter sets the pan width of the effect sound. The stereo

image is widest with a value of 50, and the effect sound of both

channels is output from the center with a value of 0.

c: Envelope Select, c: Src, d:Threshold

These parameters select the source to control the start and end of

recording.

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044: Stereo/ Cross Delay

045: St. 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.

(Stereo Multitap Delay)

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.

Stereo In - Stereo Out

Left

Wet / Dry

High Damp Low Damp

Stereo In - Stereo Out

Left

Delay

Wet / Dry

Input Level D-mod

Feedback

Stereo/Cross

Feedback

Spread

Delay

(2)

Input Level D-mod

(1)

High Damp Low Damp

Mode

Tap1 Level

Input Level D-mod

Tap1=(1)

Tap2=(2)

Mode Spread

(2)

Delay

Stereo/Cross

High Damp Low Damp (1)

Delay

Right

Wet / Dry

Feedback

Right

Wet / Dry

Stereo/Cross

Stereo, Cross

Mode: Normal

Mode: Cross Feedback

Mode: Cross Pan1

Mode: Cross Pan2

Switches between stereo delay and cross-feedback delay

L Delay Time [msec]

Sets the delay time for the left channel

0.0...680.0msec

R Delay Time [msec]

Sets the delay time for the right channel

0.0...680.0msec

–100...+100

Off...Tempo

Mode

Normal, Cross Feedback, Cross Pan1, Cross Pan2

Switches the left and right delay routing

ꢀ

L Feedback

Sets the feedback amount for the left channel

Tap1 Time [msec]

Sets the Tap1 delay time

0.0...680.0msec

Src

Selects the modulation source of feedback amount

Tap2 Time [msec]

Sets the Tap2 delay time

0.0...680.0msec

Amt L

–100...+100

Sets the modulation amount of the left channel feedback

Tap1 Level

Sets the Tap1 output level

0...100

ꢀ

R Feedback

Sets the feedback amount for the right channel

–100...+100

Feedback (Tap2)

Sets the Tap2 feedback amount

–100...+100

Amt R

–100...+100

Sets the modulation amount of the right channel feedback

Src

Off...Tempo

Selects the modulation source of the Tap2 feedback amount

High Damp [%]

0...100%

Sets the damping amount in the high range

ꢀ Fx:043

Amt

–100...+100

Sets the modulation amount of the Tap2 feedback amount

Low Damp [%]

Sets the damping amount in the low range

0...100%

ꢀ Fx:043

High Damp [%]

Sets the damping amount in the high range

0...100%

ꢀ Fx:043

Input Level Dmod [%]

Sets the modulation amount of the input level

–100...+100

ꢀ Fx:037,

Low Damp [%]

Sets the damping amount in the low range

0...100%

ꢀ Fx:043

Src

Off...Tempo

ꢀ Fx:037

Selects the modulation source for the input level

Input Level Dmod [%]

Sets the modulation amount of the input level

–100...+100

ꢀ Fx:037,

Spread

–50...+50

ꢀ Fx:043

Sets the width of the stereo image of the effect sound

Src

Off...Tempo

Selects the modulation source for the input level

ꢀ Fx:037

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Spread

–100...+100

Sets the width of the stereo image of the effect sound

Src

Off...Tempo

ꢀ Fx:043,

Selects the modulation source of the effect balance

Src

Off...Tempo

Amt

–100...+100

Selects the modulation source of the effect sound’s stereo image

width

Sets the modulation amount of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect sound’s stereo image width

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

a: Mode

You can change how the left and right delay signals are panned by

modifying the routing of the left and right delay as shown in the

ﬁgure above. You need to input different sounds to each channel

in order for this parameter to be effective.

d:Tap1 Level

This parameter sets the output level of Tap1. Setting a different

level from Tap2 will add a unique touch to a monotonous delay

and feedback.

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e: LFO Sync, e: Src,

f: L LFO Phase [degree], f: R LFO Phase [degree]

046: St. Modulation Delay

The LFO can be reset via a modulation source.

(Stereo Modulation Delay)

The “Src” parameter sets the modulation source that resets the

LFO. For example, you can assign Gate as a modulation source so

that the sweep always starts from the speciﬁed point.

“L LFO Phase” and “R LFO Phase” set the phase obtained when

the left and right LFOs are reset. In this way, you can create

changes in pitch sweep for the left and right channels individu-

ally.

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.

Stereo In - Stereo Out

Left

Wet / Dry

The effect is off when a value of the modulation source spec-

iﬁed in the “Src” parameter is 63 or smaller, and the effect is

on when the value is 64 or higher. The LFO is triggered and

reset to the “L LFO Phase” and “R LFO Phase” settings

when the value changes from 63 or smaller to 64 or higher.

Delay

Feedback

Delay

Right

Wet / Dry

D-mod

-mod

Response

L/R: +/+ +/–

LFO Shape

LFO: Tri / Sine

047: St. Dynamic Delay

LFO Sync

LFO

Modulation Mode

LFO Phase

(Stereo Dynamic Delay)

This stereo delay controls the level of delay according to the

input signal level. You can use this as a ducking delay that

applies delay to the sound only when you play keys at a high

velocity or only when the volume level is low.

Modulation Mode

Switches between LFO modulation control and modulation source

control

LFO, D-mod

D-mod Modulation

Reversed L/R control by modulation source

L/R:+/+, L/R:+/–

ꢀ,

Stereo In - Stereo Out

Left

Src

Off...Tempo

Wet / Dry

Selects the modulation source that controls delay time

High Damp Low Damp

Delay

Response

0...30

Sets the rate of response to the modulation source

Feedback

Spread

LFO Waveform

Selects LFO Waveform

Triangle, Sine

High Damp Low Damp

Delay

LFO Shape

–100...+100

ꢀ Fx:020

Right

Wet / Dry

Out

Control Target

Determines how much the LFO waveform is changed

Attack, Release

Envelope

LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

Threshold

LFO Sync

Switches LFO reset off/on

Off, On

ꢀ,

Control Target

None, Out, FB

ꢀ

Selects from no control, output, and feedback

Src

Off...Tempo

Selects the modulation source that resets the LFO

Polarity

+, –

ꢀ

Reverses level control

L LFO Phase [degree]

Sets the phase obtained when the left LFO is reset

–180...+180

ꢀ

Threshold

0...100

ꢀ

Sets the level to which the effect is applied

R LFO Phase [degree]

Sets the phase obtained when the right LFO is reset

–180...+180

ꢀ

Offset

0...100

ꢀ

Sets the offset of level control

L Depth

0...200

Sets the depth of the left LFO modulation

Attack

1...100

ꢀ

Sets the attack time of level control

R Depth

Sets the depth of the right LFO modulation

Release

1...100

ꢀ

Sets the release time of level control

L Delay Time [msec]

Sets the left delay time

0.0...500.0

–100...+100

L Delay Time [msec]

0.0...680.0msec

–100...+100

Sets the delay time for the left channel

R Delay Time [msec]

Sets the right delay time

R Delay Time [msec]

Sets the delay time for the right channel

L Feedback

Sets the feedback amount of left delay

Feedback

Sets the feedback amount

R Feedback

Sets the feedback amount of right delay

High Damp [%]

0...100%

Sets the damping amount in the high range

ꢀ Fx:043

Wet/Dry

Sets the balance between the effect and dry sounds

ꢀ Fx:010,

–Wet...–1:99, Dry, 1:99...Wet

Low Damp [%]

Sets the damping amount in the low range

0...100%

ꢀ Fx:043

Src

Off...Tempo

Spread

–100...+100

ꢀ Fx:043

Selects the modulation source of the effect balance

Sets the width of the stereo image of the effect sound

Amt

–100...+100

Wet/Dry Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Sets the modulation amount of the effect balance

Src

Off...Tempo

b: D-mod Modulation

Selects the modulation source of the effect balance

When the modulation source is used for control, this parameter

reverses the left and right modulation direction.

Amt

–100...+100

Sets the modulation amount of the effect balance

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a: Control Target

Panning Freq (Frequency) [Hz]

Sets the panning speed

0.02...20.00Hz

0...100

This parameter selects no level control, delay output control

(effect balance), or feedback amount control.

Panning Depth

Sets the panning width

a: Polarity, b:Threshold, b: Offset, c: Attack, d: Release

The “Offset” parameter speciﬁes the value for the “Control Tar-

get” parameter (that is set to None), expressed as the ratio relative

to the parameter value (the “Wet/ Dry” value with “Control Tar-

get”=Out, or the “Feedback” value with “Control Target”=FB).

When “Polarity” is positive, the “Control Target” value is

obtained by multiplying the parameter value by the “Offset”

value (if the input level is below the threshold), or equals the

parameter value if the input level exceeds the threshold.

When “Polarity” is negative, Control Target value equals the

parameter value if the input level is below the threshold, or is

obtained by multiplying the parameter value by the “Offset”

value if the level exceeds the threshold.

Src

Off...Tempo

–100...+100

Selects the modulation source for the panning width

Amt

Set the modulation amount of the panning width

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

The “Attack” and “Release” parameters specify attack time and

release time of delay level control.

049: L/ C/ R BPM Delay

Dynamic Delay

Level

The L/ C/ R delay enables you to match the delay time with

the song tempo. You can also synchronize the delay time with

the arpeggiator or sequencer. If you program the tempo

before performance, you can achieve a delay effect that syn-

chronizes with the song in real-time. Delay time is set by

notes.

Dry

Threshold

Release

Envelope

Attack

(Ducking Delay)

Wet

Wet: Mono In - Stereo Out

Left

Dry: Stereo In -Stereo Out

Control Target=Out

Wet / Dry

Polarity= (–)

Delay Time

L Delay

C Delay

Input Level D-mod

Wet

Level

Control Target=Out

Polarity= (+)

Spread

High Damp Low Damp

Input Level D-mod

Time

Feedback

R Delay

Right

Wet / Dry

Tempo

BPM

Base Note x Times

BPM

Base Note x Times

048: St. Auto Panning Dly

(Stereo Auto Panning Delay)

This stereo delay effect pans the delay sound left and right

using the LFO.

BPM

MIDI, 40...240

ꢀ,

Selects MIDI Clock and assigns tempo

Time Over? >

----, OVER!!

Stereo In - Stereo Out

Displays an error message when the delay time exceeds the upper

limit

Left

Wet / Dry

ꢀ

High Damp Low Damp

Pan

Delay

L Delay Base Note

Selects the type of notes to specify the delay time for TapL

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

Feedback

Depth

ꢀ,

Times

x1...x16

ꢀ

Sets the number of notes to specify the delay time for TapL

High Damp Low Damp

Right

Level

0...50

Wet / Dry

Sets the output level of TapL

LFO Phase

LFO: Tri / Sin

LFO Shape

C Delay Base Note

Selects the type of notes to specify the delay time for TapC

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

ꢀ,

L Delay Time [msec]

Sets the delay time for the left channel

0.0...680.0msec

–100...+100

Times

x1...x16

ꢀ

Sets the number of notes to specify the delay time for TapC

L Feedback

Level

0...50

Sets the feedback amount for the left channel

Sets the output level of TapC

R Delay Time [msec]

Sets the delay time for the right channel

0.0...680.0msec

–100...+100

R Delay Base Note

Selects the type of notes to specify the delay time for TapR

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

ꢀ,

R Feedback

Sets the feedback amount for the right channel

Times

x1...x16

ꢀ

Sets the number of notes to specify the delay time for TapR

High Damp [%]

Sets the damping amount in the high range

0...100%

ꢀ Fx:043

Level

0...50

Sets the output level of TapR

Low Damp [%]

Sets the damping amount in the low range

0...100%

ꢀ Fx:043

Feedback (C Delay)

Sets the feedback amount of TapC

–100...+100

Off...Tempo

–100...+100

LFO Waveform

Selects LFO Waveform

Triangle, Sine

Src

Selects the modulation source for the TapC feedback

LFO Shape

–100...+100

ꢀ Fx:020

Determines how much the LFO waveform is changed

Amt

Sets the modulation amount of the TapC feedback

LFO Phase [degree]

Sets the LFO phase difference between the left and right ꢀ Fx:034

–180...+180

214

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High Damp [%]

Sets the damping amount in the high range

0...100%

ꢀ Fx:043

L Feedback

Sets the feedback amount for the left channel

–100...+100

Off...Tempo

–100...+100

Low Damp [%]

Sets the damping amount in the low range

0...100%

ꢀ Fx:043

Src

Selects the modulation source of feedback amount

Input Level Dmod [%]

Sets the modulation amount of the input level

–100...+100

ꢀ Fx:037,

Amt L

Sets the modulation amount of the left channel feedback

Src

Off...Tempo

ꢀ Fx:037

R Feedback

Sets the feedback amount for the right channel

Selects the modulation source for the input level

Spread

0...50

Amt R

Sets the width of the stereo image of the effect sound

ꢀ Fx:043

Sets the modulation amount of the right channel feedback

Wet/Dry

Dry, 1:99...99:1, Wet

High Damp [%]

Sets the damping amount in the high range

0...100%

ꢀ Fx:043

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Low Damp [%]

Sets the damping amount in the low range

0...100%

ꢀ Fx:043

Selects the modulation source of the effect balance

Amt

–100...+100

Input Level Dmod [%]

Sets the modulation amount of the input level

–100...+100

ꢀ Fx:037,

Sets the modulation amount of the effect balance

Src

Off...Tempo

ꢀ Fx:037

a: BPM, b: L Delay Base Note, b:Times, c: C Delay Base Note,

c:Times, d: R Delay Base Note, d:Times

Selects the modulation source for the input level

Wet/Dry

Dry, 1:99...99:1, Wet

The delay time is the length of the note obtained by multiplying

the “Base Note” parameter by the Times value, in relation to the

tempo speciﬁed by the “BPM” parameter (or the MIDI Clock

tempo if “BPM” is set to MIDI).

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

a:Time Over? >

You can set the delay time up to 1365msec. If the delay time

exceeds this limit, the error message “OVER!!” appears in the dis-

play. Set the delay time parameters so that this message will not

appear. “Time Over?>” is only a display parameter.

a:Time Over? L >, a: R >

You can set the delay time up to 682msec. If the delay time

exceeds this limit, the error message “OVER!!” appears in the dis-

play. Set the delay time parameters so that this message will not

appear. "Time Over?>" is only a display parameter.

050: St. BPM Delay (Stereo BPM Delay)

This stereo delay enables you to set the delay time to match

the song tempo.

051: Sequence Delay

This four-tap delay enables you to select a tempo and rhythm

pattern to set up each tap.

Stereo In - Stereo Out

Left

Wet / Dry

High Damp Low Damp

Wet: Mono In - Stereo Out

Left

Dry: Stereo In -Stereo Out

Delay

Input Level D-mod

Wet / Dry

Pan

Feedback

Input Level D-mod

High Damp Low Damp

Input Level D-mod

Delay

Right

Tempo

Wet / Dry

High Damp Low Damp

Input Level D-mod

BPM

Feedback

Adjust [%]

Base Note x Times

BPM

Right

Wet / Dry

Tempo

BPM

MIDI, 40...240

Selects MIDI Clock and assigns tempo

ꢀ Fx:049,

Rythm Pattern

Time Over? L >

----, OVER!!

Display the error message if the left channel delay time exceeds the

upper limit

ꢀ

BPM

MIDI, 44...240

ꢀ,

R >

----, OVER!!

Selects MIDI Clock and assigns tempo

Display the error message if the right channel delay time exceeds the

upper limit

ꢀ

Rhythm Pattern

Selects a rhythm pattern

ꢁ – – – ... ꢃ ꢃ ꢃ 3

ꢀ,

L Delay Base Note

Selects the type of notes to specify the left channel delay time

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

Tap1 Pan

Sets the panning of Tap1

L, 1...99, R

–100...+100

Off...Tempo

–100...+100

ꢀ Fx:049,

Times

x1...x16

Tap2 Pan

Sets the panning of Tap2

Sets the number of notes to specify the left channel delay time

ꢀ Fx:049

Tap3 Pan

Sets the panning of Tap3

Adjust [%]

–2.50...+2.50%

Fine-adjust the left channel delay time

Tap4 Pan

Sets the panning of Tap4

R Delay Base Note

Selects the type of notes to specify the right channel delay time

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

Feedback

Sets the feedback amount

ꢀ Fx:049,

Times

x1...x16

Src

Sets the number of notes to specify the right channel delay time

Selects the modulation source of feedback amount

ꢀ Fx:049

Amt

Adjust [%]

Fine-adjust the right channel delay time

–2.50...+2.50%

Sets the modulation amount of the feedback

215

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High Damp [%]

0...100%

Sets the damping amount in the high range

ꢀ Fx:043

Reverb

Low Damp [%]

Sets the damping amount in the low range

0...100%

ꢀ Fx:043

Reverb effects

Input Level Dmod [%]

Sets the modulation amount of the input level

–100...+100

ꢀ Fx:037,

These effects simulate the ambience of reverberation in con-

cert halls.

Src

Off...Tempo

Selects the modulation source for the input level

ꢀ Fx:037

052: Reverb Hall

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

This hall-type reverb simulates the reverberation of mid-size

concert halls or ensemble halls.

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

053: Reverb SmoothHall

Sets the modulation amount of the effect balance

This hall-type reverb simulates the reverberation of larger

halls and stadiums, and creates a smooth release.

a: BPM, b: Rhythm Pattern

With the tempo speciﬁed by the “BPM” parameter (or the MIDI

Clock tempo if “BPM” is set to MIDI), the length of one beat

equals the feedback delay time, and the interval between taps

becomes equal. Selecting a rhythm pattern will automatically turn

the tap outputs on and off. When “BPM” is set to MIDI, the lower

limit of the “BPM” is 44.

054: Reverb Wet Plate

This plate reverb simulates warm (dense) reverberation.

055: Reverb Dry Plate

This plate reverb simulates dry (light) reverberation.

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Pre Delay Thru

EQ Trim

LEQ

HEQ

Pre Delay

Reverb

EQ Trim

Right

Wet / Dry

Reverb Time [sec]

Sets the reverberation time

0.1...10.0sec

0...100%

High Damp [%]

Sets the damping amount in the high range

Pre Delay [msec]

Sets the delay time from the dry sound

0...200msec

ꢀ

Pre Delay Thru [%]

Sets the mix ratio of non-delay sound

0...100%

ꢀ

EQ Trim

Sets the EQ input level

0...100

–15...+15dB

Pre LEQ Gain [dB]

Sets the gain of Low EQ

Pre HEQ Gain [dB]

–15...+15dB

Sets the gain of High EQ

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

b: Pre Delay [msec], b: Pre Delay Thru [%]

The “Pre Delay” sets the delay time to the reverb input, allowing

you to control spaciousness.

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

Dry

Reverb

Pre Delay Thru

Time

Pre Delay

Reverb Time

216

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056: Reverb Room

Mono – Mono Chain

This room-type reverb emphasizes the early reﬂections that

make the sound tighter. Changing the balance between the

early reﬂections and reverb sound allows you to simulate

nuances, such as the type of walls of a room.

Effects that combine two mono effects connected in

series

058: P4EQ – Exciter

057: Reverb BrightRoom

This room-type reverb emphasizes the early reﬂections that

(Parametric 4-Band EQ – Exciter)

make the sound brighter. See 056: Reverb Room.

This effect combines a mono-type four-band parametric

equalizer and an exciter.

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

ER Level

ERs

Wet / Dry

EQ Trim

Pre Delay Thru

Pre Delay

Reverb

Parametric 4Band EQ

Trim

Exciter

LEQ

HEQ

Reverb Level

ERs

EQ Trim

ER Level

Right

Wet / Dry

Right

Wet / Dry

Reverb Time [sec]

Sets the reverberation time

0.1...3.0sec

0...100%

[E] Trim

0...100

Sets the parametric EQ input level

High Damp [%]

Sets the damping amount in the high range

[E] Band1 Cutoff [Hz]

Sets the center frequency of Band 1

20...1.00kHz

Pre Delay [msec]

Sets the delay time from the dry sound

0...200msec

ꢀ Fx:052

0.5...10.0

ꢀ Fx:006

Sets the bandwidth of Band 1

Pre Delay Thru [%]

Sets the mix ratio of non-delay sound

0...100%

ꢀ Fx:052

Gain [dB]

Sets the gain of Band 1

–18...+18dB

ER Level

Sets the level of early reﬂections

0...100

ꢀ

[E] Band2 Cutoff [Hz]

Sets the center frequency of Band 2

50...5.00kHz

Reverb Level

Sets the reverberation level

0...100

ꢀ

0.5...10.0

ꢀ Fx:006

Sets the bandwidth of Band 2

EQ Trim

Sets the EQ input level

0...100

Gain [dB]

Sets the gain of Band 2

–18...+18dB

Pre LEQ Gain [dB]

Sets the gain of Low EQ

–15...+15dB

[E] Band3 Cutoff [Hz]

Sets the center frequency for Band 3

300...10.00kHz

Pre HEQ Gain [dB]

Sets the gain of High EQ

–15...+15dB

0.5...10.0

ꢀ Fx:006

Sets the bandwidth of Band 3

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Gain [dB]

Sets the gain of Band 3

–18...+18dB

Src

Off...Tempo

Selects the modulation source of the effect balance

[E] Band4 Cutoff [Hz]

Sets the center frequency for Band 4

500...20.00kHz

Amt

–100...+100

Sets the modulation amount of the effect balance

0.5...10.0

ꢀ Fx:006

Sets the bandwidth of Band 4

c: ER Level, d: Reverb Level

Gain [dB]

–18...+18dB

Sets the gain of Band 4

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.

[X] Exciter Blend

Sets the intensity (depth) of the Exciter effect

–100...+100

ꢀ Fx:011

[X] Emphatic Point

Sets the frequency range to be emphasized

0...70

ꢀ Fx:011

Reverb - Room Type

Level

Dry

Wet/Dry

Dry, 1:99...99:1, Wet

(Early Reflections)

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Reverb

Selects the modulation source of the effect balance

Time

Amt

–100...+100

Pre Delay Thru

Sets the modulation amount of the effect balance

Pre Delay

Reverb Time

217

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059: P4EQ – Wah

060: P4EQ – Cho/ Flng

(Parametric 4-Band EQ – Wah/ Auto Wah)

(Parametric 4-Band EQ – Chorus/ Flanger)

This effect combines a mono-type four-band parametric

equalizer and a wah. You can change the order of the connec-

tion.

This effect combines a mono-type four-band parametric

equalizer and a chorus/ ﬂanger.

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Parametric 4Band EQ

Trim

Chorus/Flanger

Wet / Dry

Routing

Parametric 4Band EQ

Trim

Wah/Auto Wah

Chorus/Flanger

Feedback

Normal

Output Mode

–

Wah

Wet Invert

Cho/Flng Wet / Dry

Right

Wet / Dry

LFO: Tri / Sine

Right

Sweep Mode

Auto

Wet / Dry

Envelope

D-mod

-mod

LFO

[E] Trim

0...100

Sets the parametric EQ input level

[E] Band1 Cutoff [Hz]

20...1.00kHz

Sets the center frequency of Band 1

[E] Trim

0...100

Sets the parametric EQ input level

0.5...10.0

ꢀ Fx:006

Sets the bandwidth of Band 1

[E] Band1 Cutoff [Hz]

Sets the center frequency of Band 1

20...1.00kHz

Gain [dB]

Sets the gain of Band 1

–18...+18dB

0.5...10.0

ꢀ Fx:006

Sets the bandwidth of Band 1

[E] Band2 Cutoff [Hz]

50...5.00kHz

Sets the center frequency of Band 2

Gain [dB]

–18...+18dB

Sets the gain of Band 1

0.5...10.0

ꢀ Fx:006

Sets the bandwidth of Band 2

[E] Band2 Cutoff [Hz]

Sets the center frequency of Band 2

50...5.00kHz

Gain [dB]

Sets the gain of Band 2

–18...+18dB

0.5...10.0

ꢀ Fx:006

Sets the bandwidth of Band 2

[E] Band3 Cutoff [Hz]

Sets the center frequency for Band 3

300...10.00kHz

Gain [dB]

Sets the gain of Band 2

–18...+18dB

0.5...10.0

ꢀ Fx:006

Sets the bandwidth of Band 3

[E] Band3 Cutoff [Hz]

Sets the center frequency for Band 3

300...10.00kHz

Gain [dB]

Sets the gain of Band 3

–18...+18dB

0.5...10.0

ꢀ Fx:006

Sets the bandwidth of Band 3

[E] Band4 Cutoff [Hz]

Sets the center frequency for Band 4

500...20.00kHz

Gain [dB]

Sets the gain of Band 3

–18...+18dB

0.5...10.0

ꢀ Fx:006

Sets the bandwidth of Band 4

[E] Band4 Cutoff [Hz]

500...20.00kHz

Sets the center frequency for Band 4

Gain [dB]

Sets the gain of Band 4

–18...+18dB

0.0...50.0msec

0.02...20.00Hz

Triangle, Sine

0...100

0.5...10.0

ꢀ Fx:006

Sets the bandwidth of Band 4

[F] Delay Time [msec]

Sets the delay time

Gain [dB]

Sets the gain of Band 4

–18...+18dB

[F] LFO Frequency [Hz]

Sets the LFO speed

[W] Frequency Bottom

Sets the lower limit of the wah center frequency

0...100

ꢀ Fx:009

LFO Waveform

Selects LFO Waveform

Frequency Top

Sets the upper limit of the wah center frequency

0...100

ꢀ Fx:009

[F] Depth

Sets the depth of LFO modulation

[W] Sweep Mode

Selects the control from auto-wah, modulation source, and LFO

Auto, D-mod, LFO

Feedback

Sets the feedback amount

–100...+100

ꢀ Fx:020

ꢀ Fx:009,

Src

Off...Tempo

[F] Cho/Flng Wet/Dry

Sets the effect balance of the chorus/ﬂanger

–Wet...–2:98, Dry, 2:98...Wet

Selects the modulation source for the wah when Sweep Mode=D-

mod

ꢀ Fx:010, 020

Output Mode

Selects the output mode for the chorus/ﬂanger

Normal, Wet Invert

ꢀ

[W] LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

Wet/Dry

Dry, 1:99...99:1, Wet

Resonance

Sets the resonance amount

0...100

Sets the balance between the effect and dry sounds

Src

Off...Tempo

LPF

Off, On

Selects the modulation source of the effect balance

Switches the wah low pass ﬁlter on and off

Amt

–100...+100

Routing

PEQ → WAH, WAH → PEQ

Sets the modulation amount of the effect balance

Changes the order of the parametric equalizer and wah connection

Wet/Dry Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

i: Output Mode

When Wet Invert is selected, the right channel phase of the cho-

rus/ ﬂanger effect sound is inverted. This creates pseudo-stereo

effects and adds spread.

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

However, if a mono-input type effect is connected after this effect,

the left and right sounds may cancel each other, eliminating the

chorus/ ﬂanger effects.

Sets the modulation amount of the effect balance

218

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061: P4EQ – Phaser

062: P4EQ – Mt. Delay

(Parametric 4-Band EQ – Phaser)

(Parametric 4-Band EQ – Multitap Delay)

This effect combines a mono-type four-band parametric

equalizer and a phaser.

This effect combines a mono-type four-band parametric

equalizer and a multitap delay.

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Parametric 4Band EQ

Trim

Multitap Delay

Feedback

Parametric 4Band EQ

Trim

Phaser

Delay

(1)

High Damp

Phaser

(2)

Normal

Output Mode

–

Mt.Dly Wet / Dry

Wet Invert

Resonance

Phaser Wet / Dry

Right

Wet / Dry

LFO: Tri / Sine

[E] Trim

0...100

[E] Trim

0...100

Sets the parametric EQ input level

[E] Band1 Cutoff [Hz]

20...1.00kHz

[E] Band1 Cutoff [Hz]

Sets the center frequency of Band 1

20...1.00kHz

Sets the center frequency of Band 1

0.5...10.0

ꢀ Fx:006

0.5...10.0

ꢀ Fx:006

Sets the bandwidth of Band 1

Gain [dB]

Sets the gain of Band 1

–18...+18dB

Gain [dB]

–18...+18dB

Sets the gain of Band 1

[E] Band2 Cutoff [Hz]

Sets the center frequency of Band 2

50...5.00kHz

[E] Band2 Cutoff [Hz]

50...5.00kHz

Sets the center frequency of Band 2

0.5...10.0

ꢀ Fx:006

0.5...10.0

ꢀ Fx:006

Sets the bandwidth of Band 2

Gain [dB]

Sets the gain of Band 2

–18...+18dB

Gain [dB]

Sets the gain of Band 2

–18...+18dB

[E] Band3 Cutoff [Hz]

Sets the center frequency for Band 3

300...10.00kHz

[E] Band3 Cutoff [Hz]

Sets the center frequency for Band 3

300...10.00kHz

0.5...10.0

ꢀ Fx:006

0.5...10.0

ꢀ Fx:006

Sets the bandwidth of Band 3

Gain [dB]

Sets the gain of Band 3

–18...+18dB

Gain [dB]

Sets the gain of Band 3

–18...+18dB

[E] Band4 Cutoff [Hz]

Sets the center frequency for Band 4

500...20.00kHz

[E] Band4 Cutoff [Hz]

Sets the center frequency for Band 4

500...20.00kHz

0.5...10.0

ꢀ Fx:006

0.5...10.0

ꢀ Fx:006

Sets the bandwidth of Band 4

Gain [dB]

–18...+18dB

Gain [dB]

Sets the gain of Band 4

–18...+18dB

0.02...20.00Hz

Triangle, Sine

0...100

Sets the gain of Band 4

[D] Tap1 Time [msec]

Sets the Tap1 delay time

0...680msec

[P] LFO Frequency [Hz]

Sets the LFO speed

Tap1 Level

Sets the Tap1 output level

0...100

ꢀ Fx:045

LFO Waveform

Selects LFO Waveform

[D] Tap2 Time [msec]

Sets the Tap2 delay time

0...680msec

[P] Manual

Sets the frequency to which the effect is applied

Feedback (Tap2)

Sets the Tap2 feedback amount

–100...+100

[P] Depth

Sets the depth of LFO modulation

0...100

[D] Mt.Delay Wet/Dry

Sets the multitap delay effect balance

Dry, 2:98...98:2, Wet

Resonance

Sets the resonance amount

–100...+100

ꢀ Fx:023

High Damp [%]

0...100%

[P] Phaser Wet/Dry

–Wet...–2:98, Dry, 2:98...Wet

Sets the damping amount in the high range

ꢀ Fx:043

Sets the phaser effect balance

ꢀ Fx:010, 023

Wet/Dry

Dry, 1:99...99:1, Wet

Output Mode

Selects the phaser output mode

Normal, Wet Invert

Sets the balance between the effect and dry sounds

ꢀ Fx:060

Src

Off...Tempo

Wet/Dry

Dry, 1:99...99:1, Wet

Selects the modulation source of the effect balance

Sets the balance between the effect and dry sounds

Amt

–100...+100

Src

Off...Tempo

Sets the modulation amount of the effect balance

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

219

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063: Comp – Wah

064: Comp – Amp Sim

(Compressor – Wah/ Auto Wah)

(Compressor – Amp Simulation)

This effect combines a mono-type compressor and a wah. You

can change the order of the connection.

This effect combines a mono-type compressor and an amp

simulation. You can change the order of the effect connection.

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Routing

Wet / Dry

Routing

Compressor

LEQ HEQ

Wah/Auto Wah

Compressor

Amp Simulation

EQ Trim

EQ Trim LEQ HEQ

Comp

Wah

Amp Simulation Filter

Comp

Output Level

Right

Sweep Mode

Right

Wet / Dry

Envelope - Control

Envelope

Auto

D-mod

Envelope - Control

-mod

LFO

[C] Sensitivity

Sets the sensitivity

1...100

ꢀ Fx:002

[C] Sensitivity

Sets the sensitivity

1...100

ꢀ Fx:002

[C] Attack

Sets the attack level

1...100

ꢀ Fx:002

[C] Attack

Sets the attack level

1...100

ꢀ Fx:002

Output Level

Sets the compressor output level

0...100

ꢀ Fx:002

Output Level

Sets the compressor output level

0...100

ꢀ Fx:002

[C] EQ Trim

Sets the EQ input level

0...100

–15...+15dB

SS, EL84, 6L6

[C] EQ Trim

Sets the EQ input level

0...100

–15...+15dB

[C] Pre LEQ Gain [dB]

Sets the gain of Low EQ

[C] Pre LEQ Gain [dB]

Sets the gain of Low EQ

Pre HEQ Gain [dB]

Sets the gain of High EQ

Pre HEQ Gain [dB]

[A] Ampliﬁer Type

Selects the type of guitar ampliﬁer

Sets the gain of High EQ

[W] Frequency Bottom

0...100

Routing

^CMP→ AMP, AMP → CMP

Sets the lower limit of the wah center frequency

ꢀ Fx:009

Switches the order of the compressor and amp simulation connec-

tion

Frequency Top

Sets the upper limit of the wah center frequency

0...100

ꢀ Fx:009

Wet/Dry

Dry, 1:99...99:1, Wet

[W] Sweep Mode

Selects the control from auto-wah, modulation source, and LFO

Auto, D-mod, LFO

Sets the balance between the effect and dry sounds

Src

Off...Tempo

ꢀ Fx:009,

Selects the modulation source of the effect balance

Src

Off...Tempo

Amt

–100...+100

Selects the modulation source for the wah when Sweep Mode=D-

mod

Sets the modulation amount of the effect balance

[W] LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

[W] Resonance

Sets the resonance amount

0...100

065: Comp – OD/ HiGain

Low Pass Filter

Switches the wah low pass ﬁlter on and off

Off, On

(Compressor – Overdrive/ Hi.Gain)

This effect combines a mono-type compressor and an over-

drive/ high-gain distortion. You can change the order of the

effect connection.

Routing

CMP → ^{WAH, WAH}→ CMP

Switches the order of the compressor and wah connection

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Src

Off...Tempo

Wet / Dry

Selects the modulation source of the effect balance

Routing

Compressor

Overdrive / Hi-Gain

Amt

–100...+100

Sets the modulation amount of the effect balance

3 Band PEQ

Comp

Driver

Output Level

Mode: Overdrive / Hi-Gain

Drive

Right

Wet / Dry

Envelope - Control

[C] Sensitivity

Sets the sensitivity

1...100

ꢀ Fx:002

[C] Attack

Sets the attack level

1...100

ꢀ Fx:002

Output Level

0...100

Sets the compressor output level

ꢀ Fx:002

[O] Drive Mode

Overdrive, Hi-Gain

Switches between overdrive and high-gain distortion

Drive

1...100

Sets the degree of distortion

ꢀ Fx:006

220

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[O] Output Level

0...50

[E] Band3 Cutoff [Hz]

300...10.00kHz

Sets the overdrive output level

ꢀ Fx:006,

Sets the center frequency for Band 3

Src

Off...Tempo

0.5...10.0

ꢀ Fx:006

Selects the modulation source for the overdrive output level

Sets the bandwidth of Band 3

Amt

–50...+50

Gain [dB]

Sets the gain of Band 3

–18...+18dB

Sets the modulation amount of the overdrive output level

[O] Low Cutoff [Hz]

Sets the center frequency for Low EQ (shelving type)

20...1.00kHz

–18...+18dB

[E] Band4 Cutoff [Hz]

Sets the center frequency for Band 4

500...20.00kHz

Gain [dB]

Sets the gain of Low EQ

0.5...10.0

ꢀ Fx:006

Sets the bandwidth of Band 4

[O] Mid1 Cutoff [Hz]

Sets the center frequency for Mid/High EQ 1 (peaking type)

300...10.00kHz

Gain [dB]

Sets the gain of Band 4

–18...+18dB

0.5...10.0

ꢀ Fx:006

Routing

CMP → PEQ, PEQ → CMP

Sets the band width of Mid/High EQ 1

Switches the order of the compressor and parametric EQ connection

Gain [dB]

Sets the gain of Mid/High EQ 1

–18...+18dB

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

[O] Mid2 Cutoff [Hz]

Sets the center frequency for Mid/High EQ 2 (peaking type)

500...20.00kHz

Src

Off...Tempo

Selects the modulation source of the effect balance

0.5...10.0

ꢀ Fx:006

Amt

–100...+100

Sets the band width of Mid/High EQ 2

Sets the modulation amount of the effect balance

Gain [dB]

Sets the gain of Mid/High EQ 2

–18...+18dB

Routing

CMP → OD, OD → CMP

067: Comp – Cho/ Flng

Switches the order of the compressor and overdrive connection

Wet/Dry

Dry, 1:99...99:1, Wet

(Compressor – Chorus/ Flanger)

Sets the balance between the effect and dry sounds

This effect combines a mono-type compressor and a chorus/

ﬂanger. You can change the order of the effect connection.

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Sets the modulation amount of the effect balance

Wet / Dry

Routing

Compressor

Chorus/Flanger

LEQ HEQ

EQ Trim

066: Comp – Param4EQ

Comp

Chorus/Flanger

Feedback

Normal

Output Mode

–

Output Level

(Compressor – Parametric 4-Band EQ)

Wet Invert

Cho/Flng Wet / Dry

Right

This effect combines a mono-type compressor and a four-

band parametric equalizer. You can change the order of the

effect connection.

Wet / Dry

Envelope - Control

LFO: Tri / Sine

[C] Sensitivity

Sets the sensitivity

1...100

ꢀ Fx:002

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Routing

Parametric 4Band EQ

Compressor

[C] Attack

Sets the attack level

1...100

ꢀ Fx:002

Output Level

Sets the compressor output level

0...100

ꢀ Fx:002

Comp

Trim

Output Level

[C] EQ Trim

Sets the EQ input level

0...100

–15...+15dB

Right

Wet / Dry

Envelope - Control

[C] Pre LEQ Gain [dB]

Sets the gain of Low EQ

Pre HEQ Gain [dB]

Sets the gain of High EQ

[C] Sensitivity

Sets the sensitivity

1...100

ꢀ Fx:002

[F] Delay Time [msec]

Sets the delay time

0.0...50.0msec

0.02...20.00Hz

Triangle, Sine

0...100

[C] Attack

Sets the attack level

1...100

ꢀ Fx:002

[F] LFO Frequency [Hz]

Sets the LFO speed

Output Level

Sets the compressor output level

0...100

ꢀ Fx:002

LFO Waveform

Selects LFO Waveform

[E] Trim

0...100

Sets the parametric EQ input level

[F] Depth

Sets the depth of LFO modulation

[E] Band1 Cutoff [Hz]

Sets the center frequency of Band 1

20...1.00kHz

Feedback

–100...+100

Sets the feedback amount

ꢀ Fx:020

0.5...10.0

ꢀ Fx:006

Sets the bandwidth of Band 1

[F] Cho/Flng Wet/Dry

Sets the effect balance of the chorus/ﬂanger

–Wet...–2:98, Dry, 2:98...Wet

ꢀ Fx:010, 020

Gain [dB]

Sets the gain of Band 1

–18...+18dB

Output Mode

Selects the output mode for the chorus/ﬂanger

Normal, Wet Invert

ꢀ

[E] Band2 Cutoff [Hz]

Sets the center frequency of Band 2

50...5.00kHz

Routing

CMP → FLNG, FLNG → CMP

Switches the order of the compressor and chorus/ﬂanger connection

ꢀ

0.5...10.0

ꢀ Fx:006

Sets the bandwidth of Band 2

Gain [dB]

–18...+18dB

Sets the gain of Band 2

221

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Wet/Dry

Dry, 1:99...99:1, Wet

069: Comp – Mt. Delay

Sets the balance between the effect and dry sounds

(Compressor – Multitap Delay)

Src

Off...Tempo

Selects the modulation source of the effect balance

This effect combines a mono-type compressor and a multitap

delay. You can change the order of the effect connection.

Amt

–100...+100

Sets the modulation amount of the effect balance

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Routing

h: Output Mode, i: Routing

Wet / Dry

When Wet Invert is selected, the right channel phase of the cho-

rus/ ﬂanger effect sound is inverted. This creates pseudo-stereo

effects and adds spread.

However, if a mono-input type effect is connected after this effect,

the left and right sounds may cancel each other, eliminating the

chorus/ ﬂanger effects.

Compressor

Multitap Delay

EQ Trim LEQ HEQ

Feedback

Comp

Delay

(1)

(2)

High Damp

Output Level

Mt.Dly Wet / Dry

Right

When “Routing” is set to FLNG→CMP, “Output Mode” will be

set to Normal.

Wet / Dry

Envelope - Control

[C] Sensitivity

Sets the sensitivity

1...100

ꢀ Fx:002

068: Comp – Phaser

[C] Attack

Sets the attack level

1...100

ꢀ Fx:002

(Compressor – Phaser)

Output Level

Sets the compressor output level

0...100

ꢀ Fx:002

This effect combines a mono-type compressor and a phaser.

You can change the order of the effect connection.

[C] EQ Trim

Sets the EQ input level

0...100

–15...+15dB

0...680msec

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

[C] Pre LEQ Gain [dB]

Sets the gain of Low EQ

Wet / Dry

Routing

Compressor

Phaser

Pre HEQ Gain [dB]

Sets the gain of High EQ

EQ Trim LEQ HEQ

Comp

Phaser

Normal

Output Mode

Wet Invert

–

[D] Tap1 Time [msec]

Output Level

Sets the Tap1 delay time

Resonance

Phaser Wet / Dry

Tap1 Level

Sets the Tap1 output level

0...100

ꢀ Fx:045

Right

Wet / Dry

LFO: Tri / Sine

Envelope - Control

[D] Tap2 Time [msec]

Sets the Tap2 delay time

0...680msec

Feedback (Tap2)

Sets the Tap2 feedback amount

–100...+100

[C] Sensitivity

Sets the sensitivity

1...100

ꢀ Fx:002

[D] High Damp [%]

Sets the damping amount in the high range

0...100%

ꢀ Fx:043

[C] Attack

Sets the attack level

1...100

ꢀ Fx:002

[D] Mt.Delay Wet/Dry

Sets the multitap delay effect balance

Dry, 1:99...99:1, Wet

Output Level

Sets the compressor output level

0...100

ꢀ Fx:002

Routing

CMP→DLY, DLY→CMP

Switches the order of the compressor and multitap delay connection

[C] EQ Trim

Sets the EQ input level

0...100

–15...+15dB

0.02...20.00Hz

Triangle, Sine

0...100

Wet/Dry

Dry, 1:99...99:1, Wet

[C] Pre LEQ Gain [dB]

Sets the gain of Low EQ

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Pre HEQ Gain [dB]

Sets the gain of High EQ

Selects the modulation source of the effect balance

Amt

–100...+100

[P] LFO Frequency [Hz]

Sets the LFO speed

Sets the modulation amount of the effect balance

LFO Waveform

Selects LFO Waveform

[P] Manual

Sets the frequency to which the effect is applied

[P] Depth

0...100

Sets the depth of LFO modulation

Resonance

–100...+100

Sets the resonance amount

ꢀ Fx:023

[P] Phaser Wet/Dry

–Wet...–2:98, Dry, 2:98...Wet

Sets the phaser effect balance

ꢀ Fx:010, 023

Output Mode

Selects the phaser output mode

Normal, Wet Invert

ꢀ Fx:067

Routing

CMP→PHS, PHS→CMP

Switches the order of the compressor and phaser connection

ꢀ Fx:067

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

222

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070: Limiter – P4EQ

071: Limiter – Cho/ Flng

(Limiter – Parametric 4-Band EQ)

(Limiter – Chorus/ Flanger)

This effect combines a mono-type limiter and a four-band

parametric equalizer. You can change the order of the effect

connection.

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

Left

Dry: Stereo In - Stereo Out

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Routing

Limiter

Chorus/Flanger

Wet / Dry

Routing

Limiter

Parametric 4Band EQ

Limiter

Chorus/Flanger

Feedback

Normal

EQ Trim

LEQ HEQ

–

Output Mode

Limiter

Gain Adjust

Wet Invert

Cho/Flng Wet / Dry

Trim

Gain Adjust

Right

Wet / Dry

LFO: Tri / Sine

Envelope - Control

Right

Wet / Dry

Envelope - Control

[L] Ratio

1.0:1...50.0:1, Inf:1

Sets the signal compression ratio

ꢀ Fx:003

[L] Ratio

Sets the signal compression ratio

1.0:1...50.0:1, Inf:1

ꢀ Fx:003

Threshold [dB]

–40...0dB

Sets the level above which the compressor is applied

ꢀ Fx:003

Threshold [dB]

Sets the level above which the compressor is applied

–40...0dB

ꢀ Fx:003

[L] Attack

Sets the attack time

1...100

ꢀ Fx:003

[L] Attack

Sets the attack time

1...100

ꢀ Fx:003

Release

Sets the release time

1...100

ꢀ Fx:003

Release

Sets the release time

1...100

ꢀ Fx:003

[L] Gain Adjust [dB]

–Inf, –38...+24dB

Sets the limiter output gain

ꢀ Fx:003

[L] Gain Adjust [dB]

Sets the limiter output gain

–Inf, –38...+24dB

ꢀ Fx:003

[F] LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

Triangle, Sine

0.0...50.0msec

0...100

[E] Trim

0...100

Sets the parametric EQ input level

LFO Waveform

Selects LFO Waveform

[E] Band1 Cutoff [Hz]

Sets the center frequency of Band 1

20...1.00kHz

[F] Delay Time [msec]

Sets the delay time

0.5...10.0

ꢀ Fx:006

Sets the bandwidth of Band 1

Depth

Sets the depth of LFO modulation

Gain [dB]

–18...+18dB

Sets the gain of Band 1

Feedback

–100...+100

Sets the feedback amount

ꢀ Fx:020

[E] Band2 Cutoff [Hz]

50...5.00kHz

Sets the center frequency of Band 2

[F] EQ Trim

Sets the EQ input level

0...100

0.5...10.0

Sets the bandwidth of Band 2

ꢀ Fx:006

[F] Pre LEQ Gain [dB]

–15...+15dB

Sets the gain of Low EQ

Gain [dB]

Sets the gain of Band 2

–18...+18dB

Pre HEQ Gain [dB]

–15...+15dB

Sets the gain of High EQ

[E] Band3 Cutoff [Hz]

300...10.00kHz

Sets the center frequency for Band 3

[F] Cho/Flng Wet/Dry

–Wet...–2:98, Dry, 2:98...Wet

Sets the effect balance of the chorus/ﬂanger

ꢀ Fx:010, 020

0.5...10.0

ꢀ Fx:006

Sets the bandwidth of Band 3

Output Mode

Selects the output mode for the chorus/ﬂanger

Normal, Wet Invert

ꢀ Fx:067

Gain [dB]

Sets the gain of Band 3

–18...+18dB

Routing

Switches the order of the limiter and chorus/ﬂanger connection

ꢀ Fx:067

LMT→FLNG, FLNG→LMT

[E] Band4 Cutoff [Hz]

Sets the center frequency for Band 4

500...20.00kHz

Wet/Dry

Dry, 1:99...99:1, Wet

0.5...10.0

ꢀ Fx:006

Sets the balance between the effect and dry sounds

Sets the bandwidth of Band 4

Src

Off...Tempo

Gain [dB]

Sets the gain of Band 4

–18...+18dB

Selects the modulation source of the effect balance

Amt

–100...+100

Routing

LMT→PEQ, PEQ→LMT

Sets the modulation amount of the effect balance

Switches the order of the limiter and parametric EQ connection

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

223

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072: Limiter – Phaser

073: Limiter – Mt. Delay

This effect combines a mono-type limiter and a phaser. You

can change the order of the effect connection.

(Limiter – Multitap Delay)

This effect combines a mono-type limiter and a multitap

delay. You can change the order of the effect connection.

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Routing

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Limiter

Phaser

Wet / Dry

Routing

Multitap Delay

Limiter

Phaser

Normal

Output Mode

Wet Invert

Gain Adjust

–

Feedback

Limiter

Delay

(1)

Resonance

(2)

Phaser Wet / Dry

Gain Adjust High Damp

Mt.Dly Wet / Dry

Right

Wet / Dry

Envelope - Control

LFO: Tri / Sine

Right

Wet / Dry

Envelope - Control

[L] Ratio

1.0:1...50.0:1, Inf:1

Sets the signal compression ratio

ꢀ Fx:003

[L] Ratio

1.0:1...50.0:1, Inf:1

Threshold [dB]

–40...0dB

Sets the signal compression ratio

ꢀ Fx:003

Sets the level above which the compressor is applied

ꢀ Fx:003

Threshold [dB]

Sets the level above which the compressor is applied

–40...0dB

ꢀ Fx:003

[L] Attack

Sets the attack time

1...100

ꢀ Fx:003

[L] Attack

Sets the attack time

1...100

ꢀ Fx:003

Release

Sets the release time

1...100

ꢀ Fx:003

Release

Sets the release time

1...100

ꢀ Fx:003

[L] Gain Adjust [dB]

Sets the limiter output gain

–Inf, –38...+24dB

ꢀ Fx:003

[L] Gain Adjust [dB]

Sets the limiter output gain

–Inf, –38...+24dB

[P] LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

Triangle, Sine

0...100

ꢀ Fx:003

[D] Tap1 Time [msec]

Sets the Tap1 delay time

0...680msec

LFO Waveform

Selects LFO Waveform

Tap1 Level

Sets the Tap1 output level

0...100

ꢀ Fx:045

[P] Manual

Sets the frequency to which the effect is applied

[D] Tap2 Time [msec]

Sets the Tap2 delay time

0...680msec

[P] Depth

Sets the depth of LFO modulation

0...100

Feedback (Tap2)

Sets the Tap2 feedback amount

–100...+100

Resonance

Sets the resonance amount

–100...+100

ꢀ Fx:023

[D] Mt.Delay Wet/Dry

Sets the multitap delay effect balance

Dry, 1:99...99:1, Wet

[P] Phaser Wet/Dry

Sets the phaser effect balance

–Wet...–2:98, Dry, 2:98...Wet

ꢀ Fx:010, 023

High Damp [%]

Sets the damping amount in the high range

0...100%

ꢀ Fx:043

Output Mode

Selects the phaser output mode

Normal, Wet Invert

ꢀ Fx:067

Routing

LMT→DLY, DLY→LMT

Routing

LMT→PHS, PHS→LMT

Switches the order of the limiter and multitap delay connection

Switches the order of the limiter and phaser connection ꢀ Fx:067

Wet/Dry

Dry, 1:99...99:1, Wet

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

Amt

–100...+100

Sets the modulation amount of the effect balance

224

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[L] Threshold [dB]

Sets the level above which the compressor is applied

–40...0dB

ꢀ Fx:003

074: Exciter – Comp (Exciter – Compressor)

This effect combines a mono-type exciter and a compressor.

You can change the order of the effect connection.

[L] Attack

Sets the attack time

1...100

ꢀ Fx:003

Release

Sets the release time

1...100

ꢀ Fx:003

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Routing

[L] Gain Adjust [dB]

Sets the limiter output gain

–Inf, –38...+24dB

Exciter

Compressor

ꢀ Fx:003

EQ Trim LEQ HEQ

Routin

XCT→LMT, LMT→XCT

Exciter

Comp

Switches the order of the exciter and limiter connection

Output Level

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Right

Wet / Dry

Src

Off...Tempo

Envelope - Control

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

[X] Exciter Blend

–100...+100

Sets the intensity (depth) of the Exciter effect

ꢀ Fx:011

[X] Emphatic Point

Sets the frequency range to be emphasized

0...70

ꢀ Fx:011

076: Exciter – Cho/ Flng

[X] EQ Trim

Sets the EQ input level

0...100

–15...+15dB

(Exciter – Chorus/ Flanger)

[X] Pre LEQ Gain [dB]

Sets the gain of Low EQ

This effect combines a mono-type limiter and a chorus/

ﬂanger.

Pre HEQ Gain [dB]

Sets the gain of High EQ

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

[C] Sensitivity

Sets the sensitivity

1...100

ꢀ Fx:002

Wet / Dry

Exciter

Chorus/Flanger

[C] Attack

Sets the attack level

1...100

ꢀ Fx:002

EQ Trim LEQ HEQ

Exciter

Chorus/Flanger

Feedback

Normal

Output Mode

–

Output Level

Sets the compressor output level

0...100

ꢀ Fx:002

Wet Invert

Cho/Flng Wet / Dry

Routing

XCT→CMP, CMP→XCT

Right

Wet / Dry

Switches the order of the exciter and compressor connection

LFO: Tri / Sine

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

[X] Exciter Blend

Sets the intensity (depth) of the Exciter effect

–100...+100

ꢀ Fx:011

Src

Off...Tempo

Selects the modulation source of the effect balance

[X] Emphatic Point

Sets the frequency range to be emphasized

0...70

ꢀ Fx:011

Amt

–100...+100

Sets the modulation amount of the effect balance

[X] EQ Trim

Sets the EQ input level

0...100

–15...+15dB

0.0...50.0msec

0.02...20.00Hz

Triangle, Sine

0...100

[X] Pre LEQ Gain [dB]

Sets the gain of Low EQ

075: Exciter – Limiter

This effect combines a mono-type exciter and a limiter. You

can change the order of the effect connection.

Pre HEQ Gain [dB]

Sets the gain of High EQ

[F] Delay Time [msec]

Sets the delay time

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

[F] LFO Frequency [Hz]

Sets the LFO speed

Wet / Dry

Routing

Limiter

Exciter

LFO Waveform

Selects LFO Waveform

EQ Trim LEQ HEQ

Limiter

Exciter

[F] Depth

Gain Adjust

Sets the depth of LFO modulation

Feedback

Sets the feedback amount

–100...+100

ꢀ Fx:020

Right

Wet / Dry

Envelope - Control

[F] Cho/Flng Wet/Dry

Sets the effect balance of the chorus/ﬂanger

–Wet...–2:98, Dry, 2:98...Wet

ꢀ Fx:010, 020

[X] Exciter Blend

Sets the intensity (depth) of the Exciter effect

–100...+100

ꢀ Fx:011

Output Mode

Normal, Wet Invert

Selects the output mode for the chorus/ﬂanger

ꢀ Fx:060

[X] Emphatic Point

Sets the frequency range to be emphasized

0...70

ꢀ Fx:011

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

[X] EQ Trim

Sets the EQ input level

0...100

–15...+15dB

Src

Off...Tempo

Selects the modulation source of the effect balance

[X] Pre LEQ Gain [dB]

Sets the gain of Low EQ

Amt

–100...+100

Sets the modulation amount of the effect balance

Pre HEQ Gain [dB]

Sets the gain of High EQ

[L] Ratio

Sets the signal compression ratio

1.0:1...50.0:1, Inf:1

ꢀ Fx:003

225

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077: Exciter – Phaser

078: Exciter – Mt. Delay

This effect combines a mono-type limiter and a phaser.

(Exciter – Multitap Delay)

This effect combines a mono-type exciter and a multitap

delay.

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Exciter

Phaser

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

EQ Trim LEQ HEQ

Wet / Dry

Exciter

Phaser

Exciter

Multitap Delay

Normal

Output Mode

–

Wet Invert

Resonance

EQ Trim LEQ HEQ

Feedback

Delay

Phaser Wet / Dry

Exciter

(2)

Right

(1)

High Damp

Wet / Dry

Mt.Dly Wet / Dry

LFO: Tri / Sine

Right

Wet / Dry

[X] Exciter Blend

Sets the intensity (depth) of the Exciter effect

–100...+100

ꢀ Fx:011

[X] Exciter Blend

Sets the intensity (depth) of the Exciter effect

–100...+100

ꢀ Fx:011

[X] Emphatic Point

Sets the frequency range to be emphasized

0...70

ꢀ Fx:011

[X] Emphatic Point

Sets the frequency range to be emphasized

0...70

ꢀ Fx:011

[X] EQ Trim

Sets the EQ input level

0...100

–15...+15dB

0.02...20.00Hz

Triangle, Sine

0...100

[X] EQ Trim

Sets the EQ input level

0...100

–15...+15dB

0...680msec

[X] Pre LEQ Gain [dB]

Sets the gain of Low EQ

[X] Pre LEQ Gain [dB]

Sets the gain of Low EQ

Pre HEQ Gain [dB]

Sets the gain of High EQ

Pre HEQ Gain [dB]

Sets the gain of High EQ

[P] LFO Frequency [Hz]

Sets the LFO speed

[D] Tap1 Time [msec]

Sets the Tap1 delay time

LFO Waveform

Selects LFO Waveform

Tap1 Level

Sets the Tap1 output level

0...100

ꢀ Fx:045

[P] Manual

Sets the frequency to which the effect is applied

[D] Tap2 Time [msec]

Sets the Tap2 delay time

0...680msec

[P] Depth

0...100

Sets the depth of LFO modulation

Feedback (Tap2)

–100...+100

Resonance

–100...+100

ꢀ Fx:023

Sets the Tap2 feedback amount

Sets the resonance amount

[D] High Damp [%]

Sets the damping amount in the high range

0...100%

ꢀ Fx:043

[P] Phaser Wet/Dry

Sets the phaser effect balance

–Wet...–2:98, Dry, 2:98...Wet

ꢀ Fx:010, 023

[D] Mt.Delay Wet/Dry

Sets the multitap delay effect balance

Dry, 1:99...99:1, Wet

Output Mode

Selects the phaser output mode

Normal, Wet Invert

ꢀ Fx:060

Wet/Dry

Dry, 1:99...99:1, Wet

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

Amt

–100...+100

Sets the modulation amount of the effect balance

226

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079: OD/ HG – Amp Sim

080: OD/ HG – Cho/ Flng

(Overdrive/ Hi.Gain – Amp Simulation)

(Overdrive/ Hi.Gain – Chorus/ Flanger)

This effect combines a mono-type overdrive/ high-gain dis-

tortion and an amp simulation. You can change the order of

the effect connection.

This effect combines a mono-type overdrive/ high-gain dis-

tortion and a chorus/ ﬂanger. You can change the order of the

effect connection.

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Routing

Wet / Dry

Routing

Overdrive / Hi-Gain

Amp Simulation

Overdrive / Hi-Gain

Chorus/Flanger

3 Band PEQ

Driver

3 Band PEQ

Driver

Amp Simulation Filter

Chorus/Flanger

Feedback

Normal

Output Mode

Output Level

–

Mode: Overdrive / Hi-Gain

Drive

Wet Invert

Cho/Flng Wet / Dry

Mode: Overdrive / Hi-Gain

Drive

Right

Wet / Dry

LFO: Tri / Sine

[O] Drive Mode

Overdrive, Hi-Gain

Switches between overdrive and high-gain distortion

[O] Drive Mode

Switches between overdrive and high-gain distortion

Overdrive, Hi-Gain

Drive

1...100

Sets the degree of distortion

ꢀ Fx:006

Drive

1...100

ꢀ Fx:006

Sets the degree of distortion

[O] Output Level

Sets the overdrive output level

0...50

ꢀ Fx:006,

[O] Output Level

Sets the overdrive output level

0...50

ꢀ Fx:006,

Src

Off...Tempo

Selects the modulation source for the overdrive output level

Src

Off...Tempo

Selects the modulation source for the overdrive output level

Amt

–50...+50

Sets the modulation amount of the overdrive output level

Amt

–50...+50

Sets the modulation amount of the overdrive output level

[O] Low Cutoff [Hz]

Sets the center frequency for Low EQ (shelving type)

20...1.00kHz

–18...+18dB

[O] Low Cutoff [Hz]

Sets the center frequency for Low EQ (shelving type)

20...1.00kHz

–18...+18dB

Gain [dB]

Sets the gain of Low EQ

Gain [dB]

Sets the gain of Low EQ

[O] Mid1 Cutoff [Hz]

Sets the center frequency for Mid/High EQ 1 (peaking type)

300...10.00kHz

[O] Mid1 Cutoff [Hz]

Sets the center frequency for Mid/High EQ 1 (peaking type)

300...10.00kHz

0.5...10.0

ꢀ Fx:006

Sets the band width of Mid/High EQ 1

0.5...10.0

ꢀ Fx:006

Sets the band width of Mid/High EQ 1

Gain [dB]

–18...+18dB

Sets the gain of Mid/High EQ 1

Gain [dB]

–18...+18dB

Sets the gain of Mid/High EQ 1

[O] Mid2 Cutoff [Hz]

500...20.00kHz

Sets the center frequency for Mid/High EQ 2 (peaking type)

[O] Mid2 Cutoff [Hz]

500...20.00kHz

Sets the center frequency for Mid/High EQ 2 (peaking type)

0.5...10.0

Sets the band width of Mid/High EQ 2

ꢀ Fx:006

0.5...10.0

ꢀ Fx:006

Sets the band width of Mid/High EQ 2

Gain [dB]

–18...+18dB

Sets the gain of Mid/High EQ 2

Gain [dB]

–18...+18dB

Sets the gain of Mid/High EQ 2

[A] Ampliﬁer Type

SS, EL84, 6L6

Selects the type of guitar ampliﬁer

[F] LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

Triangle, Sine

0.0...50.0msec

0...100

Routing

OD→AMP, AMP→OD

Switches the order of the overdrive and amp simulation connection

LFO Waveform

Selects LFO Waveform

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

[F] Delay Time [msec]

Sets the delay time

Src

Off...Tempo

Selects the modulation source of the effect balance

Depth

Sets the depth of LFO modulation

Amt

–100...+100

Sets the modulation amount of the effect balance

Feedback

–100...+100

Sets the feedback amount

ꢀ Fx:020

[F] Cho/Flng Wet/Dry

–Wet...–2:98, Dry, 2:98...Wet

Sets the effect balance of the chorus/ﬂanger

ꢀ Fx:010, 020

Output Mode

Selects the output mode for the chorus/ﬂanger

Normal, Wet Invert

ꢀ Fx:067

Routing

OD → FLNG, FLNG → OD

Switches the order of the overdrive and chorus/ﬂanger connection

ꢀ Fx:067

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

227

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081: OD/ HG – Phaser

082: OD/ HG – Mt. Delay

(Overdrive/ Hi.Gain – Phaser)

(Overdrive/ Hi.Gain – Multitap Delay)

This effect combines a mono-type overdrive/ high-gain dis-

tortion and a phaser. You can change the order of the effect

connection.

This effect combines a mono-type overdrive/ high-gain dis-

tortion and a multitap delay.

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Overdrive / Hi-Gain

Multitap Delay

Wet / Dry

Routing

Overdrive / Hi-Gain

3 Band PEQ

Phaser

3 Band PEQ

Feedback

Delay

(1)

Driver

(2)

High Damp

Output Level

Phaser

Mt.Dly Wet / Dry

Driver

Normal

Output Mode

Wet Invert

Mode: Overdrive / Hi-Gain

Drive

Output Level

–

Resonance

Mode: Overdrive / Hi-Gain

Drive

Right

Phaser Wet / Dry

Wet / Dry

Right

Wet / Dry

LFO: Tri / Sine

[O] Drive Mode

Overdrive, Hi-Gain

Switches between overdrive and high-gain distortion

[O] Drive Mode

Switches between overdrive and high-gain distortion

Overdrive, Hi-Gain

Drive

1...100

ꢀ Fx:006

Sets the degree of distortion

Drive

1...100

ꢀ Fx:006

[O] Output Level

Sets the overdrive output level

0...50

Sets the degree of distortion

ꢀ Fx:006,

[O] Output Level

Sets the overdrive output level

0...50

Src

Off...Tempo

ꢀ Fx:006,

Selects the modulation source for the overdrive output level

Src

Off...Tempo

Amt

–50...+50

Selects the modulation source for the overdrive output level

Sets the modulation amount of the overdrive output level

Amt

–50...+50

[O] Low Cutoff [Hz]

Sets the center frequency for Low EQ (shelving type)

20...1.00kHz

Sets the modulation amount of the overdrive output level

[O] Low Cutoff [Hz]

Sets the center frequency for Low EQ (shelving type)

20...1.00kHz

–18...+18dB

Gain [dB]

Sets the gain of Low EQ

–18...+18dB

Gain [dB]

Sets the gain of Low EQ

[O] Mid1 Cutoff [Hz]

Sets the center frequency for Mid/High EQ 1 (peaking type)

300...10.00kHz

[O] Mid1 Cutoff [Hz]

Sets the center frequency for Mid/High EQ 1 (peaking type)

300...10.00kHz

0.5...10.0

ꢀ Fx:006

Sets the band width of Mid/High EQ 1

0.5...10.0

ꢀ Fx:006

Gain [dB]

Sets the gain of Mid/High EQ 1

–18...+18dB

Sets the band width of Mid/High EQ 1

Gain [dB]

Sets the gain of Mid/High EQ 1

–18...+18dB

[O] Mid2 Cutoff [Hz]

Sets the center frequency for Mid/High EQ 2 (peaking type)

500...20.00kHz

[O] Mid2 Cutoff [Hz]

Sets the center frequency for Mid/High EQ 2 (peaking type)

500...20.00kHz

0.5...10.0

ꢀ Fx:006

Sets the band width of Mid/High EQ 2

0.5...10.0

ꢀ Fx:006

Gain [dB]

Sets the gain of Mid/High EQ 2

–18...+18dB

Sets the band width of Mid/High EQ 2

Gain [dB]

Sets the gain of Mid/High EQ 2

–18...+18dB

[D] Tap1 Time [msec]

Sets the Tap1 delay time

0...680msec

[P] LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

Triangle, Sine

0...100

Tap1 Level

Sets the Tap1 output level

0...100

ꢀ Fx:045

LFO Waveform

Selects LFO Waveform

[D] Tap2 Time [msec]

Sets the Tap2 delay time

0...680msec

[P] Manual

Feedback

Sets the Tap2 feedback amount

–100...+100

Sets the frequency to which the effect is applied

Depth

0...100

[D] Mt.Delay Wet/Dry

Sets the multitap delay effect balance

Dry, 2:98...98:2, Wet

Sets the depth of LFO modulation

Resonance

Sets the resonance amount

–100...+100

ꢀ Fx:023

High Damp [%]

Sets the damping amount in the high range

0...100%

ꢀ Fx:043

[P] Phaser Wet/Dry

Sets the phaser effect balance

–Wet...–2:98, Dry, 2:98...Wet

Wet/Dry

Dry, 1:99...99:1, Wet

ꢀ Fx:010, 023

Sets the balance between the effect and dry sounds

Output Mode

Selects the phaser output mode

Normal, Wet Invert

Src

Off...Tempo

ꢀ Fx:067

Selects the modulation source of the effect balance

Routing

OD → PHS, PHS → OD

Amt

–100...+100

Switches the order of the overdrive and phaser connection

Sets the modulation amount of the effect balance

ꢀ Fx:067

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

228

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[D] Sampling Freq (Frequency) [Hz]

Sets the sampling frequency

1.00k...48.00kHz

083: Wah – Amp Sim

(Wah/ Auto Wah – Amp Simulation)

Resolution

Sets the data bit length

4...24

ꢀ Fx:014

This effect combines a mono-type wah and an amp simula-

tion. You can change the order of the effect connection.

[D] Output Level

Sets the decimator output level

0...100

ꢀ Fx:014

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

[A] Ampliﬁer Type

Selects the type of guitar ampliﬁer

SS, EL84, 6L6

Wet / Dry

Routing

Wah/Auto Wah

Amp Simulation

Routing

DECI→AMP, AMP→DECI

Switches the order of the wah and amp simulation connection

Amp Simulation Filter

Wah

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Selects the modulation source of the effect balance

Right

Sweep Mode

Wet / Dry

Envelope

Auto

Amt

–100...+100

D-mod

-mod

Sets the modulation amount of the effect balance

LFO

085: Decimator – Comp

[W] Frequency Bottom

Sets the lower limit of the wah center frequency

0...100

ꢀ Fx:009

(Decimator – Compressor)

Frequency Top

0...100

Sets the upper limit of the wah center frequency

ꢀ Fx:009

This effect combines a mono-type decimator and a compres-

sor. You can change the order of the effect connection.

[W] Sweep Mode

Selects the control from auto-wah, modulation source, and LFO

Auto, D-mod, LFO

ꢀ Fx:009,

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Src

Off...Tempo

Wet / Dry

Routing

Selects the modulation source for the wah when Sweep Mode=D-

mod

Compressor

Decimator

Resolution

Output Level

[W] LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

Comp

Decimator

Pre LPF

High Damp

Output Level

[W] Resonance

0...100

Sets the resonance amount

Right

Wet / Dry

Low Pass Filter

Off, On

Envelope - Control

Switches the wah low pass ﬁlter on and off

[A] Ampliﬁer Type

Selects the type of guitar ampliﬁer

SS, EL84, 6L6

[D] Pre LPF

Off, On

Routing

WAH → AMP, AMP → WAH

Turn the harmonic noise caused by lowered sampling on and off

ꢀ Fx:014

Switches the order of the wah and amp simulation connection

Wet/Dry

Dry, 1:99...99:1, Wet

High Damp [%]

0...100%

Sets the balance between the effect and dry sounds

Sets the ratio of high-range damping

Src

Off...Tempo

[D] Sampling Freq (Frequency)[Hz]

Sets the sampling frequency

1.00k...48.00kHz

Selects the modulation source of the effect balance

Amt

–100...+100

Resolution

4...24

Sets the modulation amount of the effect balance

Sets the data bit length

ꢀ Fx:014

[D] Output Level

Sets the decimator output level

0...100

ꢀ Fx:014

[C] Sensitivity

Sets the sensitivity

1...100

ꢀ Fx:002

084: Decimator – Amp

[C] Attack

Sets the attack level

1...100

ꢀ Fx:002

(Decimator – Amp Simulation)

This effect combines a mono-type decimator and an amp sim-

ulation. You can change the order of the effect connection.

Output Level

Sets the compressor output level

0...100

ꢀ Fx:002

Routing

DECI→CMP, CMP→DECI

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Switches the order of the decimator and compressor connection

Wet / Dry

Wet/Dry

Dry, 1:99...99:1, Wet

Routing

Decimator

Amp Simulation

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Output Level

Resolution

Selects the modulation source of the effect balance

Amp Simulation Filter

Decimator

High Damp

Pre LPF

Amt

–100...+100

Sets the modulation amount of the effect balance

Right

Wet / Dry

[D] Pre LPF

Off, On

Turn the harmonic noise caused by lowered sampling on and off

ꢀ Fx:014

High Damp [%]

0...100%

Sets the ratio of high-range damping

229

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086: Amp Sim – Tremolo

087: Cho/ Flng – Mt. Dly

(Amp Simulation – Tremolo)

(Chorus/ Flanger – Multitap Delay)

This effect combines a mono-type amp simulation and a trem-

olo.

This effect combines a mono-type chorus/ ﬂanger and a mult-

itap delay.

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

Chorus/Flanger

Multitap Delay

Amp Simulation

Tremolo

Feedback

Delay ₍₂₎

Amp Simulation Filter

Tremolo

Chorus/Flanger

Trim

(1)

Cho/Flng

Wet / Dry

Mt.Dly

Wet / Dry

LEQ HEQ

High Damp

Feedback

Right

Wet / Dry

LFO: Tri/Sin/Vintage/Up/Down

LFO Shape

LFO: Tri / Sine

[A] Ampliﬁer Type

Selects the type of guitar ampliﬁer

SS, EL84, 6L6

[F] Delay Time [msec]

Sets the delay time

0.0...50.0msec

0.02...20.00Hz

Triangle, Sine

0...100

[T] LFO Waveform

Selects LFO Waveform

Triangle, Sine, Vintage, Up, Down

[F] LFO Frequency [Hz]

Sets the LFO speed

ꢀ Fx:032

LFO Shape

–100...+100

ꢀ Fx:020

LFO Waveform

Selects LFO Waveform

Determines how much the LFO waveform is changed

[T] LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

[F] Depth

Sets the depth of LFO modulation

[T] Depth

Sets the depth of LFO modulation

0...100

Feedback

Sets the feedback amount

–100...+100

ꢀ Fx:020

Wet/Dry

Dry, 1:99...99:1, Wet

[F] EQ Trim

Sets the EQ input level

0...100

Sets the balance between the effect and dry sounds

Src

Off...Tempo

[F] Pre LEQ Gain [dB]

Sets the gain of Low EQ

–15...+15dB

Selects the modulation source of the effect balance

Amt

–100...+100

Pre HEQ Gain [dB]

Sets the gain of High EQ

–15...+15dB

Sets the modulation amount of the effect balance

[F] Cho/Flng Wet/Dry

Sets the effect balance of the chorus/ﬂanger

–Wet...–2:98, Dry, 2:98...Wet

ꢀ Fx:010, 020

[D] Tap1 Time [msec]

0...680msec

Sets the Tap1 delay time

Tap1 Level

0...100

Sets the Tap1 output level

ꢀ Fx:045

[D] Tap2 Time [msec]

0...680msec

Sets the Tap2 delay time

Feedback (Tap2)

Sets the Tap2 feedback amount

–100...+100

[D] Mt.Delay Wet/Dry

Sets the multitap delay effect balance

Dry, 1:99...99:1, Wet

High Damp [%]

0...100%

Sets the damping amount in the high range

ꢀ Fx:043

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

230

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088: Phaser – Cho/ Flng

089: Reverb – Gate

This effect combines a mono-type reverb and a gate.

(Phaser – Chorus/ Flanger)

This effect combines a mono-type phaser and a chorus/

ﬂanger.

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Reverb

Wet / Dry

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

EQ Trim

Pre Delay

Reverb

Gate

Wet / Dry

Reverb

Balance

LEQ HEQ

Phaser

Chorus/Flanger

Right

Wet / Dry

Chorus/Flanger

Feedback

Normal

Output Mode

LEQHEQ

–

Trim

Input Reverb Mix

Input

Phaser

Wet / Dry

Wet Invert

Resonance

Envelope - Control

Cho/Flng

Wet / Dry

Gate+Dmpr

D-mod

Envelope Select

Gate

Right

Wet / Dry

LFO: Tri / Sine

[R] Reverb Time [sec]

Sets the reverberation time

0.1...10.0sec

0...100%

[P] LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

Triangle, Sine

0...100

High Damp [%]

Sets the damping amount in the high range

[R] Pre Delay [msec]

LFO Waveform

Selects LFO Waveform

0...200msec

Sets the delay time of the reverb sound and gate control signal

[P] Manual

Sets the frequency to which the effect is applied

[R] EQ Trim

0...100

Sets the EQ input level

Depth

0...100

Sets the depth of LFO modulation

[R] Pre LEQ Gain [dB]

Sets the gain of Low EQ

–15...+15dB

Resonance

Sets the resonance amount

–100...+100

ꢀ Fx:023

Pre HEQ Gain [dB]

Sets the gain of High EQ

[P] Phaser Wet/Dry

Sets the phaser effect balance

–Wet...–2:98, Dry, 2:98...Wet

ꢀ Fx:010, 023

[R] Reverb Balance

Sets the reverb effect balance

Dry, 1:99...99:1, Wet

[F] LFO Frequency [Hz]

Sets the LFO speed

0.02...20.00Hz

Triangle, Sine

0.0...50.0msec

0...100

[G] Envelope Select

Switches between modulation source control and input signal control

ꢀ

D-mod, Input

LFO Waveform

Selects LFO Waveform

Src

Off...Gate2+Dmpr

[F] Delay Time [msec]

Sets the delay time

Selects the modulation source that controls the gate when Envelope

Select is set to D-mod

[G] Input Reverb Mix

ꢀ

Depth

Dry, 1:99...99:1, Wet

Sets the depth of LFO modulation

Sets the balance between the dry and reverb sounds of the gate con-

trol signal.

ꢀ

Feedback

Sets the feedback amount

–100...+100

ꢀ Fx:020

Threshold

Sets the gate threshold level

0...100

ꢀ

[F] EQ Trim

0...100

Sets the EQ input level

[G] Polarity

+, –

Switches between non-invert and invert of the gate on/off state

ꢀ Fx:005

[F] Pre LEQ Gain [dB]

Sets the gain of Low EQ

–15...+15dB

[G] Attack

1...100

Pre HEQ Gain [dB]

Sets the gain of High EQ

–15...+15dB

Sets the attack time

ꢀ Fx:005

Release

1...100

[F] Cho/Flng Wet/Dry

Sets the effect balance of the chorus/ﬂanger

–Wet...–2:98, Dry, 2:98...Wet

Sets the release time

ꢀ Fx:005

ꢀ Fx:010, 020

Wet/Dry

Dry, 1:99...99:1, Wet

Output Mode

Selects the output mode for the chorus/ﬂanger

Normal, Wet Invert

Sets the balance between the effect and dry sounds

ꢀ Fx:060

Src

Off...Tempo

Wet/Dry

Dry, 1:99...99:1, Wet

Selects the modulation source of the effect balance

Sets the balance between the effect and dry sounds

Amt

–100...+100

Src

Off...Tempo

Sets the modulation amount of the effect balance

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

f: Envelope Select, f: Src, g: Input Reverb Mix, g:Threshold

The “Envelope Select” parameter enables you to select whether

turning the gate on and off is triggered by the input signal level or

controlled directly by the modulation source. You can select from

Off to Gate2+Dmpr for the Src parameter to specify the modula-

tion source.

When “Envelope Select” is set to Input, the gate is controlled by

the level of signals that are the combination of the dry sound and

the reverb sound. When the signal level exceeds the threshold, the

gate opens and the reverb sound is output.

Normally, set “Input Reverb Mix” to Dry (the gate is controlled

only by the dry sound). If you wish to extend the gate time, set the

“Input Reverb Mix” value higher and adjust the “Threshold”

value.

231

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091: St. Mltband Limiter

(Stereo Multiband Limiter)

This is a stereo multiband limiter.

Double Size

Double-size effects

(Available for Insert Effects IFX2, 3, and 4)

Stereo In - Stereo Out

Band-Pass Filters

Left

Low

Wet / Dry

Limiter

Envelope - Control

Mid

Limiter

Gain Adjust

090: Piano Body/ Damper

High

Envelope - Control

(Piano Body/ Damper Simulation)

Limiter

Low

Gain Adjust

Envelope - Control

This effect simulates the resonance of the piano sound board

caused by the string vibration, and also simulates the reso-

nance of other strings that are not being played when you

press the damper pedal. It will create a very realistic sound

when applied to acoustic piano sounds.

Mid

High

Right

Wet / Dry

Offset

Ratio

1.0:1...50.0:1, Inf:1

Sets the signal compression ratio

ꢀ Fx:003

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Threshold [dB]

Sets the level above which the compressor is applied

–40...0dB

ꢀ Fx:003

Wet / Dry

Attack

Sets the attack time

1...100

ꢀ Fx:003

Piano

Body/Damper

Simulation

Release

Sets the release time

1...100

ꢀ Fx:003

Right

Low Offset [dB]

Sets the low range gain of trigger signal

–40...0dB

ꢀ Fx:004

Wet / Dry

-mod

Damper

Mid Offset [dB]

Sets the mid range gain of trigger signal

–40...0dB

ꢀ Fx:004

High Offset [dB]

Sets the high range gain of trigger signal

–40...0dB

ꢀ Fx:004

Sound Board Depth

Sets the intensity of resonance of the sound board

0...100

ꢀ

Gain Adjust [dB]

–Inf, –38...+24dB

Sets the output gain

ꢀ Fx:003,

Damper Depth

0...100

Sets the intensity of the string resonance created when the damper

pedal is pressed

Src

Off...Tempo

ꢀ,

Selects the modulation source for the output gain

Src

Off...Tempo

ꢀ

Amt

–63...+63

Selects the modulation source of damper effect

Sets the modulation amount of the output gain

Tone

1...100

ꢀ

Wet/Dry

Dry, 1:99...99:1, Wet

Sets tonal quality of effect sound

Sets the balance between the effect and dry sounds

Mid Shape

Sets the mid range of tonal quality

0...36

ꢀ

Src

Off...Tempo

Selects the modulation source of the effect balance

Tune

Fine tuning

–50...+50

ꢀ

Amt

–100...+100

Sets the modulation amount of the effect balance

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

092: OD/ HyperGain Wah

Selects the modulation source of the effect balance

(Overdrive/ Hyper Gain Wah)

Amt

–100...+100

Sets the modulation amount of the effect balance

This distortion effect has two modes: overdrive and hyper-

gain that produces a strong distortion. A higher high-gain set-

ting is required for this effect relative to a normal-size effect.

a: Sound Board Depth

This parameter sets the intensity of resonance of the piano sound

board.

Wet: Mono In - Mono Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

b: Damper Depth, b: Src

Mode: Overdrive / Hyper-Gain

Drive

This parameter sets the resonance intensity of the other strings

created when the damper pedal is pressed. The “Src” parameter

selects the modulation source from which the damper effect is

applied. Usually, select Damper #64 Pdl (Damper pedal).

Pre Low-cut

4 Band PEQ

Wah

Amp Simulation

Driver

Output Level

Direct Mix

Right

The effect is off when a value for the modulation source

speciﬁed for the “Src” parameter is 63 or smaller, and the

effect is on when the value is 64 or higher.

Wet / Dry

-mod

c:Tone, d: Mid Shape

Wah

Off, On

These parameters control the tonal quality of the effect sound.

Switches Wah on/off

ꢀ Fx:006,

e:Tune

Src

Off...Tempo

Since this effect simulates the resonance of the strings, the sound

varies depending on the pitch. If you have changed tuning using

the “Master Tune” (Global P0: 0–1a), adjust this parameter value.

Selects the modulation source that switches the Wah on and off

ꢀ Fx:006

Toggle, Moment

Selects the switching mode for the modulation source that switches

the Wah on and off ꢀ Fx:006

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Wah Sweep Range

Sets the range of Wah

–10...+10

ꢀ Fx:006,

Formant Shift

Sets the height of the frequency for the vocoder effect

–2...+2

ꢀ

Wah Sweep Src

Selects the modulation source that controls the Wah

Off...Tempo

Response

0...100

Sets the speed of the response to the modulator input

Drive Mode

Overdrive, Hyper-Gain

Noise Level

Sets the noise mix level to the Carrier

0...100

Switching between overdrive and hyper-gain mode

ꢀ,

Drive

1...120

ꢀ Fx:006

Src

Off...Tempo

Sets the degree of distortion

Selects the modulation source for the noise mix level

Pre Low-cut

0...10

Amt

–100...+100

Sets the low range cut amount of the distortion input

ꢀ Fx:006

Sets the modulation amount for the noise mix level

Output Level

Sets the output level

0...50

Modulator High Mix

Sets the high-range output level of the modulator

0...100

ꢀ

ꢀ Fx:006,

Src

Off...Tempo

Low Gain [dB]

–12...+12

Selects the modulation source for the output

level

Sets the low-range output level of the vocoder

High Gain [dB]

–12...+12

Amt

–50...+50

20...1.00kHz

–18...+18dB

Sets the high-range output level of the vocoder

Sets the modulation amount of the output level

Vocoder/Carrier

Carrier, 1:99...99:1, Vocoder

Low Cutoff [Hz]

Sets the center frequency for Low EQ (shelving type)

Sets the balance between the vocoder output and the Carrier

ꢀ,

Gain [dB]

Src

Off...Tempo

Sets the gain of Low EQ

Selects the modulation source for the balance between the vocoder

output and the carrier

Mid1 Cutoff [Hz]

300...10.00kHz

Sets the center frequency for Mid/High EQ 1 (peaking type)

Amt

–100...+100

Sets the modulation amount of the balance between the vocoder out-

put and the carrier

0.5...10.0

ꢀ Fx:006

Sets the band width of Mid/High EQ 1

Wet/Dry

Dry, 1:99...99:1, Wet

Gain [dB]

Sets the gain of Mid/High EQ 1

–18...+18dB

Sets the balance between the effect and dry sounds

ꢀ,

Src

Off...Tempo

Mid2 Cutoff [Hz]

Sets the center frequency for Mid/High EQ 2 (peaking type)

500...20.00kHz

Selects the modulation source of the effect balance

Amt

–100...+100

0.5...10.0

ꢀ Fx:006

Sets the modulation amount of the effect balance

Sets the band width of Mid/High EQ 2

Gain [dB]

Sets the gain of Mid/High EQ 2

–18...+18dB

c: Formant Shift

By offsetting the Carrier ﬁlter, you can adjust the height of the fre-

quency range to which the vocoder effect is applied. The tonal

quality will change signiﬁcantly.

Direct Mix

0...50

Off, On

Amount of the dry sound mixed to the distortion

Speaker Simulation

e: Noise Level

Speaker simulation on/off

This parameter enables you to mix white noise with the Carrier.

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

f: Modulator High Mix

Src

Off...Tempo

This parameter sets the high-range output level of the right chan-

nel sound (Modulator). If the modulator is a human voice, it will

make the words more clear.

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

h:Vocoder/Carrier, i:Wet/Dry

The “Vocoder/ Carrier” parameter sets the balance between the

vocoder sound and the left channel sound (Carrier). The “Wet/

Dry” parameter sets the balance between the effect and dry

sound.

If you wish to change the intensity of the vocoder effect, select

Wet for “Wet/ Dry”, and adjust the balance using the “Vocoder/

Carrier” parameter.

093: Vocoder

This effect applies the character of the right channel signal

(Modulator) to the left channel signal input (Carrier). A com-

mon use of this effect is to produce the sound of various

instruments by inputting a voice to the Modulator via a

microphone. A special effect is also achieved by using rhythm

or effect sounds. Strings or distortion guitar sounds with a lot

of harmonics are suitable as a Carrier.

Using a voice from a microphone as a modulator

(Vocoder is selected for IFX2 in Program mode)

1Set “Pan” (Program P4: 4–1b) to L001 for Amp1 Level/ Pan so

that the Carrier sound will be input only to the left channel.

When Oscillator Mode (Program P1: 1–1a) is set to Double, set

Pan for Amp2 Level/ Pan to L001.

Wet: Stereo In - Mono Out

Dry: Stereo In - Stereo Out

Carrier

Left

Wet / Dry

Lch (Carrier)

Trim

Vocoder /

Carrier

2To set up the input, use the “Audio Input” parameter (Global

P0: 0–3a).

Rch (Modulator)

Trim

Envelope

Band Pass Filter

Connect a microphone to AUDIO INPUT1 or INPUT 2 connec-

tor, and set the [LEVEL] switch to MIC.

Modulator High Mix

While talking into the microphone, adjust the [LEVEL] knob

so that the level is high enough, but the sound will not be dis-

torted.

Right

Modulator

Wet / Dry

Noise

Generator

For the Audio Input parameters for the microphone, set Pan to

R127 and BUS (IFX/ Indiv.) Select to IFX2.

Noise Level

Now the voice from the microphone is input to the modulator

channel. You can create the sound of a “talking” instrument

when you talk into the microphone while playing.

L (Carrier) Trim

Sets the input level of left channel (Carrier)

0...100

R (Modulator) Trim

Sets the input level of right channel (Modulator)

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Tap1 Feedback

Sets the Tap1 feedback amount

–100...+100

094: Multitap Cho/ Delay

(Multitap Chorus/ Delay)

Src

Off...Tempo

Selects the modulation source for the Tap output level, feedback

amount, and effect balance

This effect has six chorus blocks with different LFO phases.

You can produce a complex stereo image by setting a different

delay time and depth for each block. You can control the

delay output level via a modulation source.

ꢀ

Amt

–100...+100

ꢀ

Sets the modulation amount of Tap1 feedback amount

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Wet: Mono In - Stereo Out

Left

Dry: Stereo In -Stereo Out

Amt

–100...+100

ꢀ

Feedback

Wet / Dry

Sets the modulation amount of the effect balance

Tap1 Delay

Tap2 Delay

Tap3 Delay

Tap4 Delay

Tap5 Delay

Tap6 Delay

b: Status, c: Status, d: Status, e: Status, f: Status, g: Status

These parameters set the output status of each Tap.

Always On: Output is always on. (No modulation)

Always Off: Output is always off. (No modulation)

On→Off (dm): Output level is switched from on to off depending

on the modulation source.

Off→On (dm): Output level is switched from off to on depending

on the modulation source.

Combining these parameters, you can change from 4-phase cho-

rus to two-tap delay by crossfading them gradually via the modu-

lation source during a performance.

Right

Wet / Dry

0 [degree]

180 [degree]

60 [degree]

240 [degree]

120 [degree]

300 [degree]

Panning Preset

LFO: Triangle

-mod

On/Off Control

LFO Frequency [Hz]

Sets the LFO speed

0.02...13.00Hz

0...570msec

0...30

h: Panning Preset

This parameter selects combinations of stereo images of the tap

outputs.

Tap1(000) [msec]

Sets the Tap1 (LFO phase=0 degrees) delay time

Depth

i: Src, i: Amt

Sets the Tap1 chorus depth

Tap output level, feedback amount and effect balance are con-

trolled simultaneously via a modulation source.

Status

Always On, Always Off, On→Off(dm), Off→On(dm)

Selects on, off, or modulation source for the control of Tap1 output

ꢀ,

Tap2(180) [msec]

0...570msec

Sets the Tap2 (LFO phase=180 degrees) delay time

095: St. Pitch Shifter (Stereo Pitch Shifter)

Depth

0...30

Sets the Tap2 chorus depth

This is a stereo pitch shifter. The pitch shift amount for the left

and right channels can be reversed from each other.

Status

Always On, Always Off, On→Off(dm), Off→On(dm)

Selects on, off, or modulation source for the control of Tap2 output

ꢀ,

Stereo In - Stereo Out

Left

Wet / Dry

Tap3(060) [msec]

Sets the Tap3 (LFO phase=60 degrees) delay time

0...570msec

High Damp

Pitch Shifter

Delay

Input Level

Post

Feedback Position

Pre

Depth

0...30

Spread

Feedback

Sets the Tap3 chorus depth

Post

Status

Always On, Always Off, On→Off(dm), Off→On(dm)

Pitch Shifter

Delay

Selects on, off, or modulation source for the control of Tap3 output

High Damp

ꢀ,

Right

Wet / Dry

Tap4(240) [msec]

Sets the Tap4 (LFO phase=240 degrees) delay time

0...570msec

Depth

0...30

Mode

Slow, Medium, Fast

Sets the Tap4 chorus depth

Switches Pitch Shifter mode

ꢀ Fx:038

Status

Always On, Always Off, On→Off(dm), Off→On(dm)

L/R Pitch

Normal, Up/Down

Selects on, off, or modulation source for the control of Tap4 output

Determines whether or not the L/R pitch shift amount is inverted ꢀ

ꢀ,

Pitch Shift [1/2tone] –24...+24

Sets the pitch shift amount in steps of a semitone ꢀ Fx:038,

Tap5(120) [msec]

Sets the Tap5 (LFO phase=120 degrees) delay time

0...570msec

Src

Off...Tempo

ꢀ Fx:038

Depth

0...30

Selects the modulation source of pitch shift amount

Sets the Tap5 chorus depth

Amt

–24...+24

ꢀ Fx:038

Status

Always On, Always Off, On→Off(dm), Off→On(dm)

Sets the modulation amount of pitch shift amount

Selects on, off, or modulation source for the control of Tap5 output

ꢀ,

Fine [cent]

–100...+100cent

Sets the pitch shift amount in steps of one cent ꢀ Fx:038,

Tap6(300) [msec]

Sets the Tap6 (LFO phase=300 degrees) delay time

0...570msec

Amt

–100...+100cent

Sets the modulation amount of pitch shift amount

ꢀ Fx:038

Depth

0...30

Sets the Tap6 chorus depth

Lch Delay [msec]

Sets the delay time for the left channel

0...1000msec

Status

Always On, Always Off, On→Off(dm), Off→On(dm)

Selects on, off, or modulation source for the control of Tap6 output

Rch Delay [msec]

Sets the delay time for the right channel

0...1000msec

ꢀ,

Panning Preset

Speciﬁes the stereo image of each Tap

1, 2, 3, 4

ꢀ

Feedback Position

Switches the feedback connection

Pre, Post

ꢀ Fx:038

Feedback

–100...+100

Sets the feedback amount

ꢀ Fx:038

High Damp [%]

0...100%

Sets the damping amount in the high range

234

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Input Level Dmod [%]

Sets the modulation amount of the input level

–100...+100

ꢀ Fx:037,

Horn/Rotor Balance

Sets the volume level balance between the high-range horn and low-

range rotor

Rotor, 1...99, Horn

Src

Off...Tempo

ꢀ Fx:037

Selects the modulation source for the input level

ManualSpeedCtrl

Off...Tempo

Sets the modulation source in case the rotation speed is changed

Spread

–100...+100

ꢀ Fx:043

directly

ꢀ Fx:040,

Sets the width of the stereo image of the effect sound

Horn Acceleration

How quickly the horn rotation speed in the high range is switched

ꢀ Fx:040

0...100

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Horn Ratio

Stop, 0.50...2.00

Selects the modulation source of the effect balance

Adjusts the (high-range side) horn rotation speed. Standard value is

1.00. Selecting “Stop” will stop the rotation

Amt

–100...+100

Sets the modulation amount of the effect balance

Rotor Acceleration

0...100

Determines how quickly the rotor rotation speed in the low range is

switched

ꢀ Fx:040

b: L/R Pitch

When you select Up/Down for this parameter, the pitch shift

amount for the right channel will be reversed. If the pitch shift

amount is positive, the pitch of the left channel is raised, and the

pitch of the right channel is lowered.

Rotor Ratio

Stop, 0.50...2.00

Adjusts the (low-range side) rotor rotation speed. Standard value is

1.0. Selecting “Stop” will stop the rotation

Mic Distance

0...100

ꢀ Fx:040

Distance between the microphone and rotary speaker

Mic Spread

0...100

Angle of left and right microphones

ꢀ Fx:040

096: Rotary Speaker OD

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

(Rotary Speaker Overdrive)

Src

Off...Tempo

Selects the modulation source of the effect balance

This is a stereo rotary speaker effect. It has an internal speaker

simulator that simulates overdrive (recreating the amp distor-

tion) and characteristics of the rotary speaker, producing a

very realistic rotary speaker sound.

Amt

–100...+100

Sets the modulation amount of the effect balance

a: Sw

This parameter determines how to switch on/ off the overdrive

via a modulation source.

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

When “Sw” = Toggle, overdrive is turned on/ off each time the

pedal or joystick is operated.

Horn

Mic Distance

Mic Spread

Rotary Speaker ^Horn/Rotor

Balance

Overdrive

Overdrive will be switched on/ off each time the value of

the modulation source exceeds 64.

Rotor

Speaker Simulation

Right

When “Sw” = Moment, overdrive is applied only when you press

the pedal or operate the joystick.

Wet / Dry

-mod

On/Off

Mode Switch: Rotate/Stop

Speed Switch: Slow/Fast

Only when the value for the modulation source is 64 or

higher, the overdrive effect is applied.

Manual Speed Control

Overdrive

Off, On

Switches overdrive on/off.

Src

Off...Tempo

Selects the modulation source that switches overdrive on/off

Toggle, Moment

Selects the switching mode of the modulation source that switches

overdrive on/off

ꢀ

Overdrive Gain

Determines the degree of distortion

0...100

Overdrive Level

Sets the overdrive output level

Overdrive Tone

Sets the tonal quality of overdrive

0...15

Speaker Simulator

Off, On

Switches speaker simulation on/off

Mode Switch

Rotate, Stop

Switches between speaker rotation and stop

Src

Off...Tempo

Selects the modulation source that toggles between rotation and

stop

Toggle, Moment

Selects the switching mode of the modulation source that toggles

between rotation and stop

ꢀ Fx:040

Speed Switch

Slow, Fast

Switches the speaker rotation speed between slow and fast.

Src

Off...Tempo

Selects the modulation source that toggles between slow and fast

Selects the switching mode of the modulation source that toggles

between slow and fast ꢀ Fx:040

Toggle, Moment

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High Damp [%]

Sets the damping amount in the high range

0...100%

ꢀ Fx:043

097: Early Reﬂections

This early reﬂection effect has more precise early reﬂections

with twice the maximum length of a normal-size effect

(Fx:041). You can create a very smooth and dense sound.

Low Damp [%]

Sets the damping amount in the low range

0...100%

ꢀ Fx:043

Input Level Dmod [%]

–100...+100

Sets the modulation amount of the input level

ꢀ Fx:037,

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Src

Off...Tempo

ꢀ Fx:037

Wet / Dry

Selects the modulation source for the input level

EQ Trim

Spread

0...50

ꢀ Fx:043

LEQ

HEQ

Sets the width of the stereo image of the effect sound

Pre Delay

Early Reflections

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

EQ Trim

Src

Off...Tempo

Right

Wet / Dry

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

Type

Sharp, Loose, Modulated, Reverse

Selects the decay curve for the early reﬂection

ꢀ Fx:041

ER Time [msec]

Sets the time length of early reﬂection

10...1600msec

099: St/ Cross Long Dly

Pre Delay [msec]

Sets the time taken from the original sound to the ﬁrst early reﬂection

0...200msec

(Stereo/ Cross Long Delay)

EQ Trim

0...100

–15.0...+15.0dB

This is a stereo delay, and can by used as a cross-feedback

delay effect in which the delay sounds cross over between left

and right by changing the feedback routing. You can set a

maximum of 1,360msec for the delay time.

Sets the input level of EQ applied to the effect sound

Pre LEQ Gain [dB]

Sets the gain of Low EQ

Pre HEQ Gain [dB]

Sets the gain of High EQ

Stereo In - Stereo Out

Left

Wet / Dry

Wet/Dry

Dry, 1:99...99:1, Wet

High Damp Low Damp

Sets the balance between the effect and dry sounds

Delay

Input Level D-mod

Src

Off...Tempo

Stereo/Cross

Spread

Feedback

Delay

Selects the modulation source of the effect balance

High Damp Low Damp

Input Level D-mod

Amt

–100...+100

Sets the modulation amount of the effect balance

Right

Wet / Dry

098: L/ C/ R Long Delay

This multitap delay outputs three Tap signals to left, right and

center respectively. You can set a maximum of 2,730msec for

the delay time.

Stereo/Cross

Stereo, Cross

Switches between stereo delay and cross-feedback delay

L Delay Time [msec]

Sets the delay time for the left channel

0.0...1360.0msec

R Delay Time [msec]

Sets the delay time for the right channel

0.0...1360.0msec

–100...+100

Wet: Mono In - Stereo Out

Left

Dry: Stereo In -Stereo Out

L Feedback

Wet / Dry

Sets the feedback amount for the left channel

L Delay

C Delay

Input Level D-mod

Level

Src

Off...Tempo

Selects the modulation source of feedback amount

Spread

High Damp Low Damp

Input Level D-mod

Level

Amt L

–100...+100

Feedback

R Delay

Sets the modulation amount of the left channel feedback

Right

R Feedback

Sets the feedback amount for the right channel

–100...+100

Wet / Dry

Amt R

–100...+100

Sets the modulation amount of the right channel feedback

L Delay Time [msec]

Sets the delay time of TapL

0...2730msec

0...50

High Damp [%]

Sets the damping amount in the high range

0...100%

ꢀ Fx:043

Level

Low Damp [%]

Sets the damping amount in the low range

0...100%

ꢀ Fx:043

Sets the output level of TapL

C Delay Time [msec]

Sets the delay time of TapC

0...2730msec

0...50

Input Level Dmod [%]

Sets the modulation amount of the input level

–100...+100

ꢀ Fx:037,

Level

Src

Off...Tempo

Sets the output level of TapC

Selects the modulation source for the input level

ꢀ Fx:037

R Delay Time [msec]

Sets the delay time of TapR

0...2730msec

0...50

Spread

–50...+50

ꢀ Fx:043

Sets the width of the stereo image of the effect sound

Level

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the output level of TapR

Sets the balance between the effect and dry sounds

Feedback (C Delay)

Sets the feedback amountof TapC

–100...+100

Off...Tempo

Src

Off...Tempo

Selects the modulation source of the effect balance

Src

Amt

–100...+100

Selects the modulation source of the TapC feedback amount

Sets the modulation amount of the effect balance

Amt

–100...+100

Sets the modulation amount of the TapC feedback amount

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a:Time Over? >

100: LCR BPM Long Dly

You can set the delay time up to 2,730msec. If the delay time

exceeds this limit, the error message “OVER!!” appears on the dis-

play. Set the delay time parameters so that this message will not

appear. "Time Over?>" is only a display parameter.

(L/ C/ R BPM Long Delay)

The L/ C/ R delay enables you to match the delay time with

the song tempo. You can set the delay time up to 2,730msec.

Wet: Mono In - Stereo Out

Left

Dry: Stereo In -Stereo Out

Wet / Dry

101: St. BPM Long Delay

L Delay

C Delay

Input Level D-mod

Level

(Stereo BPM Long Delay)

Spread

High Damp Low Damp

The stereo delay enables you to match the delay time with the

song tempo. You can set the delay time up to 1365msec.

Feedback

R Delay

Input Level D-mod

Right

Stereo In - Stereo Out

Wet / Dry

Tempo

Left

Wet / Dry

BPM

Base Note x Times

High Damp Low Damp

BPM

Base Note x Times

Delay

Input Level D-mod

Feedback

Input Level D-mod

High Damp Low Damp

Delay

BPM

MIDI, 40...240

Selects MIDI Clock and assigns tempo

ꢀ Fx:049,

Right

Tempo

Wet / Dry

Time Over? >

----, OVER!!

Displays an error message when the delay time exceeds the upper

BPM

Adjust [%]

Base Note x Times

BPM

limit

ꢀ

L Delay Base Note

Selects the type of notes to specify the delay time for TapL

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

ꢀ Fx:049,

BPM

MIDI, 40...240

ꢀ Fx:049,

Selects MIDI Clock and assigns tempo

Times

x1...x16

Sets the number of notes to specify the delay time for TapL

Time Over? L >

----, OVER!!

ꢀ Fx:049

Display the error message if the left channel delay time exceeds the

upper limit

ꢀ

Level

0...50

Sets the output level of TapL

R >

----, OVER!!

Display the error message if the right channel delay time exceeds the

C Delay Base Note

Selects the type of notes to specify the delay time for TapC

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

upper limit

ꢀ

ꢀ Fx:049,

L Delay Base Note

Selects the type of notes to specify the left channel delay time

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

Times

x1...x16

ꢀ Fx:049,

Sets the number of notes to specify the delay time for TapC

ꢀ Fx:049

Times

x1...x16

Sets the number of notes to specify the left channel delay time

Level

0...50

ꢀ Fx:049

Sets the output level of TapC

Adjust [%]

Fine-adjust the left channel delay time

–2.50...+2.50%

R Delay Base Note

Selects the type of notes to specify the delay time for TapR

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

ꢀ Fx:049,

R Delay Base Note

Selects the type of notes to specify the right channel delay time

ꢁ ꢈ ꢃ ꢂ ꢈ ꢃ ꢈ ꢀ ꢂ ꢈ ꢀ ꢈ ꢄ ꢂ ꢈ ꢄ ꢈ ꢅ

Times

x1...x16

ꢀ Fx:049,

Sets the number of notes to specify the delay time for TapR

ꢀ Fx:049

Times

x1...x16

Sets the number of notes to specify the right channel delay time

Level

0...50

ꢀ Fx:049

Sets the output level of TapR

Adjust [%]

Fine-adjust the right channel delay time

–2.50...+2.50%

–100...+100

Off...Tempo

–100...+100

Feedback (C Delay)

Sets the feedback amount of TapC

–100...+100

Off...Tempo

–100...+100

L Feedback

Sets the feedback amount for the left channel

Src

Selects the modulation source for the TapC feedback

Src

Amt

Selects the modulation source of feedback amount

Sets the modulation amount of the TapC feedback

Amt L

High Damp [%]

Sets the damping amount in the high range

0...100%

ꢀ Fx:043

Sets the modulation amount of the left channel feedback

R Feedback

Sets the feedback amount for the right channel

–100...+100

Low Damp [%]

Sets the damping amount in the low range

0...100%

ꢀ Fx:043

Amt R

–100...+100

Input Level Dmod [%]

–100...+100

Sets the modulation amount of the right channel feedback

Sets the modulation amount of the input level

ꢀ Fx:037,

High Damp [%]

Sets the damping amount in the high range

0...100%

ꢀ Fx:043

Src

Off...Tempo

ꢀ Fx:037

Selects the modulation source for the input level

Low Damp [%]

Sets the damping amount in the low range

0...100%

ꢀ Fx:043

Spread

0...50

Sets the width of the stereo image of the effect sound

ꢀ Fx:043

Input Level Dmod [%]

Sets the modulation amount of the input level

–100...+100

ꢀ Fx:037,

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Src

Off...Tempo

Selects the modulation source for the input level

ꢀ Fx:037

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

237

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The effect is off when a value for the modulation source

speciﬁed for the “REC Control Src” parameter is 63 or

smaller, and the effect is on when the value is 64 or higher.

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Selects the modulation source of the effect balance

c: RST Control Src, e: Manual RST Control

Amt

–100...+100

The “RST Control Src ”parameter speciﬁes the modulation source

that controls the reset operation.

Sets the modulation amount of the effect balance

When you set this modulatoin source to On, or “Manual RST Con-

trol” to RESET, you can erase what you recorded. If the Loop

Time parameter has been set to Auto, the loop time is also reset.

a:Time Over? L >, a: R >

You can set the delay time up to 1365msec. If the delay time

exceeds this limit, the error message “OVER!!” appears on the dis-

play. Set the delay time parameters so that this message will not

appear. “Time Over?>” is only a display parameter.

The effect is off when a value for the modulation source

speciﬁed for the “RST Control Src” parameter is 63 or

smaller, and the effect is on when the value is 64 or higher.

“Hold” procedure (when Loop Time = Auto)

Select the following options for each parameter:

102: Hold Delay

1“Loop Time [msec]”=Auto

“REC Control Src”=JS +Y: CC#01

“RST Control Src”=JS –Y: CC#02

“Manual REC Control”=REC Off

“Manual RST Control”=RESET

It should be noted that all recordings will be deleted while

Reset is On.

This effect records the input signal and plays it back repeat-

edly. You can control the start of recording and reset via a

modulation source. Easy to use for real-time performances.

Wet: Mono In - Stereo Out

Left

Dry: Stereo In - Stereo Out

Wet / Dry

2“Manual RST Control”=Off

Delay

Reset is cancelled and the unit enters Rec ready mode.

Pan

3Push the joystick in the +Y direction (forward) and play a

phrase you wish to hold. When you pull the joystick to its

original position, the recording will be ﬁnished and the phrase

you just played will be held.

Loop Time: Auto/ ...2700ms

Right

Wet / Dry

-mod

REC Control

RST Control

Loop Time is automatically set only for the ﬁrst recording after

resetting. If the time length exceeds 2,700msec, Loop Time will

be automatically set to 2,700msec. (If you have set “Loop

Time” to 1–2,700msec, the speciﬁed loop time will be used

regardless of the time taken from pushing the joystick forward

until it is pulled back. However, the recording method remains

the same. The phrase being played while the joystick is pushed

forward will be held.)

-mod

Loop Time [msec]

Sets Automatic loop time setup mode or speciﬁes loop time

Auto, 1...2700msec

ꢀ

REC Control Src

Off...Tempo

ꢀ,

Selects control source for recording

RST Control Src

Off...Tempo

ꢀ,

Selects control source for reset

4If you made a mistake during recording, pull the joystick in

the –Y direction (back) to reset. In this way, the recording will

be erased. Repeat step 3again.

Manual REC Control

Sets the recording switch

REC Off, REC On

ꢀ

Manual RST Control

Sets the reset switch

Off, RESET

ꢀ

5The recorded phrase will be repeated again and again. You can

use this to create an accompaniment.

Pan

L100...L1, C, R1...R100

6By pushing the joystick in the +Y direction (forward), you can

Sets the stereo image of the effect

also overdub performances over the phrase that is being held.

Src

Off...Tempo

Selects the modulation source of stereo image of the effect

Amt

–100...+100

Sets the modulation amount of stereo image of the effect

Wet/Dry

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Src

Off...Tempo

Selects the modulation source of the effect balance

Amt

–100...+100

Sets the modulation amount of the effect balance

a: Loop Time [msec]

With Auto, the loop time is automatically set. Otherwise, you can

specify the loop time.

When Auto is selected, the Loop Time is automatically set to the

time it takes for a performance recorded while the Modulation

Source or “Manual REC Control” is on. However, if the time

length exceeds 2,700msec, the loop time will be automatically set

to 2,700msec.

b: REC Control Src, d: Manual REC Control

“REC Control Src” selects the modulation source that controls

recording.

If this modulation is on, or if “Manual REC Control” is set to REC

On, you can record the input signal. If a recording has already

been carried out, additional signals will be overdubbed.

238

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Master EQ

Use P9: Master EQ in Program, Combination, Sequencer, and

Song Play modes.

You cannot use the Master EQ in Sampling mode.

You cannot use the Master EQ for the Insert Effects or Mas-

ter Effects.

Low

Mid

High

Left

L/Mono

LEQ

PEQ

HEQ

LEQ

HEQ

Right

Low Gain Mod.

High Gain Mod.

-mod

Low Gain Mod - Src

-mod

High Gain Mod - Src

Low Cutoff [Hz]

Sets the cutoff frequency of Low EQ (shelving type)

20...1.00K

Gain[dB]

–18.0...+18.0 (0.5step)

Sets the gain of Low EQ

Mid Cutoff [Hz]

Sets the cutoff frequency of Mid EQ (peaking type)

300...10.00K

0.5...10.0 (0.1step)

Sets the band width of Mid EQ. With a higher value, the band

become narrower.

Gain [dB]

–18.0...+18.0 (0.5step)

Sets the gain of Mid EQ

High Cutoff [Hz]

Sets the cutoff frequency of High EQ (shelving type)

500...20.00K

Gain [dB]

–18.0...+18.0 (0.5step)

Sets the gain of High EQ

Low Gain Mod-Src

Selects the modulation source for Low Gain

Off...Tempo

High Gain Mod-Src

Selects the modulation source for High Gain

Off...Tempo

a: Gain[dB], b: Gain[dB], c: Gain[dB]

These parameters are linked with the “Master EQ Gain [dB]” (9–

1d) parameter of the Master FX page.

d: Low Gain Mod-Src

For example, when this parameter is set to KnobM1: #17, you can

control the EQ gain in the range from –18dB to +18dB during per-

formance using the [Realtime Control] knob. At this time, set

Knob 1-B to Knob Mod1 (CC#17) for Realtime Control Knob B-

Assign (Program P1: 1–4b, Combination P4: 4–4b, Sequencer P4:

4–7b, Song Play P2: 2–1b). The 12 o’clock position of the knob cor-

responds to the “Low Gain” value here.

e: High Gain Mod-Src

For example, when this parameter is set to KnobM2: #19, you can

control the EQ gain in the range from –18dB to +18dB during per-

formance using the [Realtime Control] knob. At this time, set

Knob 2-B to Knob Mod2 (CC#19) for Realtime Control Knob B-

Assign (Program P1: 1–4b, Combination P4: 4–4b, Sequencer P4:

4–7b, Song Play P2: 2–1b). The 12 o’clock position of the knob cor-

responds to the High Gain value here.

239

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240

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9. Appendices

Alternate Modulation Source (AMS)

About Alternate Modulation

About Alternate Modulation Sources

Alternate Modulation can be speciﬁed for the following 29

types, in total, 55 alternate modulation destinations shown

in the diagram below. (Pitch EG is common to OSC 1 and 2.)

AMS (Alternate Modulation Source) can be selected inde-

pendently for each of these to apply modulation.

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.

Frequently used assignments such as using the joystick (X)

to control pitch are provided as special parameters, so it is

not necessary to use Alternate Modulation to accomplish

this.

Alternate Modulation

Frequency Mod 1

Frequency Mod 2

Frequency Mod 1

Frequency Mod 2

LFO1

LFO2

Intensity Mod

Intensity Mod to A

Intensity Mod to B

OSC1

Filter1 A

Filter1 B

Amp 1

Pitch Mod

Pan Mod

Cutoff Mod 1

Cutoff Mod 2

Resonance Mod

Cutoff Mod 1

Cutoff Mod 2

Amp Mod

Intensity Mod

Intensity Mod to A

Intensity Mod to B

Filter1 EG

Amp1 EG

Level Mod

Time Mod 1

Time Mod 2

Level Mod

Time Mod 1

Time Mod 2

OSC 1

OSC 2

Pitch EG

Level Mod 1

Level Mod 2

Time Mod

Different types of Alternate Modulation are used to control

the bank I-F programs (which can be used when the EXB-

MOSS option is installed). (ꢀEXB-MOSS owner’s manual)

241

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AMS (Alternate Modulation Source) List

Off

do not use Alternate Modulation

(PEG) Pitch EG

(FEG) Filter EG

(AEG) Amp EG

(LFO) LFO1

(LFO) LFO2

pitch EG

ﬁlter EG within the same oscillator

amp EG within the same oscillator

LFO1 within the same oscillator

LFO2 within the same oscillator

(KT)

Flt KTrk +/+ (Filter Keyboard Track +/+)

ﬁlter keyboard tracking within the same oscillator

amp keyboard tracking within the same oscillator

note number

(ꢀ p.243)

Flt KTrk +/– (Filter Keyboard Track +/–)

Flt KTrk 0/+ (Filter Keyboard Track 0/+)

Flt KTrk +/0 (Filter Keyboard Track +/0)

Amp KTrk +/+ (Amp Keyboard Track +/+)

Amp KTrk +/– (Amp Keyboard Track +/–)

Amp KTrk 0/+ (Amp Keyboard Track 0/+)

Amp KTrk +/0 (Amp Keyboard Track +/0)

Note Number

(EXT) Velocity

velocity

(EXT) Poly After (Poly After Touch)

polyphonic after touch (transmitted from the TRITON STUDIO only as sequence

data)

(EXT) After Touch

after touch (channel after touch)

(EXT) JS X (Joy Stick X)

joystick X (horizontal) axis

(EXT) JS+Y:CC#01 (Joy Stick +Y: CC#01)

(EXT) JS–Y:CC#02 (Joy Stick –Y: CC#02)

joystick +Y (Vertical upward) direction (CC#01)

joystick –Y (Vertical downward) direction (CC#02)

(EXT) JS+Y & AT/2 (Joy Stick +Y & After Touch/2) joystick +Y (Vertical upward) direction and after touch

(ꢀ p.243)

(EXT) JS–Y & AT/2 (Joy Stick –Y & After Touch/2) joystick –Y (Vertical downward) direction and after touch

(EXT) Pedal:CC#04 (Foot Pedal: CC#04)

(EXT) Ribbon:CC#16

assignable foot pedal (CC#04)

ribbon controller (CC#16)

(EXT) Slider:CC#18 (Value Slider: CC#18)

(EXT) KnobMod1:#17 (Knob Mod1: CC#17)

(EXT) KnobMod2:#19 (Knob Mod2: CC#19)

(EXT) KnobMod3:#20 (Knob Mod3: CC#20)

(EXT) KnobMod4:#21 (Knob Mod4: CC#21)

(EXT) KnobMod1 [+] (Knob Mod1: CC#17 [+])

(EXT) KnobMod2 [+] (Knob Mod2: CC#19 [+])

(EXT) KnobMod3 [+] (Knob Mod3: CC#20 [+])

(EXT) KnobMod4 [+] (Knob Mod4: CC#21 [+])

(EXT) Damper:#64 (Damper: CC#64)

value slider (CC#18)

(ꢀ p.243)

realtime control knob 1 in B-mode (knob modulation 1 CC#17)

realtime control knob 2 in B-mode (knob modulation 2 CC#19)

realtime control knob 3 in B-mode (knob modulation 3 CC#20)

realtime control knob 4 in B-mode (knob modulation 4 CC#21)

realtime control knob 1 in B-mode [+]

realtime control knob 2 in B-mode [+]

realtime control knob 3 in B-mode [+]

realtime control knob 4 in B-mode [+]

damper pedal (CC#64)

(EXT) Porta.SW:#65 (Portamento Switch: CC#65) portamento switch (CC#65)

(EXT) Sostenuto:#66 (Sosutenuto: CC#66)

(EXT) Soft:CC#67 (Soft Pedal: CC#67)

(EXT) SW 1:CC#80 (SW1 Mod.: CC#80)

(EXT) SW 2:CC#81 (SW2 Mod.: CC#81)

(EXT) Foot SW:#82 (Foot Switch: CC#82)

(EXT) MIDI:CC#83

sostenuto pedal (CC#66)

soft pedal (CC#67)

assignable panel switch 1 (SW1 modulation CC#80)

assignable panel switch 2 (SW2 modulation CC#81)

assignable foot switch (CC#82)

(ꢀ p.243)

MIDI control change (CC#83)

(EXT) Tempo

tempo (tempo data from internal clock or external MIDI clock)

In the above table, the parentheses ( ) indicate the type of source that can be used for each AMS.

For example, the “AMS (Pitch AMS)” value for OSC1 Pitch (Program P2: 2–1a) can be [Off, (FEG, AEG, EXT)] (ꢀ p .13).

This means that you can select Off, and (FEG), (AEG), or (EXT) sources.

CC#: This is the control change number.

242

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Flt KTrk +/ + (Filter Keyboard Track +/ +)

JS +Y & AT/ 2 (Joy Stick +Y & After Touch/ 2)

Flt KTrk +/ – (Filter Keyboard Track +/ –)

Flt KTrk 0/ + (Filter Keyboard Track 0/ +)

Flt KTrk +/ 0 (Filter Keyboard Track +/ 0)

The effect will be controlled by the joystick +Y (Vertical

upward) and by after touch. In this case, the effect of after

touch will be only half of the speciﬁed intensity.

Amp KTrk +/ + (Amp Keyboard Track +/ +)

Amp KTrk +/ – (Amp Keyboard Track +/ –)

Amp KTrk 0/ + (Amp Keyboard Track 0/ +)

Amp KTrk +/ 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.

+/–: The direction of the effect will be determined by the sign

of the “Ramp Low” setting, and by the opposite sign of the

“Ramp High” setting (–50 for a setting of +50, and +50 for a

setting of –50).

JS –Y & AT/ 2 (Joy Stick –Y & After Touch/ 2)

The effect will be controlled by the joystick –Y (Vertical

downward) and by after touch. In this case, the effect of after

touch will be only half of the speciﬁed intensity.

Pedal:CC#04 (Foot Pedal: CC#04)

If you wish to use the assignable foot pedal as an AMS, set

“Foot Pedal Assign” (Global P2: Controller 2–1a) to Foot

Pedal (CC#04) (ꢀ“Foot Pedal Assign”).

A foot controller etc. connected to the ASSIGNABLE PEDAL

jack will control the effect.

0/+: “Ramp Low” will have no AMS effect. The sign of the

“Ramp High” setting will determine the direction of its

effect.

+/0: The sign of the “Ramp Low” setting will determine the

direction of its effect. “Ramp High” will have no AMS effect.

Slider:CC#18 (Value Slider: CC#18)

When Program mode P0: “Program Select” or Combination

mode P0: “Combination Select” are selected, the [VALUE]

slider will function as a controller corresponding to CC#18.

KnobMod1:#17 (Knob Mod1: CC#17)

KnobMod2:#19 (Knob Mod2: CC#19)

KnobMod3:#20 (Knob Mod3: CC#20)

KnobMod4:#21 (Knob Mod4: CC#21)

Amp

example of Amp

Keyboard Track settings

Ramp Low

= +50

Ramp High

= +50

If you want to use REALTIME CONTROLS knobs [1]–[4] as

AMS, set the Controller page “Realtime Control Knobs B-

Assign” parameters to assign “Knob1-B” to KnobMod1

(CC#17), “Knob2-B” to KnobMod2 (CC#19), “Knob3-B” to

KnobMod3 (CC#20), and “Knob4-B” to KnobMod4

(CC#21) (ꢀ”Knob1...4-B Assign”) for each program, combi-

nation, song, or for Song Play mode.

When you set REALTIME CONTROLS to B-mode and oper-

ate knobs [1]–[4], the speciﬁed modulation will apply.

If AMS intensity is set to a positive (+) value, moving the

knob to the 12 o’clock position will produce an AMS effect of

0. Rotating the knob toward the right will produce a positive

change in the effect, and rotating it toward the left will pro-

duce a negative change. (With negative (–) settings, the

opposite effect will result.)

Note Number

Key Low Key High

+ max

AMS = Amp KTrk +/+

AMS Intensity = positive (+) value

zero

Depth and direction of modulation

– max

+ max

AMS = Amp KTrk +/–

AMS Intensity = positive (+) value

zero

KnobMod1 [+] (Knob Mod1: CC#17 [+])

KnobMod2 [+] (Knob Mod2: CC#19 [+])

KnobMod3 [+] (Knob Mod3: CC#20 [+])

Depth and direction of modulation

– max

KnobMod4 [+] (Knob Mod4: CC#21 [+])

These differ from KnobMod1:#17–KnobMod4:#21 in the

knob position and direction of the effect. If AMS intensity is

set to a positive (+) value, rotating the knob to the far left

will produce an AMS effect of 0. Rotating the knob toward

the right will apply an effect only in the positive direction.

(With negative (–) settings, the opposite effect will result.)

+ max

AMS = Amp KTrk 0/+

AMS Intensity = positive (+) value

zero

Depth and direction of modulation

– max

SW 1:CC#80 (SW1 Mod.: CC#80)

SW 2:CC#81 (SW2 Mod.: CC#81)

+ max

AMS = Amp KTrk +/0

AMS Intensity = positive (+) value

If you want to use the [SW1] and [SW2] keys as AMS, set the

Controller page “Panel Switch Assign” parameters to assign

“SW1” to SW1 Mod1 (CC#80) and “SW2” to SW2 Mod2

(CC#81) for each program, combination, song, or for Song

Play mode. (ꢀ“SW1/ SW2 Assign”)

zero

Depth and direction of modulation

– max

The will be controlled when you operate the [SW1] or [SW2]

key.

Foot SW:#82 (Foot Switch: CC#82)

If you wish to use an assignable foot switch as an AMS, set

“Foot Switch Assign” (Global P2: Controller 2–1a) to Foot

SW (CC#82) (ꢀ“Foot Switch Assign”).

The effect will be controlled when you operate a foot switch

etc. connected to the ASSIGNABLE SWITCH jack.

243

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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 sys-

tems of modulation in which EG, LFO, keyboard tracks, and

controllers work together.

Pitch (Program P2: 2–1a)

Pitch can be controlled by the ﬁlter/ amp EG, controllers, or

tempo etc.

•

You can apply complex change to an LFO or EG, for

example by using the pitch/ filter/ amp EG to control the

frequency or intensity of an LFO that modulates the

pitch/ filter/ amp, or by using LFO2 to control the

frequency of LFO1.

The tone, EG, and LFO etc. can be controlled not only by

velocity or joystick, but also from a switch, knob, or

pedal etc.

•

If you select Filter EG or Amp EG as the “AMS” and set

“Intensity” to +12.00, the pitch will change up to ±1

octave in synchronization with the EG.

If you select Tempo as the “AMS” and set “Intensity” to

+12.00, doubling the tempo (based on ꢀ =120) will raise

the pitch one octave, and halving the tempo will lower

the pitch one octave.

•

Panning can be controlled in realtime from a controller,

EG, or LFO etc.

Controllers etc. can be used to control EG levels or times.

This lets you shape the EG in realtime.

Filter/ amp keyboard tracking or note number can be

used to control the EG or LFO according to the keyboard

pitch that is played.

Pitch, tone, EG or LFO can be controlled by the tempo of

the arpeggiator or sequencer.

Pitch EG Intensity (Program P2: 2–1b)

Pitch EG intensity can be controlled by keyboard tracking,

controllers, or tempo.

•

If you select JS +Y:CC#01 as the “AMS” and set

“Intensity” to +12.00, moving the joystick in the +Y

direction will gradually increase the effect of the Pitch

EG to a maximum of ±1 octave. If “Intensity” has a

negative value, the effect of the Pitch EG will be

inverted.

•

Pitch LFO 1/ 2 Intensity (Program P2: 2–1d)

Pitch modulation intensity of the LFO1/ 2 can be controlled

by an EG, keyboard tracking, controllers, or tempo etc.

•

If you select EG as the “AMS”, the pitch change width of

LFO modulation etc. can be controlled in

synchronization with the level changes of the EG. With

positive (+) settings of “Intensity,” the vibrato effect will

gradually deepen as the EG level rises, or gradually

lessen as the EG level decreases. With negative (–)

settings of “Intensity,” the LFO phase will be inverted.

If you select a controller such as SW1 or 2 as the “AMS”,

you can press the [SW1] or [SW2] key when desired to

turn on the vibrato effect.

•

Filter (Cutoff) Frequency (Program P3: 3–2c)

Notes for the table

The cutoff frequency of ﬁlter A/ B can be controlled by the

pitch/ amp EG, controllers, or tempo. Set “AMS” and

“Intensity” for Filter A or B.

*1If Note Number is selected as an AMS, the base value

will be C4.

*2EXT(+): Velocity, Poly After, After Touch, JS+Y:CC#01,

JS(–Y):CC#02, JS+Y & AT/ 2, JS –Y & AT/ 2, Pedal:CC#04,

Slider:CC#18, KnobMod1[+], KnobMod2[+],

KnobMod3[+], KnobMod4[+], Damper:#64,

Porta.SW:#65, Sostenuto:#66, Soft:CC#67, SW1:CC#80,

SW2:CC#81, MIDI:CC#83

•

If you select JS X or Ribbon:CC#16 as the “AMS” and

set “Intensity” to a positive (+) value, moving the

joystick or ribbon controller toward the right will raise

the cutoff frequency, and moving it toward the left will

lower the cutoff frequency. Negative (–) settings will

have the opposite effect.

*3EXT(+–): KnobMod1:#17, KnobMod1:#19,

KnobMod1:#20, KnobMod1:#21

*4If Tempo is selected as an AMS, the base value will be ꢀ

=120. For example if the AMS for “Pitch” is set to Tempo,

and “Intensity” is set to 12.00, doubling the tempo value

(ꢀ =120 → 240) will raise the pitch one octave, and halving

the tempo (ꢀ =120 → 60) will lower the pitch one octave.

AMS →

AMS Value →

AMS Intensity

PEG/FEG

–99...0...+99

AEG

0...+99

Parameter

Pitch

Pitch EG Int.

Pitch LFO1/2 Int.

(+12.00)

–1...0...+1[Octave]

–

–1...0...+1[Octave]

0...+1[Octave]

–

0...+1[Octave]

*5A dedicated parameter is also provided.

*6This will be added to the “Filter Frequency” value. As the

“Frequency” value increases by 10, the cutoff frequency

will double (rise one octave).

Filter Frequency *6 (+99)

–99...0...+99

–

0...+99

–

Resonance

(+99)

Filter EG Int.

Filter LFO1/2 Int.

–99...0...+99

0...+99

*7This will be added to the “Pan” setting.

Amp

Amp LFO1/2 Int.

Pan *7

(+99)

(+50)

value x(0...1...8)

–99...0...+99

–63...0...+63

–

0...+99

0...+63

*8It is possible to control LFO “Frequency” by using Tempo

“AMS” and “Intensity.” However if you use the Frequency

MIDI/Tempo Sync function (Program P5: 5–1c), the LFO

frequency can be synchronized to the tempo and note

value.

EG Level

EG Time

LFO Frequency

(+66)

(+49)

(+99)

–

value x(1/64...1...64)

value x(1...64)

244

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•

If you select the same controller as an “AMS” and set

separate intensities for Filter A (Low Pass Filter)

“Intensity” and Filter B (High Pass Filter) “Intensity,”

you can operate a single controller to simultaneously

control the cutoff frequencies of both filters.

•

If you use a controller such as SW1 or 2 as the “AMS”,

you can apply the auto-wah effect when desired by

pressing the [SW1] or [SW2] key.

Amp (Program P4: 4–2b)

The volume can be controlled by the pitch/ ﬁlter EG, con-

trollers, or tempo etc.

Resonance (Program P3: 3–1b)

This can be used when the “Filter Type” is Low Pass Reso-

nance. The resonance level can be controlled by EG, LFO,

keyboard tracking, controllers or tempo etc.

•

If an EG or controller that changes with a positive (+)

value (Amp EG, EXT(+), EXT(SW)) is selected as the

“AMS”, setting the “Intensity” to +99 will allow you to

increase the volume to a maximum of eight times that of

the current volume.

If an EG, LFO, or controller that changes with a ± value

(Pitch EG, Filter EG, LFO, KT, EXT(+–) is selected as the

“AMS”, setting the “Intensity” to +99 will allow you to

increase the volume to a maximum of eight times that of

the current volume (for positive (+) changes of the

“AMS”), or to decrease the volume to zero (for negative

(–) changes of the “AMS”).

In addition to the time-variant changes in volume

produced by the amp EG, you can also make the volume

change in synchronization with the pitch/ filter EG.

Select PitchEG or FilterEG as the “AMS”, and adjust

“Intensity.” If you wish to cancel the effect of the

AmpEG and use the pitch/ filter EG to control the

volume, set all levels of the AmpEG to +99.

•

If you select Filter KTrk or Amp KTrk as the “AMS”,

you can use the filter or amp keyboard tracking settings

to control the resonance level. For example if the amp

keyboard tracking parameters “Ramp Low” and “Ramp

High” are set to positive (+) values, Amp KTrk [+/+] is

selected as the “AMS”, and “Intensity” it set to a

positive (+) value, playing toward either end of the

keyboard will cause amp keyboard tracking to increase

the volume, and “AMS” to raise the resonance level.

You can select a controller as the “AMS”, and apply

resonance when desired by operating the controller.

You can select LFO1 or 2 as the “AMS”, and use the LFO

to modulate the resonance level.

•

Filter EG Intensity (Program P3: 3–2b)

Filter EG intensity can be controlled by a controller or tempo

etc. You can use “Intensity to A” and “Intensity to B” to

independently specify the intensity for Filter A and B.

Amp LFO 1/ 2 Intensity (Program P4: 4–2c)

The amp modulation intensity of LFO 1/ 2 can be controlled

by EG, keyboard tracking, controllers, or tempo etc.

•

If you select JS –Y:CC#02 as the “AMS” and set “Int to

A” and “Int to B” to a positive (+) value, moving the

joystick in the –Y direction will gradually increase the

effect of the Filter EG. If you set “Int to A” and “Int to B”

to a negative (–) value, the effect of the Filter EG will be

inverted.

If you select Ribbon:CC#16 as the “AMS” and set “Int to

A” and “Int to B” to a positive (+) value, operating the

ribbon controller toward the right will gradually

increase the effect of the Filter EG. Operating the ribbon

controller toward the left will gradually increase the

effect of the Filter EG with an inverted phase.

•

If you select EG as the “AMS”, the depth of the tremolo

effect produced by LFO modulation will change in

synchronization with the changes in EG level. If you set

“Intensity” to a positive (+) value, the tremolo effect will

deepen as the EG level rises, and lessen as the EG level

falls. If “Intensity” is set to a negative (–) value, the

phase of the LFO will be inverted.

•

If select a controller such as SW1 or 2 as the “AMS”, you

can apply the tremolo effect by pressing the [SW1] or

[SW2] key when desired.

Filter LFO 1/ 2 Intensity (Program P3: 3–3a, 3–3b)

Pan (Program P4: 4–1b)

The LFO 1/ 2 ﬁlter modulation intensity can be controlled by

EG, keyboard tracking, controller, or tempo. You can use

“Intensity to A” and “Intensity to B” to independently spec-

ify the intensity for Filter A and B.

The oscillator pan can be controlled by EG, LFO, keyboard

tracking, controllers, or tempo etc.

•

If you select Note Number as the “AMS” and set

“Intensity” to +50, panning will be controlled by the

keyboard position: center at the C4 note, far right at C6

or above, and far left at C2 or below.

•

If you select EG as the “AMS”, the auto-wah effect

produced by LFO modulation will be controlled by the

changes in EG level. If you set “Intensity to A” and

“Intensity to B” to a positive (+) value, the wah effect

will deepen as the EG level rises, and will lessen as the

EG level falls. With negative (–) values of “Intensity to

A” and “Intensity to B,” the phase of the LFO will be

inverted.

•

If EG is selected as the “AMS”, the oscillator pan will be

controlled in synchronization with the changes in EG

level. If “Intensity” is set to a positive (+) value, the pan

will move toward the right as the EG level increases, and

toward the left as the EG level decreases. If “Intensity” is

set to a negative (–) value, the opposite effect will occur.

LFO1/2

–99...0...+99

KT(Flt KTrk, Amp KTrk)

KT(Note Number) *1

...36(C2)...60(C4)...84(C6)...

JS X/Ribbon:CC#16

–Max...0...+Max

EXT(+) *2

0...127

EXT(+–) *3

–Max...0...+Max

EXT(Tempo) *4

( ꢀ ) = ...60...120...240...

–99...0...+99

dedicated parameter

–1...0...+1[Octave]

dedicated parameter

...–1...0...+1...[Octave]

–1...0...+1[Octave] *5 0...+1[Octave]

–1...0...+1[Octave]

...–1...0...+1...[Octave]

–

–1...0...+1[Octave]

0...+1[Octave]

–1...0...+1[Octave]

dedicated parameter

–99x2...0...+99x2

–

–99...0...+99

0...+99

–99...0...+99

...–99...0...+99...

–99...0...+99

–

–99...0...+99

...–99...0...+99...

–

...–99...0...+99...

–

dedicated parameter

–

value x(0...1...8)

–99...0...+99

–63...0...+63

value x(1...8)

0...+99

0...+63

value x(0...1...8)

–99...0...+99

–63...0...+63

value x(0...1...8...)

...–99...0...+99...

...–63...0...+63...

–

–99...0...+99

–63...0...+63

...–99...0...+99...

...–63...0...+63...

–127...0...+127

–

–99...0...+99

0...+99

–99...0...+99

–

value x(1/64...1...64)

value x(...1/64...1...64...)

value x(1/64...1...64)

value x(1...64) value x(1/64...1...64)

value x(1...64) value x(1/64...1...64) value x(...1/64...1...64...) *8

value x(...1/64...1...64...)

value x(1/128...1...128)

245

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EG Level - Pitch EG (Program P2: 2–3b)

Filter EG (Program P3: 3–4b)

Dynamic Modulation Source (Dmod)

Amp EG (Program P4: 4–3b)

You can control certain effect parameters using the joystick,

ribbon controller, 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 ribbon controller to activate

the wah effect. In this way, you will be able to take full

advantage of the effects as part of the expressive potential of

your instrument.

Most of the parameters for dynamic modulation consist of

parameter values for “Src” (source) and “Amt” (amount).

The Src ﬁeld selects the modulation source, and “Amt” sets

the amount of dynamic modulation effect. When the modu-

lation source is set to the maximum value, the actual degree

of the effect will be the parameter value plus the “Amt”

value.

EG levels can be controlled by keyboard tracking, control-

lers, or tempo etc.

Set the “Intensity” value, and select +/–/0 for each EG seg-

ment (“St” start, “At” attack, “Br” break) to specify the

direction of the effect (if any) on that segment.

+: AMS will function according to the Intensity setting.

–: The sign of the Intensity setting will be inverted.

0: AMS will have no effect.

If “Intensity” is set to +66, the various EG levels can be con-

trolled over a maximum range of ±99.

•

Set “AMS” to Velocity for Amp EG Level Modulation,

“Intensity” to +66, “St” to 0, “At” to +, and “Br” to –. Set

all Amp EG levels to +00. As you play with increasing

velocity, the EG levels will change more greatly. At the

maximum velocity, the Start Level will stay at +00, but

the Attack Level will change to +99 and the Break Level

will change to –99.

In Program and Sampling modes, dynamic modulation

of the insertion effects and master effects is controlled

via the global MIDI Channel. (In Sampling mode, only

the insertion effects can be used.)

In Combination, Sequencer, and Song Play modes,

dynamic modulation for the insertion effects and mas-

ter effects is controlled on the MIDI channel indepen-

dently speciﬁed by the “Ctrl Ch” for IFX1–5, MFX1, and

MFX2.

EG Time - Pitch EG (Program P2: 2–3c)

Filter EG (Program P3: 3–4c)

Amp EG (Program P4: 4–3c)

EG times can be controlled by keyboard tracking, control-

lers, or tempo etc. Set the “Intensity” value, and select +/–/0

for each EG segment (“At” attack, Dc” decay, “Sl” slope,

“Rl” release) to specify the direction of the effect (if any) on

that segment.

+: AMS will function according to the Intensity setting.

–: The sign of the Intensity setting will be inverted.

0: AMS will have no effect.

Each EG time is determined by the Alternate Modulation

value at the moment that the corresponding EG point is

reached. For example, the Alternate Modulation value at the

moment that the Attack Level is reached will determine the

Decay Time.

Example: “Wet/ Dry” 10:90, “Src” After Touch, “Amt” +50

In this case, the effect balance is 10:90. As you apply After

Touch, the percentage of the effect sound will increase.

When After Touch is at its maximum, the effect balance will

be 60:40.

Dynamic Modulation (Example)

Wet / Dry

Wet / Dry=10:90

Wet

Amt= +50

Wet / Dry=60:40

Amt= –50

60:40

If “Intensity” is set to a value of 8, 17, 25, 33, 41, or 49, the

corresponding time can be multiplied by a maximum of 2, 4,

8, 16, 32, or 64 times (or divided by 1/ 2, 1/ 4, 1/ 8, 1/ 16, 1/

32, 1/ 64).

-mod

10:90

Dry

Zero

Higher

Max

•

Select JS +Y:CC#01 for “AMS,” and set “AMS Intensity”

to +8, “At” to +, “Dc” to –, and “Sl” and “Rl” to 0. When

you move the joystick in the +Y direction, the Attack

Time will be lengthened by a maximum of 2 times. The

Decay Time will be shortened by a maximum of 1/ 2.

The Slope and Release times will not change.

The dynamic modulation effect will not be affected if

you modify the “Amt” value while dynamic modula-

tion is being applied. The change will become effective

when you operate the dynamic modulation source

again.

LFO Frequency (Program P5: 5–1b)

Refer to the corresponding effect section for an explanation

of other dynamic modulation parameters.

In the table of parameters for each effect, dynamic modula-

The frequency of LFO 1 or 2 can be controlled by EG, key-

board tracking, controllers, or tempo etc., You can even use

the LFO2 frequency to modulate the LFO1 frequency.

If “Intensity” is set to a value of 16, 33, 49, 66, 82, or 99, the

corresponding frequency can be multiplied by a maximum

of 2, 4, 8, 16, 32, or 64 times (or divided by 1/ 2, 1/ 4, 1/ 8, 1/

16, 1/ 32, 1/ 64).

tion parameters are marked by a

of the parameter.

symbol at the right

•

Select JS +Y:CC#01 for “AMS,” and set “Intensity” to

+16. When you move the joystick in the +Y direction, the

LFO frequency will be increased by a maximum of 2

times. If you set “Intensity” to –16 and move the joystick

in the +Y direction, the LFO frequency will be decreased

by up to 1/ 2.

246

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Dynamic Modulation Source List

Source name

Explanation

Off

dynamic modulation is not used

Gate1

note on/off

(ꢀ p.247)

Gate1+Dmpr (Gate1+Damper)

Gate2

note on + damper on/off

note on/off (retrigger)

Gate2+Dmpr (Gate2+Damper)

Note Number

note on + damper on/off (retrigger)

note number

Velocity

After Touch

after touch (Channel After Touch)

joystick X (horizontal) direction

JS X (Joy Stick X)

JS+Y: CC#01 (Joy Stick +Y: CC#01)

JS–Y: CC#02 (Joy Stick –Y: CC#02)

Pedal: CC#04 (Foot Pedal: CC#04)

FXCrtl1: #12 (FX Control1: CC#12)

FXCrtl2: #13 (FX Control2: CC#13)

Ribbon: #16 (Ribbon: CC#16)

Slider: #18 (Value Slider: CC#18)

KnobM1: #17 (Knob Mod1: CC#17)

KnobM2: #19 (Knob Mod2: CC#19)

KnobM3: #20 (Knob Mod3: CC#20)

KnobM4: #21 (Knob Mod4: CC#21)

KnobM1 [+] (Knob Mod1: CC#17 [+])

KnobM2 [+] (Knob Mod2: CC#19 [+])

KnobM3 [+] (Knob Mod3: CC#20 [+])

KnobM4 [+] (Knob Mod4: CC#21 [+])

Damper: #64 (Damper: CC#64)

Prta.SW: #65 (Portamento Switch: CC#65)

Sostenu: #66 (Sosutenuto: CC#66)

SW 1: CC#80 (SW1 Mod.: CC#80)

SW 2: CC#81 (SW2 Mod.: CC#81)

Foot SW: #82 (Foot Switch: CC#82)

MIDI: CC#83

joystick +Y (Vertical upward) direction (CC#01)

joystick Y (Vertical downward) direction (CC#02)

assignable foot pedal (CC#04)

(ꢀ p.247)

MIDI effect control 1(CC#12)

MIDI effect control 2(CC#13)

ribbon controller (CC#16)

value slider (CC#18)

(ꢀ p.247)

(ꢀ p.248)

realtime control knob 1 in B-mode (knob modulation 1 CC#17)

realtime control knob 2 in B-mode (knob modulation 2 CC#19)

realtime control knob 3 in B-mode (knob modulation 3 CC#20)

realtime control knob 4 in B-mode (knob modulation 4 CC#21)

realtime control knob 1 in B-mode [+]

realtime control knob 2 in B-mode [+]

realtime control knob 3 in B-mode [+]

realtime control knob 4 in B-mode [+]

damper pedal (CC#64)

portamento switch (CC#65)

sostenuto pedal (CC#66)

assignable panel switch 1 (SW1 modulation CC#80)

assignable panel switch 2 (SW2 modulation CC#81)

assignable foot switch (CC#82)

(ꢀ p.248)

MIDI Control Change (CC#83)

Tempo

tempo (internal clock or external MIDI clock tempo data)

(ꢀ p.248)

Gate1, Gate1+Dmpr (Gate1+Damper)

Pedal: CC#04 (Foot Pedal: CC#04)

The effect is at maximum during note-on, and will stop

when all keys are released. With Gate1 + Dmpr, the effect

will remain at maximum even after the keys are released, as

long as the damper (sustain) pedal is pressed.

If you wish to use the assignable foot pedal as a dynamic

modulation source, set “Foot Pedal Assign” (Global P2: Con-

troller 2–1a) to Foot Pedal (CC#04). (ꢀ“Foot Pedal Assign.”)

A foot controller etc. connected to the ASSIGNABLE PEDAL

jack can be used to control an effect.

Gate1,Gate1+Dmpr

Dmpr

Note

Slider: #18 (Value Slider: CC#18)

Damper Pedal

When the “Program No.: name” or “Combination No.:

name” edit cell is selected in Program mode or Combination

mode, the [VALUE] slider will function as a controller corre-

sponding to CC#18.

Off

Gate1

Gate1+Dmpr

Time

KnobM1: #17 (Knob Mod1: CC#17)

KnobM2: #19 (Knob Mod2: CC#19)

KnobM3: #20 (Knob Mod3: CC#20)

KnobM4: #21 (Knob Mod4: CC#21)

Gate2, Gate2+Dmpr (Gate2+Damper)

This is essentially the same as for Gate 1 or Gate 1 + Dmpr.

However when Gate 2 or Gate 2 + Dmpr are used as a

dynamic modulation source for the EG of 022: St. Envelope

Flanger etc. or the AUTOFADE of 027: Stereo Vibrato, a trig-

ger will occur at each note-on. (In the case of Gate 1 and

Gate 1 + Dmpr, the trigger occurs only for the ﬁrst note-on.)

If you wish to use a REALTIME CONTROLS knob [1]–[4] as

a dynamic modulation source, make settings in Program,

Combination, Song, Song Play, or Sampling modes to set the

Controller page parameter “Realtime Control Knobs B-

Assign” to the following settings respectively: “Knob1-B” to

KnobMod1 (CC#17), “Knob2–B” to KnobMod2 (CC#19),

“Knob3–B” to KnobMod3 (CC#20), or “Knob4–B” to

KnobMod4 (CC#21). (ꢀ“Knob1...4-B Assign”)

When you set REALTIME CONTROLS to B-mode and oper-

ate knobs [1]–[4], the effect will be controlled.

Gate2,Gate2+Dmpr

Dmpr

Note

Damper Pedal

Off

Gate2

Gate2+Dmpr

Time

247

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Moving the knob to the 12 o’clock position will produce a

effect of 0 as the dynamic modulation source. If “Amt” is a

positive (+) value, rotating the knob toward the right will

produce a positive change in the effect, and rotating it

toward the left will produce a negative change. (With nega-

tive (–) values, the opposite effect will result.)

About the BPM/ MIDI SYNC function

BPM/ MIDI SYNC can be used for most effects that have an

LFO, such as 009:St. Wah/Auto Wah, and for some delay-

type effects such as 049: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 syn-

chronize to the tempo of the arpeggiator or sequencer dur-

ing a live performance even if you change the tempo.

KnobM1 [+] (Knob Mod1: CC#17 [+])

KnobM2 [+] (Knob Mod2: CC#19 [+])

KnobM3 [+] (Knob Mod3: CC#20 [+])

Parameters that allow BPM/ MIDI SYNC to be used are

KnobM4 [+] (Knob Mod4: CC#21 [+])

marked by a

eters for each effect.

symbol at their right in the list of param-

These differ from KnobMod1:CC#17–KnobMod4:CC#21 in

the knob position and direction of the effect. If “Amt” is set

to a positive (+) value, rotating the knob to the far right will

produce an effect of 0 as the dynamic modulation source.

Rotating the knob toward the right will apply an effect only

in the positive direction. (With negative (–) settings, the

opposite effect will result.)

Example 1. LFO

“BPM/ MIDI Sync” On

“Base Note“ ꢀ

“Times” x1

In this case, each cycle of the LFO will be as long as one

quarter note.

SW 1: CC#80 (SW1 Mod.: CC#80)

SW 2: CC#81 (SW2 Mod.: CC#81)

BPM/MIDI Sync: LFO

LFO

If you wish to use the [SW1] or [SW2] key as a dynamic

modulation source, make settings in Program, Song, Song

Play, or Sampling modes to set the Controller page parame-

ter “Panel Switch Assign” to the following values respec-

tively: “SW1” to SW1 Mod1 (CC#80), or “SW2” to SW2

Mod2 (CC#81) (ꢀ“SW1/ 2 Assign”).

If “BPM” is set to MIDI, the effect will synchronize to the

tempo of the arpeggiator or sequencer (or to an external

MIDI clock). If “BPM” is in the range of 40–240, the speciﬁed

value will be used.

The effect will be controlled when you operate the [SW1] or

[SW2] key.

Foot SW: #82 (Foot Switch: CC#82)

If you wish to use an assignable foot switch as a dynamic

modulation source, set “Foot Switch Assign” (Global P2:

Controller 2–1a) to Foot SW (CC#82) (ꢀ“Foot Switch

Assign”).

The effect will be controlled when you operate a foot switch

etc. connected to the ASSIGNABLE SWITCH jack.

Example 2. Delay Time

“L Delay Base Note” ꢃ

“Times” x1

“R Delay Base Note” ꢁ

“Times” x3

Tempo

In this case, the delay time of the left channel will be the

duration of an eighth note, and the delay time of the right

channel will be the duration of a sixteenth note triplet.

Modulation sources other than Tempo are internally pro-

cessed as a value of 0–127 (–128 – +127). In contrast, Tempo

uses the tempo data (BPM value) of the internal clock or the

external MIDI clock. This means that when “ꢀ ” is 127 (BPM),

it will have the same result as the maximum value (+127) of

other modulation sources.

BPM/MIDI Sync: Delay Time

Dry

Wet

Lch

Dry

Wet

Rch

When “BPM” is set to MIDI, the effect will synchronize to

the tempo of the arpeggiator or sequencer (or to an external

MIDI clock). If “BPM” is in the range of 40–240, the speciﬁed

value will be used.

If the tempo, “Base Note,” and “Times” settings in conjunc-

tion would cause the maximum delay time to be exceeded, a

warning such as “Time Over? >OVER!!” will appear in the

display. Please modify your settings so that this setting does

not appear. (The maximum delay time will depend on the

effect type.)

248

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SW1/ 2 Assign

The following functions can be assigned to the [SW1] or

[SW2] keys.

These settings can be made in Program mode for each

program, in Combination mode for each combination,

and in Sequencer mode for each song. In Song Play

mode and Sampling mode, these settings are made for

the entire mode.

Set the “Panel Switch Assign” parameters in each mode to

make these assignments.

•

Program P1: Controller page (1–4a).

For a combination, assignments are set by Combination

P4: Controller page (4–4a).

•

For songs in Sequencer mode, assignments are set by

Sequencer P4: Controller page (4–7a).

Song Play P2: Controller page (2–1a).

Sampling P4: Controller page (4–1a).

•

SW1, SW2 Assign List

Off

no function

SW1 Mod.:CC#80 (SW1 Modulation:CC#80)

SW2 Mod.:CC#81 (SW2 Modulation:CC#81)

Select this when using the switch as an Alternate Modulation or Effect Dynamic Modulation source.

In this case, you must ﬁrst specify the control destination. Each time the switch is turned On/Off, a

CC#80 (or CC#81) message will be transmitted (Off: 0, On: 127).

(ꢀ p.249)

Porta.SW:CC#65 (Portamento Switch:CC#65) When you press SW1 (or SW2) to turn it on (LED lit), portamento will be applied. Each time this is

turned On/Off, CC#65 will be transmitted (Off: 0, On: 127). (ꢀ p.249)

Octave Down

Octave Up

Each time you press SW1 (or SW2), the pitch will alternate between 1 octave lower and the original

octave setting (1 octave down when the LED is lit).

Each time you press SW1 (or SW2), the pitch will alternate between 1 octave higher and the origi-

nal octave setting (1 octave up when the LED is lit).

JS X Lock

Lock the effect of the joystick X direction.

(ꢀ p.249)

JS+Y Lock

Lock the effect of the joystick +Y direction.

JS-Y Lock

Lock the effect of the joystick -Y direction.

Ribbon Lock

Lock the effect of the ribbon controller.

JS X & Ribbon Lock

JS+Y & Ribbon Lock

JS-Y & Ribbon Lock

After Touch Lock

Simultaneously lock the effects of the joystick X direction and the ribbon controller.

Simultaneously lock the effects of the joystick +Y direction and the ribbon controller.

Simultaneously lock the effects of the joystick -Y direction and the ribbon controller.

Lock the effect of after touch.

SW1 Mod.:CC#80 (SW1 Modulation:CC#80)

SW2 Mod.:CC#81 (SW2 Modulation:CC#81)

JS X Lock, JS+Y Lock, JS-Y Lock, Ribbon Lock,

JS X &Ribbon Lock, JS+Y & Ribbon Lock,

This effect differs between SW1 and SW2. SW1 is handled as

CC#80, and SW2 is handled as CC#81.

JS-Y & Ribbon Lock, After Touch Lock

The state of the selected controller (joystick, ribbon control-

ler, after touch) will alternate between Lock and Unlock

(Lock when the LED is lit).

While the joystick or after touch is being operated, turning

Lock on will lock (ﬁx) the effect at the current position of

that controller. If Lock is turned on for the ribbon controller,

the effect at that time will be held even after you release

your ﬁnger from the ribbon controller. If Lock is off, releas-

ing your ﬁnger from the ribbon controller will reset the

effect to the center position.

Porta.SW:CC#65 (Portamento Switch:CC#65)

When Program P1: Edit-Basic “Oscillator Mode” (Program

P1: 1–1a) is Single, turning the switch on (LED lit) will

apply portamento regardless of the P2: Edit-Pitch “Enable”

(Program P2: 2–1c) setting, and turning the switch off will

not apply portamento.

If “Oscillator Mode” (1–1a) is Double, and if the P2: Edit-

Pitch “Enable” (2–1c) setting is the same for OSC1 and 2 (i.e.,

Enable or Disable for both OSC1 and 2), then portamento

will be applied to OSC1 and 2 when the switch is turned on

(LED lit), and portamento will not be applied to OSC1 and 2

when the switch is turned off (LED dark). If the P2: Edit-

Pitch “Enable” (Program P2: 2–1c) setting is different for

OSC1 and 2 (i.e., OSC1 is Enable and OSC2 is Disable, or

OSC1 is Disable and OSC2 is Enable), then portamento will

be applied to the OSC whose setting is Enable when the

switch is turned on (LED lit), and portamento will be

applied to neither OSC when the switch is turned off (LED

dark).

For example if you select JS (+Y) Lock, move the joystick

away from yourself, and then turn Lock on, the operation

produced by the joystick (+Y) will be locked (held) at that

position. Even if you return the joystick to its original posi-

tion, the modulation will continue to apply. At this time you

can even move the joystick in the –Y direction to apply both

types of modulation (joystick +Y and –Y) simultaneously.

When you Lock the joystick or after touch, MIDI trans-

mission of the corresponding controller will be halted,

but reception will still occur. ꢀBG p.26

249

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Knob 1...4 B-Assign

The following functions can be assigned to the REALTIME

CONTROLS [1]-[4] knobs in B-mode.

•

Song Play P2: Controller page (2–1b).

Sampling P4: Controller page (4–1b).

Set the “Realtime Control Knobs B-Assign” parameters in

each mode to make these assignments.

These settings can be made in Program mode for each

program, in Combination mode for each combination,

and in Sequencer mode for each song. In Song Play

mode and Sampling mode, these settings are made for

the entire mode.

•

Program P1: Controller page (1–4b).

Combination P4: Controller page (4–4b).

Sequencer P4: Controller page (4–7b).

Realtime Control Knobs B–Assign List

Off

No function

Knob Mod. 1 (CC#17)

General purpose controller. Alternate Modulation or Effect Dynamic Modulation can be controlled. To use this,

select KnobMod1:#17 for “AMS,” or KnobM1:#17 for “Dmod Src.” Simultaneously, CC#17 will be transmitted.

Knob Mod. 2 (CC#19)

Knob Mod. 3 (CC#20)

Knob Mod. 4 (CC#21)

Master Volume

General purpose controller. Alternate Modulation or Effect Dynamic Modulation can be controlled. To use this,

select KnobMod2:#19 for “AMS,” or KnobM2:#19 for “Dmod Src.” Simultaneously, CC#19 will be transmitted.

General purpose controller. Alternate Modulation or Effect Dynamic Modulation can be controlled. To use this,

select KnobMod3:#20 for “AMS,” or KnobM3:#20 for “Dmod Src.” Simultaneously, CC#20 will be transmitted.

General purpose controller. Alternate Modulation or Effect Dynamic Modulation can be controlled. To use this,

select KnobMod4:#21 for “AMS,” or KnobM4:#21 for “Dmod Src.” Simultaneously, CC#21 will be transmitted.

Control the volume. Simultaneously, the universal system exclusive message Master Volume [F0H, 7FH, nn, 04,

01, vv, mm, F7H] will be transmitted to adjust the volume of all tracks or timbres (while preserving the volume bal-

ance between tracks or timbres).

Portamento Time (CC#05)

Volume (CC#07)

Control the portamento time. Simultaneously, CC#5 will be transmitted.

Control the volume. Simultaneously, CC#7 will be transmitted.

Post IFX Pan (CC#08)

Pan (CC#10)

Control the panning after the insertion effect. Simultaneously, CC#8 will be transmitted.

Control the oscillator panning. Simultaneously, CC#10 will be transmitted.

Control the expression. Simultaneously, CC#11 will be transmitted.

Expression (CC#11)

FX Control 1 (CC#12)

Control Effect Dynamic Modulation. When controlling this, set “Dmod Src” to FXCtrl1:#12. Simultaneously, CC#12

will be transmitted.

FX Control 2 (CC#13)

Control Effect Dynamic Modulation. When controlling this, set “Dmod Src” to FXCtrl2:#13. Simultaneously, CC#13

will be transmitted.

LFP Cutoff (CC#74)

Control the cutoff frequency of the ﬁlter (low pass ﬁlter). Simultaneously, CC#74 will be transmitted.

Resonance/HPF (CC#71)

Control the resonance of the ﬁlter, or the cutoff frequency of the high pass ﬁlter. If the program’s “Filter Type” is

Low Pass Resonance, the resonance level will be controlled. If it is Low Pass & High Pass, the cutoff frequency

of the high pass ﬁlter will be controlled. Simultaneously, CC#71 will be transmitted.

Filter EG Int. (CC#79)

F/A Attack (CC#73)

Control the EG intensity of the ﬁlter. Simultaneously, CC#79 will be transmitted.

Control the EG attack of the ﬁlter and ampliﬁer. Simultaneously, CC#73 will be transmitted.

Control the EG decay time and slope time of the ﬁlter and ampliﬁer. Simultaneously, CC#75 will be transmitted.

Control the EG sustain level of the ﬁlter and ampliﬁer. Simultaneously, CC#70 will be transmitted.

Control the EG release time of the ﬁlter and ampliﬁer. Simultaneously, CC#72 will be transmitted.

Control the frequency of LFO1. Simultaneously, CC#76 will be transmitted.

F/A Decay (CC#75)

F/A Sustain (CC#70)

F/A Release (CC#72)

Pitch LFO1 Spd (CC#76)

Pitch LFO1 Dep (CC#77)

Pitch LFO1 Dly (CC#78)

SW 1 Mod. (CC#80)

Control the LFO1 intensity of the pitch. Simultaneously, CC#77 will be transmitted.

Control the delay of LFO1. Simultaneously, CC#78 will be transmitted.

General-purpose controller. Alternate Modulation or Effect Dynamic Modulation can be controlled. To control

these, set “AMS” or “Dmod Src” to SW1:CC#80. Simultaneously, CC#80 will be transmitted.

SW 2 Mod. (CC#81)

Foot Switch (CC#82)

MIDI CC#83 (CC#83)

General-purpose controller. Alternate Modulation or Effect Dynamic Modulation can be controlled. To control

these, set “AMS” or “Dmod Src” to SW2:CC#81. Simultaneously, CC#81 will be transmitted.

General-purpose controller. Alternate Modulation or Effect Dynamic Modulation can be controlled. To control

these, set “AMS” or “Dmod Src” to FootSW:#82. Simultaneously, CC#82 will be transmitted.

General-purpose controller. Alternate Modulation or Effect Dynamic Modulation can be controlled. To control

these, set “AMS” or “Dmod Src” to MIDI:CC#83. Simultaneously, CC#83 will be transmitted.

MFX Send 1 (CC#93)

MFX Send 2 (CC#91)

MIDI CC#00...CC#95

Control the send level to Master Effect1. Simultaneously, CC#93 will be transmitted.

Control the send level to Master Effect2. Simultaneously, CC#91 will be transmitted.

The speciﬁed MIDI control change (CC#) will be transmitted. If the TRITON STUDIO is set so as to be controlled

by the control change message, the corresponding control will occur.

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The A-mode functions of the REALTIME CONTROLS

are ﬁxed.

Foot Switch Assign

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.

You can assign the function of an assignable switch (Korg

PS-1 option) connected to the ASSIGNABLE SWITCH jack.

•

This setting is made in Global P2: Controller “Foot

Switch Assign” (2–1a).

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. If “Filter

Type” is Low Pass & High Pass, the cutoff frequency of the

high pass ﬁlter will be controlled. Simultaneously, CC#71

will be transmitted.

If you select a function that includes a CC#, that MIDI

control change message will be transmitted each time

the switch is turned on/ off. (Off: 0, On: 127)

If you select Knob1...4, SW1, or 2, the MIDI control

change message speciﬁed by the Knob1...4 B-Assign

and SW1/ 2 Assign settings will be transmitted each

time the foot switch is turned on or off. (Off: 0, On: 127)

Knob3-A: EG-Intensity (Filter EG Intensity: CC#79)

Control the ﬁlter EG intensity. Simultaneously, CC#79 will

be transmitted.

Portamento SW (CC#65)

When the “Oscillator Mode” (Program P1: 1–1a) is Single,

turning the switch on will apply portamento regardless of

the P2: Edit-Pitch “Enable” (Program P2: 2–1c) setting, and

turning the switch off will not apply portamento.

If “Oscillator Mode” is Double, and if the P2: Edit-Pitch

“Enable” setting is the same for OSC1 and 2 (i.e., Enable or

Disable for both OSC1 and 2), then portamento will be

applied to OSC1 and 2 when the switch is turned on, and

portamento will not be applied to OSC1 and 2 when the

switch is turned off.

Knob4-A: EG-Release (Filter, Ampliﬁer EG Release: CC#72)

Control the release time of the ﬁlter and ampliﬁer EG.

Simultaneously, CC#72 will be transmitted.

If the P2: Edit-Pitch “Enable” setting is different for OSC1

and 2 (i.e., OSC1 is Enable and OSC2 is Disable, or OSC1 is

Disable and OSC2 is Enable), then portamento will be

applied to the OSC whose setting is Enable when the switch

is turned on, and portamento will be applied to neither OSC

when the switch is turned off.

Foot Switch Assign List

Off

The connected foot switch will not function.

Foot SW (CC#82)

Alternate Modulation or Effect Dynamic Modulation can be controlled. To control these, set “AMS” or “Dmod Src” to Foot

SW:#82.

Portamento SW (CC#65) Control portamento on/off.

Sostenuto (CC#66)

Control the sostenuto effect (which holds only the keys (Note No.) that were being held at the moment that the pedal

switch was turned on).

Soft (CC#67)

Arpeggio SW

Turn the soft pedal effect on/off.

Turn the arpeggiator on/off. The NRPN message [Bn 63 00 Bn 62 02 Bn 06 00 (off) or 7F (on)] will be transmitted each

time this is turned on/off.

Program Up

The switch can be used to select programs or combinations. When in Program P0: Play, the program that follows the cur-

rently selected program will be selected. When in Combination P0: Play, the combination that follows the currently

selected combination will be selected. Simultaneously, a Bank Select message and Program Change message will be

transmitted.

Program Down

The switch can be used to select programs or combinations. When in Program P0: Play, the program that precedes the

currently selected program will be selected. When in Combination P0: Play, the combination that precedes the currently

selected combination will be selected. Simultaneously, a Bank Select message and Program Change message will be

transmitted.

Song Start/Stop

The switch can be used to start/stop the sequencer. Simultaneously, a MIDI Start or Stop message will be transmitted.

Song Punch In/Out

If Sequencer P0: Preference “Recording Setup” (0–7a) is set to Manual Punch In, the switch can be used to punch-in

and punch-out when recording on the sequencer.

Cue Repeat Control

This can be used if in Sequencer P1: Cue List, the “Repeat” (1–1d) setting of each step has been set to FS. Turning the

pedal switch on while that step is repeating will be the trigger for advancing to the next step. When the end of the song is

reached, this will advance to the next step (song).

JS+Y (CC#01)

JS–Y (CC#02)

Ribbon (CC#16)

Slider (CC#18)

Knob 1...4

The switch will control the effect produced by joystick movement in the +Y direction (Vertical upward).

The switch will control the effect produced by joystick movement in the –Y direction (Vertical downward).

The switch will control the effect of the ribbon controller.

The switch will control the effect of the [VALUE] slider.

The switch will control the effect of REALTIME CONTROLS knobs [1]–[4]. (On produces the same effect as when the

knob is rotated fully right, and Off as when it is rotated fully left.)

SW1, 2

The switch will control the effect of the [SW1] and [SW2] keys.

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Foot Pedal Assign

You can assign the function that will be controlled by an

assignable pedal (Korg XVP-10 or EXP-2 option) connected

to the ASSIGNABLE PEDAL jack.

•

This setting is made in Global P2: Controller “Foot Pedal

Assign” (2–1a).

If you select a function that includes a CC#, that MIDI

control change message will be transmitted each time

the switch is turned on/ off. (Off: 0, On: 127)

If you select Knob1...4, the MIDI control

change message speciﬁed by the Knob1...4 B-Assign

settings will be transmitted each

time the foot switch is turned on or off. (Off: 0, On: 127)

Foot Pedal Assign List

Off

The connected pedal will not function.

Master Volume

Control the volume. Simultaneously, the universal exclusive message Master Volume [F0H, 7FH, nn, 04, 01, vv, mm,

F7H] will be transmitted to control the volume of all timbres or tracks (while preserving the volume balance between tim-

bres or tracks).

Foot Pedal (CC#04)

Alternate Modulation or Effect Dynamic Modulation can be controlled. To control these, set “AMS” or “Dmod Src” to

Pedal:CC#04.

Portamento Time

(CC#05)

Control the speed at which portamento will change the pitch.

Volume (CC#07)

Post IFX Pan (CC#08)

Pan (CC#10)

Control the volume of a Program, of a timbre in a Combination, or of a track in Sequencer/Song Play modes.

Control the pan after passing through the insertion effect.

Control the pan of a Program, of a timbre in a Combination, or of a track in Sequencer/Song Play modes.

Expression (CC#11)

Control the volume of a Program, of a timbre in a Combination, or of a track in Sequencer/Song Play modes. Expression

is multiplied with the Volume value to determine the actual volume level.

FX Control 1 (CC#12)

FX Control 2 (CC#13)

MFX Send 1 (CC#93)

Control Effect Dynamic Modulation. To control this, set Dmod Src to FXCtrl1:#12.

Control Effect Dynamic Modulation. To control this, set Dmod Src to FXCtrl2:#13.

Control the send level to master effect 1 (MFX1) from a Program, a timbre in a Combination, or a track in Sequencer/

Song Play modes. Simultaneously, this will also control the send level to master effect 1 (MFX1) from after the insertion

effect of the matching MIDI channel.

MFX Send 2 (CC#91)

Control the send level to master effect 2 (MFX2) from a Program, a timbre in a Combination, or a track in Sequencer/

Song Play modes. Simultaneously, this will also control the send level to master effect 2 (MFX2) from after the insertion

effect of the matching MIDI channel.

JS+Y (CC#01)

JS–Y (CC#02)

Ribbon (CC#16)

Slider (CC#18)

Knob 1...4

Pedal operation will control the effect produced by joystick movement in the +Y direction (Vertical upward).

Pedal operation will control the effect produced by joystick movement in the –Y direction (Vertical downward).

Pedal operation will control the effect of the ribbon controller.

Pedal operation will control the effect of the [VALUE] slider.

Pedal operation will control the effect of REALTIME CONTROLS knobs [1]–[4].

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When one of the TRITON STUDIO’s controllers is operated,

the corresponding or the assigned control change will be

transmitted. Pitch Bend messages will be transmitted only

when the joystick is moved in the X (horizontal) direction.

When Knob1...4 or SW1, 2 are selected for Assignable Switch

or Assignable Pedal, the corresponding MIDI control change

message will be transmitted according to the Knob1...4 B-

Assign and SW1/ 2 Assign settings of each mode.

The following page describes operation in each mode. (Only

control changes are explained here, but the same applies to

pitch bend.)

MIDI transmission when the

TRITON STUDIO’s controllers are

operated

The following table shows the relation between the MIDI

messages that are transmitted when the TRITON STUDIO’s

controllers are operated, and the AMS (alternate modulation

source) or DMS (dynamic modulation source) that corre-

spond to each MIDI message. # indicates a ﬁxed function,

and * indicates an assignable function.

TRITON STUDIO controller

Available Available

for AMS

for

DMOD

Joy Stick Ribbon

Value

Slider

Realtime Realtime

Controls Controls

Gate

Knob

Velocity

Knob

SW1,2

ARP On/ Damper

Off

Assign-

able

Assign-

able

Switch

Pedal

MIDI channel messages

Note-off

Note-on (note number)

Note-on (velocity)

Poly after touch

Bank select (MSB)

Modulation 1

Modulation 2

–

Foot controller

Portamento time

Data entry (MSB)

Volume

Post insertion effect panpot

–

10 Panpot

11 Expression

12 Effect control 1

13 Effect control 2

CC#

# (+Y)

# (–Y)

14...15

16 Ribbon controller

17 Knob modulation 1

18 Controller (CC#18)

19 Knob modulation 2

20 Knob modulation 3

21 Knob modulation 4

22...31

–

32 Bank select (LSB)

–

38 Data entry (LSB)

–

33...37

39...63

64 Damper

65 Portamento On/Off

66 Sostenuto On/Off

67 Soft

68...69

–

70 Sustain level

71 Filter resonance level/High pass

ﬁlter cutoff frequency

72 Release time

73 Attack time

74 Low pass ﬁlter cutoff frequency

75 Decay time

76 LFO1 speed

77 LFO1 depth (pitch)

78 LFO1 delay

79 Filter EG intensity

80 SW1 modulation On/Off

81 SW2 modulation On/Off

82 Foot switch On/Off

83 Controller (CC#83)

* (Knob2)

* (Knob4)

* (Knob1)

* (Knob3)

* (SW1)

* (SW2)

84...90

91 Effect depth 1 (send 2 level)

92 Effect depth 2 (insertion effect

1,2,3,4,5 On/Off)

93 Effect depth 3 (send 1 level)

94 Effect depth 4 (master effect 1

On/Off)

95 Effect depth 5 (master effect 2

On/Off)

96 Data increment

97 Data decrement

98 NRPN(LSB)

2: Arpeggiator on/off switch

10: Arpeggiator gate control

11: Arpeggiator velocity control

99 NRPN(MSB) 0

100 RPN(LSB)

0: Bend range

1: Fine tune

2: Coarse tune

101 RPN(MSB) 0

102...127

Program change

Channel after touch

Bender change

Universal exclusive

Master volume

Master balance

Master ﬁne tune

Master coarse tune

# (X)

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Program mode

Effect dynamic modulation can be controlled when the “Ctrl

Ch” (Sequencer P8: 8–4a, P9: 9–2a, 9–4a) setting for IFX1–5,

MFX1, 2, or MEQ matches the MIDI channel of the track

selected by “Track Select.” (In the case of All Routed, control

is possible on the MIDI channel of all routed tracks.)

When one of the TRITON STUDIO’s controllers is operated,

a control change message will be transmitted on the global

MIDI channel (“MIDI Channel” Global P1: 1–1a).

If the B-mode of a REALTIME CONTROLS [1]–[4] knob

or the assignable pedal has been set to Master Volume,

the universal system exclusive message Master Volume

will be transmitted.

If one of the TRITON STUDIO’s controllers is operated dur-

ing realtime recording, the corresponding or assigned con-

trol change will be recorded.

Song Play mode

Combination mode

When one of the TRITON STUDIO’s controllers is operated,

the effect will apply to the track 1–16 that is selected by

“Play (Track Select)” (Song Play P0: 0–1g).

When one of the TRITON STUDIO’s controllers is operated,

a control change message will be transmitted on the global

MIDI channel (“MIDI Channel” Global P1: 1–1a).

Simultaneously, the message will also be transmitted on the

MIDI channel (“MIDI Channel” Combination P2: 2–1a) of

any timbre whose “Status” (Combination P0: 0–1f, P2: 2–1a)

is EXT or EX2.

When one of the TRITON STUDIO’s controllers is operated,

its effect will apply to any timbre whose “Status” is INT and

whose “MIDI Channel” setting is either Gch or the same as

the global MIDI channel.

If the “Status” (Song Play P1: 1–1a, 1–2a) of the track

selected by “Play (Track Select)” is either EXT or BTH, con-

trol change messages will be transmitted on the MIDI chan-

nel of the track (or in the case of Song Play mode, on MIDI

channels 1–16 for tracks 1–16).

If the “Status” is INT or BTH, operating one of the TRITON

STUDIO’s controllers will affect that track.

In the case of Master Volume, the universal exclusive

message Master Volume will be transmitted only on the

global MIDI channel.

message Master Volume will be transmitted.

Effect dynamic modulation can be controlled when the “Ctrl

Ch” (Song Play P8: 8–4a, P9: 9–2a, 9–4a) setting for IFX1–5,

MFX1, 2, or MEQ matches the MIDI channel of the track

selected by “Track Select.” (In the case of All Routed, control

is possible on the MIDI channel of all routed tracks.)

You can make settings for MIDI Filter (Combination P3)

to enable or disable control changes and controllers for

each timbre. When checked, the above operations will

be enabled.

Sampling mode

When one of the TRITON STUDIO’s controllers is operated,

a control change message will be transmitted on the global

MIDI channel (“MIDI Channel” Global P1: 1–1a).

Effect dynamic modulation can be controlled when the “Ctrl

Ch” (Combination P8: 8–3a, P9: 9–2a, 9–4a) setting for IFX1–

5, MFX1, 2, or MEQ is either set to Gch or to the same chan-

nel as the global MIDI channel. (In the case of All Routed,

control is possible on the MIDI channel of any routed tim-

bre.)

In the case of Master Volume, the universal exclusive

message Master Volume will be transmitted.

It is not possible to make AMS settings in Sampling

mode.

Sequencer mode

When one of the TRITON STUDIO’s controllers is operated,

its effect will apply to the track 1–16 that is selected by

“Track Select” (Sequencer P0: 0–1e).

If the “Status” (Sequencer P2: 2–1a/ 2–2a) 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” (Sequencer P2: 2–1a/ 2a).

If the “Status” is INT or BTH, operating one of the TRITON

STUDIO’s controllers will affect only that track. Simulta-

neously, the same effect will also apply to any track with the

same “MIDI Channel” setting.

In the case of Master Volume, the universal exclusive

message Master Volume will be transmitted.

You can make settings for MIDI Filter (Sequencer P3) to

enable or disable control changes and controllers for

each track. When checked, the operations effective for a

“Status” of INT or BTH will be enabled. Tracks whose

“Status” is EXT, EX2, or BTH will transmit control

changes regardless of this setting.

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The following table shows the operations that the TRITON

STUDIO will perform when control change messages are

received, and the relation between settings and controller

movements on the TRITON STUDIO

TRITON STUDIO operations

when control changes are trans-

mitted/ received

CC# Control

Value

Function

Bank select (MSB)

0...127

bank select message MSB

Modulation 1

corresponds to joystick movement in the +Y direction (Vertical upward)

Modulation 2

corresponds to joystick movement in the –Y direction (Vertical downward)

Foot controller

Portamento time

Data entry (MSB)

Volume

corresponds to when the assignable pedal function is set to Foot Pedal

portamento time

MSB of RPN and NRPN data

volume

Post insertion effect panpot

Panpot

pan after the insertion effect

pan

Expression

volume

Effect control 1

Effect control 2

Ribbon controller

Knob modulation 1

corresponds to effect dynamic control source FXCtrl1

corresponds to effect dynamic control source FXCtrl2

corresponds to ribbon controller operation

corresponds to when Knob Mod.1 is assigned as the B-mode function of a

REALTIME CONTROLS knob

Controller (CC#18)

Knob modulation 2

0...127

for control of Alternate Modulation or Effect Dynamic Modulation

corresponds to when Knob Mod.2 is assigned as the B-mode function of a

REALTIME CONTROLS knob

Knob modulation 3

Knob modulation 4

0...127

corresponds to when Knob Mod.3 is assigned as the B-mode function of a

REALTIME CONTROLS knob

corresponds to when Knob Mod.4 is assigned as the B-mode function of a

REALTIME CONTROLS knob

Bank select (LSB)

Data entry (LSB)

Damper

0...127

LSB of bank select message

LSB of RPN or NRPN data

damper effect

Portamento On/Off

Sostenuto On/Off

Soft

0...63(Off), 64...127(On) turn the portamento effect on/off

0...63(Off), 64...127(On) turn the sostenuto effect on/off

0...127

soft pedal effect

Sustain level

sustain levels of the ﬁlter EG and amp EG

Filter resonance level

High pass ﬁlter cutoff frequency

0...127

resonance level of the ﬁlter

cutoff frequency of the high pass ﬁlter

Release time

0...127

release times of the ﬁlter EG and amp EG

attack times of the ﬁlter EG and amp EG

cutoff frequency of the low pass ﬁlter

decay times/slope times of the ﬁlter EG and amp EG

LFO1 speed

Attack time

Low pass ﬁlter cutoff frequency

Decay time

LFO1 speed

LFO1 depth

pitch LFO1 intensity

LFO1 delay

Filter EG intensity

Panel switch 1 On/Off

Panel switch 2 On/Off

Foot switch On/Off

ﬁlter EG intensity

0...63(Off), 64...127(On) corresponds to on/off when the SW1 function is set to SW1 Mod.

0...63(Off), 64...127(On) corresponds to on/off when the SW2 function is set to SW2 Mod.

0...63(Off), 64...127(On) corresponds to on/off when the function of the assignable foot switch is set to

Foot SW

Controller (CC#83)

Effect 1 depth

Effect 2 depth

Effect 3 depth

Effect 4 depth

Effect 5 depth

Data increment

Data decrement

NRPN(LSB)

0...127

for controlling Alternate Modulation or Effect Dynamic Modulation

0...127

send 2 level

0(Off), 1...127(On)

turn insertion effect 1, 2, 3, 4, 5 on/off

send 1 level

0...127

0(Off), 1...127(On)

master effect 1 on/off

master effect 2 on/off

0(Off), 1...127(On)

corresponds to the arpeggiator on/off switch

corresponds to the arpeggiator Gate control knob

corresponds to the arpeggiator Velocity control knob

NRPN(MSB)

MSB of NRPN

100 RPN(LSB)

select the pitch bend range

select Fine Tune

select Coarse Tune

MSB of RPN

101 RPN(MSB)

Any control change number (CC#00–95) can be

assigned as the B-mode function of a REALTIME CON-

TROLS knob. In this case, the transmitted values will all

be 0–127.

255

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*1On the TRITON STUDIO’s sequencer, bank select mes-

sages are normally speciﬁed as a program change event

(“Event Edit” Sequencer P5: 5–1B). 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.

*5If the ﬁlter type of the corresponding program is Low

Pass Resonance, the ﬁlter resonance level will be con-

trolled. If the ﬁlter type is Low Pass & High Pass, the cut-

off frequency of the high pass ﬁlter will be controlled.

*4, *5

CC#70–79 correspond to the following program parame-

For information on the relation between bank select num-

bers and the banks of your external device, refer to the

owner’s manual for your external device.

ters of the TRITON STUDIO.

In Program mode, when CC#70–79 is received on the glo-

bal MIDI channel (“MIDI Channel” Global P1: 1–1a), or

when a REALTIME CONTROLS [1]–[4] knob is operated

in A-mode or in B-mode when the function is assigned to

CC#70–79, the corresponding program parameter will be

edited temporarily. You can execute “Write Program”

(Program 0–1A) to save that state (except for some

parameters). When you execute “Write Program,” the

values of the corresponding program parameters will be

rewritten.

*2Unlike conventional control changes, pitch bend range,

ﬁne tune, and coarse tune settings are made using RPC

(Registered Parameter Control) messages. In Program,

Combination, Sequencer, and Song Play modes, you can

use RPC messages to control the bend range and tuning

for each program, combination (Combination), or track

(Sequencer, Song Play). The procedure is to use an RPN

(Registered Parameter Number) message to select the

parameter that you wish to edit, and then use Data Entry

to input a value for that parameter. To select the parame-

ter, use CC#100 (with a value of 00–02) and CC#101 (with

a value of 00). use CC#06 and CC#38 to enter the data.

In Sampling mode when playing the currently selected

multisample on the keyboard, the same control changes

or knob operations as in Program mode will temporarily

edit the corresponding program parameters. You can use

“Convert MS to Program” (Sampling 0–1G) to save that

state as a program (except for some parameters).

The data entry values for each parameter and the corre-

sponding settings are as follows.

RPN=0 (Pitch bend range)

In Combination, Sequencer, and Song Play modes, the

program parameters of the program for the timbre/

track of the corresponding MIDI channel will change,

but this state can not be saved directly in the program.

CC#06 CC#38 Parameter value (Semitone steps)

+ 1

+12

CC#70: Sustain level

Corresponds to “Filter/ Amp EG Sustain Level” (Pro-

gram P3: Filter 1/ 2 EG, P4: Amp 1/ 2 EG page).

RPN=1 (Fine tune)

CC#06 CC#38

Parameter value (1 cent steps)

CC#71: Filter resonance level/ High pass ﬁlter cutoff

frequency

–50

Corresponds to “Filter A Resonance” (Program P3: Filter

1/ 2 page).

Corresponds to “Filter B Frequency” (Program P3: Filter

1/ 2 page).

–25

+50

CC#72: Release time

Corresponds to “Filter/ Amp EG Release Time” (Program

P3: Filter 1/ 2 EG page, P4: Amp 1/ 2 EG page).

RPN=2 (Coarse tune)

CC#06 CC#38 Parameter value (Semitone steps)

–24

–12

CC#73: Attack time

Corresponds to Filter/ Amp EG Attack Time” (Program

P3: Filter 1/ 2 EG page, P4: Amp 1/ 2 EG page)

Corresponds to “Amp EG Start Level” (Program P4:

Amp 1/ 2 EG page).

+24

Corresponds to “Amp EG Attack Level” (Program P4:

Amp 1/ 2 EG page).

Corresponds to “Amp EG Level Modulation St” (Pro-

gram P4: Amp 1/ 2 EG page).

Corresponds to “Amp EG Time Modulation At” (Pro-

gram P4: Amp 1/ 2 EG page).

For example, if in Sequencer mode you wish to set a track

that is receiving channel 1 to a transpose (coarse tuning)

value of –12, you would ﬁrst transmit [B0, 64, 02]

(64H=CC#100) and [B0, 65, 00] (65H=CC#101) to the TRI-

TON STUDIO to select the RPN coarse tune. Then you

would set this to –12 by transmitting [B0, 06, 34]

(06H=CC#6), 34H=52 (corresponds to –12), and [B0, 26,

00] (26H=CC#38, 00H=0).

CC#74: Low pass ﬁlter cutoff frequency

Corresponds to “Filter A Frequency” (Program P3: Filter

1/ 2 page).

*3The volume of the TRITON STUDIO is determined by

multiplying the Volume (CC#07) with the Expression

(CC#11). In Sequencer and Song Play modes when you

stop the song playback and return the location to the

beginning of the track, the Volume will be set to the start-

ing value, and the Expression will be set to the maximum

value (127).

Corresponds to “Filter B Frequency” (Program P3: Filter

1/ 2 page).

CC#75: Decay time

Corresponds to “Filter/ Amp EG Decay Time” (Program

P3: Filter 1/ 2 EG page, P4: Amp 1/ 2 EG page)

Corresponds to “Filter/ Amp EG Slope Time” (Program

P3: Filter 1/ 2 EG page, P4: Amp 1/ 2 EG page)

*4A value of 64 will correspond to the value speciﬁed by the

program parameter. 0 will be the minimum, and 127 will

be the maximum. Changing from 63–1 or from 65–126 will

adjust the effect from the program parameter setting

toward the minimum value or maximum value. The inter-

CC#76: LFO1 speed

Corresponds to “LFO 1 Frequency” (Program P5: OSC1/

2 LFO1 page).

nal program parameters listed in (*4, *5) will be controlled

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CC#77: LFO1 depth (pitch LFO1 intensity)

Corresponds to “Pitch LFO1 Intensity” (Program P2:

OSC1/ 2 P.Mod page).

CC#78: LFO1 delay

Corresponds to “LFO1 Delay” (Program P5: OSC1/ 2

LFO1 page).

CC#79: Filter EG intensity

Corresponds to “Filter EG Intensity to A, B” (Program P3:

Filter 1/ 2 Mod. page).

Different parameters are controlled for the bank I-F pro-

grams that are available when the EXB-MOSS option is

installed. (ꢀEXB-MOSS owner’s manual)

*6Controlled on the global MIDI channel.

*7NRPN (Non Registered Parameter Number) and Data

Entry can be used to control the following parameters.

Arpeggiator on/ off

[Bn 63 00 Bn 62 02 Bn 06 nn] (nn:00–3F off, 40–7F on)

Arpeggiator gate control

[Bn 63 00 Bn 62 0A Bn 06 nn] (nn:00–7F)

Arpeggiator velocity control

[Bn 63 00 Bn 62 0B Bn 06 nn] (nn:00–7F)

*8Corresponds to the operation of the [VALUE] slider as a

controller in Program P0: “Program Select” or Combina-

tion P0: “Combination Select” is selected.

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Controlling two or more external MIDI tone

generators from the TRITON STUDIO

MIDI applications

You can use the MIDI THRU jack to simultaneously control

multiple MIDI devices. (This type of connection should be

used to connect no more than three devices. If you wish to

connect a larger number of MIDI devices, we recommend

that you use a MIDI patch bay as shown in the second dia-

gram below.)

I About MIDI

MIDI stands for Musical Instrument Digital Interface, and is

a world-wide standard for exchanging various types of

musical data between electronic musical instruments and

computers. 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.

MIDI IN

MIDI tone generator

MIDI THRU

I Connecting MIDI devices/ computers

MIDI IN

MIDI OUT

MIDI keyboard

TRITON STUDIO

(MIDI connectors)

If the EXB-mLAN option is installed, the mLAN con-

nector of the TRITON STUDIO can be connected to an

external mLAN-compatible MIDI device or FireWire-

capable Macintosh to receive and transmit MIDI. For

details on connections, refer to the “EXB-mLAN

owner’s manual” included with the EXB-mLAN

option.

You can also use a MIDI patch bay to control multiple MIDI

devices.

TRITON STUDIO

MIDI OUT

When exchanging MIDI dumps with a computer via

the EXB-mLAN option, it is not currently possible for

an OMS-compatible application to store or play back

TRITON STUDIO dump data (the same applies to the

TRITON-Rack).

MIDI IN

MIDI OUT

MIDI IN

MIDI patch bay

MIDI keyboard

MIDI IN

Controlling an external MIDI tone genera-

tor from the TRITON STUDIO

MIDI tone generator

When you wish to use the TRITON STUDIO’s keyboard,

controllers, and sequencer etc. to play an external MIDI tone

generator, use a MIDI cable to connect the TRITON STU-

DIO’s MIDI OUT connector to the MIDI IN connector of the

external MIDI tone generator.

The “Convert Position” setting

On the TRITON STUDIO, “Key Transpose,” “Velocity

Curve” and “After Touch Curve” (Global P0: 0–1a) allow

you to transpose the pitch, adjust the velocity sensitivity,

and adjust the after touch sensitivity.

The effect that these settings will have on the internal

sequencer and on the MIDI data that is transmitted and

received will depend on “Convert Position” (Global P1: 1–

1a) setting.

MIDI IN

MIDI tone generator

MIDI OUT

TRITON STUDIO

•

If you want to control an external MIDI tone generator

from the TRITON STUDIO, set “Convert Position” to

PreMIDI. The various settings listed above will be

reflected in the MIDI data that is transmitted. These

settings will also be reflected in the data that is recorded

on the internal sequencer.

Controlling the TRITON STUDIO’s tone gen-

erator from an external MIDI device

When you wish to play or control the TRITON STUDIO’s

tone generator from an external MIDI keyboard or

sequencer etc., use a MIDI cable to connect the MIDI OUT

connector of the external MIDI device to the MIDI IN con-

nector of the TRITON STUDIO.

Incoming MIDI data will be handled with settings equiv-

alent to “Key Transpose” 0, “Velocity Curve” 4, and

“After Touch Curve” 3.

When controlling the TRITON STUDIO’s tone generator

from an external MIDI device, select PostMIDI. The

above-listed settings will affect the MIDI data that is

received. These settings will also affect the data that is

played back from the internal sequencer.

•

MIDI OUT

MIDI IN

MIDI keyboard

Outgoing MIDI data will be handled with settings equiv-

alent to “Key Transpose” 0, “Velocity Curve” 4, and

“After Touch Curve” 3.

TRITON STUDIO

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Connecting an external MIDI sequencer or

computer etc.

I Messages transmitted and received

by the TRITON STUDIO

You can play the TRITON STUDIO’s keyboard and record

your performance on an external MIDI sequencer/ computer

(connected via a MIDI interface), and then play back the

recorded performance to sound the TRITON STUDIO’s tone

generator (i.e., using the TRITON STUDIO as an input key-

board and MIDI tone generator). To do this, connect the

MIDI OUT and MIDI IN connectors of the TRITON STUDIO

and your external MIDI sequencer/ computer to each other.

[...] indicates hexadecimal notation

MIDI channels

MIDI messages can be exchanged when the transmitting

and receiving devices are set to the same MIDI channel.

MIDI uses sixteen channels, numbered 1–16. The way in

which channels are handled will differ depending on the

mode.

Some USB-MIDI interface devices may not be able to

transmit/ receive the TRITON STUDIO’s MIDI exclu-

sive messages.

Program mode and Sampling mode

•

Transmission/ reception is performed on the global

MIDI channel*.

computer

MIDI OUT

MIDI interface

* The global MIDI channel is the basic channel that the

TRITON STUDIO uses for MIDI transmission/ reception,

and is set by “MIDI Channel” (Global P1: 1–1a).

MIDI OUT

MIDI IN

Combination mode

TRITON

STUDIO

•

The global MIDI channel is used to transmit/ receive

messages for selecting a combination and turning effects

on/ off, and to transmit/ receive exclusive data.

Each timbre will transmit/ receive MIDI data on the

“MIDI Channel” (Combination P2: 2–1b) that is specified

for that timbre.

The “Ctrl Ch” MIDI channel specified for each effect

(“Combination P8: 8–3a, P9: 9–2a, 9–4a) is used to

control dynamic modulation of the insert/ master effects,

the pan following the insert effect, and send 1 and 2.

When you operate the keyboard or controllers of the

TRITON STUDIO, messages will be transmitted on the

global MIDI channel, and will also be transmitted on the

MIDI channel of any timbre whose “Status”

Local Control On settings

When connections are made as shown above, turn on the

Echo Back function of the external MIDI sequencer or com-

puter (so that data received at MIDI IN will be re-transmit-

ted from MIDI OUT), and turn off the TRITON STUDIO’s

Local Control setting (so that the TRITON STUDIO’s key-

board and tone generator will be internally disconnected).

When you play the keyboard of the TRITON STUDIO, the

musical data will be transmitted to the external MIDI

sequencer or computer, and then echoed back to play the

TRITON STUDIO’s tone generator. In other words, by turn-

ing Local Control OFF, you can prevent notes from being

sounded in duplicate, as would otherwise occur if a note

were sounded by the TRITON STUDIO’s own keyboard and

again by the data that was echoed-back.

•

(Combination P2: 2–1b) is set to EXT or EX2.

Channel messages will be received if they match the

MIDI channel of a timbre whose “Status” is set to INT

(ꢀCombination P2: 2–1b).

If the arpeggiator function is on, playing the TRITON STU-

DIO’s keyboard will not cause the arpeggiator to operate,

and only the musical data produced by playing the key-

board will be transmitted. The arpeggiator will operate only

in response to the notes that are echoed-back and received at

MIDI IN. In this way, turning off Local Control prevents the

arpeggiator from operating in duplicate.

Use this setting when you wish to record on the external

MIDI sequencer or computer only the notes that trigger the

arpeggiator, and to use the echoed-back notes to operate the

arpeggiator while monitoring your recording or during

playback.

Sequencer mode and Song Play mode

•

The global MIDI channel is used to transmit/ receive

exclusive data and for messages that switch effects on/

off.

MIDI data transmission/ reception for each track will

occur on the MIDI channel specified for each track by

“MIDI Channel” (Sequencer P2: 2–1a/ 2a).

The “Ctrl Ch” MIDI channel specified for each effect

(“Sequencer P8: 8–3a, P9: 9–2a, 9–4a) is used to control

dynamic modulation of the insert/ master effects, the

pan following the insert effect, and send 1 and 2.

When you operate the keyboard or controllers of the

TRITON STUDIO, messages will be transmitted on the

MIDI channel selected by “Track Select” (Sequencer P0:

0–1a) However, messages will be transmitted only if the

track selected by “Track Select” has a “Status” of BTH,

•

If you want the note data produced by the arpeggiator

to be recorded on the external sequencer/ computer, set

Local Control on, and turn off the Echo Back setting of

the external sequencer/ computer.

EXT, or EX2. (“Track Select”

ꢀ p .50).

•

When the sequencer is played back, musical data of

tracks whose “Status” is BTH, EXT, or EX2 will be

transmitted on the specified MIDI channels.

Tracks whose “Status” is INT or BTH will receive

channel messages of the matching MIDI channel

(ꢀ“Status,” “MIDI Channel” ꢀ p .62, 126).

To turn off Local Control, press the “Local Control On”

(Global P1: 1–1a) check box to uncheck it.

When using the TRITON STUDIO by itself, leave Local Con-

trol turned on. (If this is off when the TRITON STUDIO is

used by itself, playing the keyboard will not produce

sound.)

Note on/ off

Note-on [9n, kk, vv]

Note-off [8n, kk, vv]

(n: channel, kk: note number, vv: velocity)

When you play a note on the TRITON STUDIO’s keyboard,

it will transmit note-on/ off messages. When the arpeggiator

259

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is running, note-on/ off messages will be transmitted by the

arpeggiator. (If Local Control is off, the arpeggiator will not

transmit note-on/ off data. “Local Control On settings ”

ꢀ p .259)

All program changes can be turned off in MIDI Filter

(Global P1: 1–1b)

As needed, you can independently turn all program changes

on/ off, specify whether or not incoming messages will be

able to change combinations, and turn reception/ transmis-

sion of bank select messages on/ off.

However, most instruments do not receive or transmit note-

off velocity, and neither does the TRITON STUDIO.

•

If “Enable Combination Change” (Global P1: 1–1b) is

unchecked, the combination will not change even if a

program change on the global MIDI channel is received

in Combination P0: Play. In this case, the program of the

timbre that matches the MIDI channel of the received

message will change.

Program Change/ Bank Select

Changing the program/ bank

Program change [Cn, pp]

(n: channel, pp: program number that allows 128 sounds to

be selected)

•

If “Enable Bank Change” (Global P1: 1–1b) is unchecked,

bank select messages will not be transmitted or received.

•

Programs 000–127 in banks I-A–I-F correspond to

program changes [Cn, 00]–[Cn, 7F].

After touch

•

Programs 001–128 in banks G, g(1), g(2), g(3), g(4), g(5),

g(6), g(7), g(8), g(9), and g(d) correspond to program

changes [Cn, 00]–[Cn, 7F].

Channel after touch [Dn, vv] (n: channel, vv: value)

When you apply pressure to the keyboard after playing a

note, an after touch effect will be applied, and Channel After

Touch messages will be transmitted. When these messages

are received, an after touch effect will be applied.

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)

•

After touch for the entire instrument can be turned on/

off in Global P1: 1–1b “Enable After Touch.”

In Combination and Sequencer modes, after touch can

be switched on/ off independently for each timbre/ track

(“Enable After Touch” Combination P3: 3–1a, Sequncer

P3: 3–3a/ 4a).

•

The internal banks that correspond to each bank select

number will depend on the “Bank Map” setting (Global

P0: 0–2a). With the factory settings, this will be GM(2).

(“Bank Map” ꢀ p .137)

•

Simply receiving a Bank Select message will not cause the

program or bank to change. The program or bank will actu-

ally change when a Program Change message is received.

Polyphonic key pressure [An, kk, vv]

(n: channel, kk: note number, vv: value)

There is another type of after touch called Polyphonic Key

Pressure, which allows after touch to be applied indepen-

dently for individual keys. This message can be used as an

alternate modulation source, but cannot be transmitted by

the TRITON STUDIO’s keyboard. In order to use this mes-

sage, it will have to be received from an external device, or

recorded on your sequencer.

Program mode

•

In Program P0: Play, program change and bank select

messages are transmitted and received on the global

MIDI channel. These messages are not received in P1:

Edit-Basic – P9: Edit-Master Effect.

Combination, Sequencer, and Song Play modes

•

Program change and bank select messages can be

received on the MIDI channel specified for each timbre/

track to select programs on that timbre/ track.

The after touch mentioned in this manual refers to Channel

After Touch.

•

When you select a combination, program change and

bank select messages will be transmitted by timbres

whose “Status” is EXT or EX2.

Pitch bender

Pitch bender change [En, bb, mm]

In Sequencer and Song Play modes, program change or

bank select messages will be transmitted by tracks whose

“Status” is BTH, EXT, or EX2 when you select the “Pro-

gram Select” (P0: Program page), when you select a song,

or when you return to the beginning of a measure. (“Pro-

(n: channel, bb: lower byte of the value, mm: upper byte of

the value, together expressing a value of 16,384 steps where

8,192 [bb, mm = 00H, 40H] is the center value)

When the TRITON STUDIO’s joystick is moved in the X axis

(left/ right), a pitch bend effect will be applied, and pitch

bender messages will also be transmitted. When these mes-

sages are received, a pitch bend effect will be applied.

gram select”

ꢀ p .51)

•

In Combination and Sequencer modes, transmission/

reception can be switched on/ off for each timbre/ track.

(“Enable Program Change” ꢀ p .40, 65).

The range of pitch change that is produced by pitch

bend messages can also be adjusted via MIDI. (“Chang-

ing the pitch bend range ” ꢀ p .264)

Selecting combinations

You can use program change and bank select messages to

select combinations in the same way that you select pro-

grams.

Control change

[Bn, cc, vv]

•

Combinations 000–127 in banks I-A–I-E and E-A–E-G

correspond to program changes [Cn, 00]–[Cn, 7F].

Similarly as for program banks, the internal banks that

correspond to each bank select number will depend on

the “Bank Map” setting (Global P0: 0–2a). (“Bank Map”

ꢀ p .137)

In Combination P0: Play, program change and bank

select messages are transmitted/ received on the global

MIDI channel. They are not received in P1: Edit-

Program/ Mixer – P9: Edit-Master FX.

Transmitted and received as (n: channel, cc: control change

no., vv: value)

•

Refer to “MIDI transmission when the TRITON STUDIO ’s

controllers are operated ” (ꢀ p .253) and “TRITON STUDIO

operations when control changes are transmitted/ received ”

(ꢀ p .255).

•

Control changes can be turned on/ off as a whole in

“Enable Control Change” (Global P1: 1–1b).

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•

In Combination and Sequencer modes, the P3: MIDI

Filter settings allow transmission/ reception of control

changes to be individually turned on/ off for each

timbre/ track. For the assignable controllers ([SW1],

[SW2], REALTIME CONTROLS [1]–[4] knobs, Foot

Pedal/ Switch), MIDI filter settings will apply to the

control change number to which each controller is

assigned. “Other Control Change” applies to control

changes that are not covered by the items of the other

check boxes.

•

In Sequencer mode, portamento time/ switch messages

will be transmitted by each track whose “Status” is BTH,

EXT, or EX2 when you set “Portamento” (P2: 2–3a/ 4a),

re-select a song or SMF, or return to the beginning of a

measure. (ꢀ p .63)

Controlling the volume

Volume (CC#07) [Bn, 07, vv]

When the above CC# is assigned to the ASSIGNABLE

PEDAL or as the B-mode function of a REALTIME CON-

TROL knob [1]–[4], operating that controller will transmit

Volume messages, and the volume will change. When this

message is received, the result will be the same as when the

controller is operated.

MIDI CC#00–CC#95 can be selected for the B-mode of

REALTIME CONTROLS [1]–[4] knobs.

Selecting program/ combination banks

Expression (CC#11) [Bn, 0B, vv]

Bank select (CC#00, CC#32)

When the above CC# is assigned to the ASSIGNABLE

PEDAL or as the B-mode function of a REALTIME CON-

TROL knob [1]–[4], operating that controller will transmit

Expression messages, and the volume will change. When

this message is received, the result will be the same as when

the controller is operated.

“Program Change/ B a nk S elect ” (ꢀ p .260)

Using the joystick to apply modulation

Modulation 1 depth (CC#01) [Bn, 01, vv]

When you move the TRITON STUDIO’s joystick in the +Y

direction (Vertical upward), Modulation 1 Depth messages

will be transmitted. When these messages are received, the

same effect will be applied as when the TRITON STUDIO’s

joystick is operated. Normally this will apply a vibrato effect

(pitch LFO).

The volume of the TRITON STUDIO is determined by mul-

tiplying the value of the Volume message with the value of

the Expression message.

If adjusting the Volume message does not increase the vol-

ume as you expect, or if there is no sound, transmit MIDI

messages from an external device to reset the value of the

Expression message (set vv to 127). In Sequencer mode, this

will be reset when the “Location” of the song is moved to

001:01.000.

•

In Combination and Sequencer modes, transmission/

reception can be switched on/ off for each timbre/ track

(“Enable JS+Y” Combination P3: 3–1a, Sequencer P3: 3–

3a/ 4a).

Modulation 2 depth (CC#02) [Bn, 02, vv]

•

In Combination mode, Volume messages will be

transmitted by each timbre whose “Status” is EXT or

EX2 when you re-select the combination.

When you change the “Volume” setting (Sequencer/

Song Play P0: 0–3a/ 4a) in Sequencer mode or Song Play

mode, or when you re-select the song or return to the

beginning of the song in Sequencer mode, volume

messages will be transmitted by each track whose

“Status” is BTH, EXT, or EX2.

When you move the TRITON STUDIO’s joystick in the –Y

direction (Vertical downward), Modulation 2 Depth mes-

sages will be transmitted. When these messages are

received, the same effect will be applied as when the TRI-

TON STUDIO’s joystick is operated. Normally this will

apply a wah effect (ﬁlter LFO).

•

In Combination and Sequencer modes, transmission/

reception can be switched on/ off for each timbre/ track

(“Enable JS-Y” Combination P3: 3–1a, Sequencer P3: 3–

3a/ 4a).

Regardless of the “Status” settings, re-selecting a song,

or returning to the beginning will reset the internal Vol-

ume value to the value speciﬁed by each track (the

starting settings), and will reset the Expression value to

the maximum.

Other manufacturers use this message for other pur-

poses (e.g., breath controller, etc.)

Controlling the portamento effect

This message can be used to control the volume of each

track. Normally, you will include a Volume message in

the track setting data (the settings at the beginning of

the track) to set the initial volume, and use Expression

to create changes in dynamics as the song progresses.

Portamento time (CC#05) [Bn, 05, vv]

When the above CC# is assigned as a B-mode function for

one of the REALTIME CONTROLS [1]–[4] knobs, rotating

that knob will transmit Portamento Time messages, and will

modify the speed at which the portamento pitch changes.

When this message is received, the result will be the same as

when the controller is operated.

By using the universal exclusive Master Volume message,

you can adjust the overall volume without changing the vol-

ume balance between timbres or tracks. (“About system

exclusive messages ” ꢀ p .264)

Portamento switch (CC#65) [Bn, 41, vv]

When the above CC# is assigned to [SW1], [SW2] or the

ASSIGNABLE SWITCH, operating that switch will transmit

vv=127 [7F] for ON or vv=0 [00] for OFF, and the porta-

mento effect will be switched on/ off. When this message is

received, the result will be the same as when the controller is

operated. (vv of 63 [3F] or less will be OFF, and 64 [40] or

greater will be ON.) (“SW1, SW2 Assign List ” ꢀ p .249)

Controlling panpot (stereo position)

Panpot (CC#10) [Bn, 0A, vv]

(vv: value, where 00 is far left, 64 is center, and 127 is far

right)

When the above CC# is assigned to the ASSIGNABLE

PEDAL or as the B-mode function of a REALTIME CON-

TROL knob [1]–[4], operating that controller will transmit

Panpot messages, and the panning will change. When this

message is received, the result will be the same as when the

controller is operated.

•

In Combination and Sequencer modes, transmission/

reception of this message can be turned on/ off

independently for each timbre/ track (“Enable

Portamento SW” Combination/ Sequencer P3: 3–1a).

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•

When you set the “Pan” (Sequencer/ Song Play P0: 0–

3a/ 4a) in Sequencer mode or Song Play mode, or when

you re-select the song or return to the beginning of the

measure in Sequencer mode, Panpot messages (except

for RND) will be transmitted by each track whose

“Status” is BTH, EXT, or EX2 (ꢀ p .55, 125).

Effect 2 depth (IFX1–5 on/ off) (CC#92) [Bn, 5C, vv]

Effect 4 depth (MFX1 on/ off) (CC#94) [Bn, 5E, vv]

Effect 5 depth (MFX2 on/ off) (CC#95) [Bn, 5F, vv]

Separately from the effect on/ off settings in each mode,

“Effect Global SW” (Global P1: 0–1b) allows you to turn off

insert effects IFX1–5 and master effects MFX1 and MFX2. If

you check “IFX1–5 Off,” “MFX1 Off” or “MFX2 Off,” the

corresponding message will be transmitted with vv=0 [00].

If you uncheck these settings, the corresponding message

will be transmitted with vv=127 [7F]. If you check these set-

tings, the corresponding effect(s) will be turned off as a

group. If you uncheck these settings, the on/ off settings of

each mode will be used. The same applies to reception. (vv

of 00 is off, and 01 or greater is the original setting.) These

messages are transmitted/ received on the global MIDI chan-

Post insert effect panpot (CC#08) [Bn, 08, vv]

(vv: value, where 00 is far left, 64 is center, and 127 is far

right)

When the above CC# is assigned to the ASSIGNABLE

PEDAL or as the B-mode function of a REALTIME CON-

TROL knob [1]–[4], operating that controller will transmit

Post Insert Effect Panpot messages, and the panning of the

sound following the insert effect will change. When this

message is received, the result will be the same as when the

controller is operated.

nel. (“IFX 1–5 on/ off” - “MFX 1, 2 on/ off”

ꢀ p .30, 31)

These messages are deﬁned simply for use in adjusting

the effect levels, and may not have the same function on

another instrument connected to the TRITON STUDIO.

•

In Program mode and Sampling mode, this message is

transmitted/ received on the global MIDI channel. In

Combination, Sequencer, and Song Play modes, this

message is transmitted/ received on the MIDI channel

specified for each insert effect.

Using various controllers for control

•

When you set “Pan (CC#8)” (Sequencer/ Song Play P8:

8–3) in Sequencer mode or Song Play mode, or when

you re-select the song or return to the beginning of the

measure in Sequencer mode, Post Insert Effect Panpot

messages will be transmitted by each track whose

“Status” is BTH, EXT, or EX2 (ꢀ p .84, 132).

Foot controller (CC#04) [Bn, 04, vv]

If the above CC# is assigned as the ASSIGNABLE PEDAL

function, this message will be transmitted when the control-

ler is operated.

•

In Combination and Sequencer modes, transmission/

reception of this message can be turned on/ off

independently for each timbre/ track (“Enable Foot

Pedal/ Switch” Combination P3: 3–4a, Sequencer P3: 3–

7a/ 8a).

Effect control

Effect control 1 (CC#12) [Bn, 0C, vv]

Effect control 2 (CC#13) [Bn, 0D, vv]

Ribbon controller (CC#16) [Bn, 10, vv]

When the above CC# is assigned to the ASSIGNABLE

PEDAL or as the B-mode function of a REALTIME CON-

TROL 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.

This message will be transmitted when the TRITON STU-

DIO’s ribbon controller is operated.

•

In Combination and Sequencer modes, transmission/

reception of this message can be turned on/ off

independently for each timbre/ track (“Enable Ribbon”

Combination P3: 3–2a, Sequencer P3: 3–3a/ 4a).

Controller (CC#18) [Bn, 12, vv]

This message will be transmitted when the TRITON STU-

DIO’s [VALUE] slider is operated.

Although various types of control change can be selected as

dynamic modulation sources, Effect Control 1 (CC#12) and 2

(CC#13) are dedicated for dynamic modulation.

This is valid in “Program Select” (Program P0: 0–1a) and

“Combination Select” (Combination P0: 0–1a) when the pro-

gram or combination number/ name is selected (high-

lighted).

Effect 1 depth (Send 2) (CC#91) [Bn, 5B, vv]

Effect 3 depth (Send 1) (CC#93) [Bn, 5D, vv]

When the above CC# is assigned to the ASSIGNABLE

PEDAL or as the B-mode function of a REALTIME CON-

TROL knob [1]–[4], operating that controller will transmit

Effect 1 Depth (Send 2) or Effect 3 Depth (Send 1) messages,

and the send level 1 or 2 to the master effects MFX1 or MFX2

will be controlled respectively. When this message is

received, the result will be the same as when the controller is

operated.

Knob modulation 1, 2, 3, 4 (CC#17, 19, 20, 21)

[Bn, 11, vv], [Bn, 13, vv], [Bn, 14, vv], [Bn, 15, vv]

If the above CC# are assigned to the B-mode of REALTIME

CONTROLS [1]–[4] knobs, these messages will be transmit-

ted when the knobs are operated.

•

In Combination and Sequencer modes, transmission/

reception of this message can be turned on/ off

independently for each timbre/ track (“Enable Realtime

Controls Knob 1, 2, 3, 4” Combination P3: 3–3a,

Sequencer P3: 3–5a/ 6a).

On the corresponding MIDI channels, this will simulta-

neously control the timbre/ track setting as well as the set-

ting following the insertion effect.

•

In Combination, Sequencer, and Song Play modes, the

actual send level of the timbre/ track is determined by

multiplying this value with the send 1/ 2 settings for

each oscillator (Program P8: 8–1d). (OSC1 “Send 1 (to

MFX1)”/ OSC2 “Send 2 (to MFX2)” ꢀ p .28, “Send 1

(MFX1)/ “Send 2 (MFX2)” ꢀ p .46, 84)

Controller (CC#83) [Bn, 53, vv]

If the above CC# is assigned to the B-mode of REALTIME

CONTROLS [1]–[4] knobs, this message will be transmitted

when the knob is operated.

SW1 modulation (CC#80) [Bn, 50, vv]

SW2 modulation (CC#81) [Bn, 51, vv]

•

When you adjust “Send 1 (MFX1)” or “Send 2 (MFX2)”

(Sequencer, Song Play P8: 8–3) in Sequencer mode or

Song Play mode, or when you re-select a song or return

to the beginning of the measure in Sequencer mode,

Send 1/ 2 will be transmitted by each track whose

“Status” is BTH, EXT, or EX2. (ꢀ p .84, 132).

If the above CC# are assigned as the function of [SW1] or

[SW2], operating the switch will transmit this message with

vv=127 [7F] for ON, and vv=00 [00] for OFF. (These can also

be set as the B-mode functions of the REALTIME CONTROL

knobs [1]–[4].)

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•

In Combination and Sequencer modes, transmission/

reception of these messages can be turned on/ off

independently for each timbre/ track (ꢀ“Enable SW1,”

“Enable “SW2” Combination P3: 3–4a, Sequencer P3: 3–

7a/ 8a)

Sustain level (CC#70) [Bn, 46, vv]

Attack time (CC#73) [Bn, 49, vv]

Decay time (CC#75) [Bn, 4B, vv]

LFO 1 speed (CC#76) [Bn, 4C, vv]

LFO 1 depth (pitch) (CC#77) [Bn, 4D, vv]

LFO 1 delay (CC#78) [Bn, 4E, vv]

These messages are transmitted when assign the above CC#

to the REALTIME CONTROLS [1]–[4] knobs and operate

them.

Foot switch (CC#82) [Bn, 52, vv]

If the above CC# is assigned as the function of the ASSIGN-

ABLE SWITCH, operating the switch will transmit this mes-

sage with vv=127 [7F] for ON, and vv=00 [00] for OFF. (This

can also be set as a B-mode function of the REALTIME

CONTROL knobs [1]–[4].)

When you operate these, the corresponding program

parameters will be controlled, and the sound and envelope

will change. When these messages are received, the result

will be the same as when the controller is operated. (When

the message has a value vv=64 [40], the setting will have the

value that was set by the program parameter.)

•

In Combination and Sequencer modes, transmission/

reception of this message can be turned on/ off

independently for each timbre/ track (ꢀ“Enable Foot

Pedal/ Switch” Combination P3: 3–4a, Sequencer P3: 3–

7a/ 8a).

•

In Combination and Sequencer modes, transmission/

reception can be turned on/ off independently for each

timbre/ track (ꢀ“Enable Realtime Controls Knob 1, 2, 3,

4” Combination P3: 3–4a, Sequencer P3: 3–5a/ 6a).

When “Foot controller (CC#04)”–“Foot switch (CC#82)” are

operated on the TRITON STUDIO, the speciﬁed alternate

modulation or dynamic modulation etc. will be controlled.

When these messages are received, the result will be the

same as if the controller had been operated. For “SW1 mod-

ulation (CC#80)”–“Foot switch (CC#82),” vv of 63 [3F] or

less will be OFF, and 64 [3F] or greater will be ON.

In Program mode, the corresponding program parame-

ters will be temporarily edited by these messages. You

can Write the program to save the modiﬁed state

(except for certain parameters). The Write operation can

also be performed by a MIDI exclusive Program Write

Request message, in addition to the usual method of

using the TRITON STUDIO’s switches. When you write

the data, the values of the corresponding program

parameters will be rewritten.

Damper pedal (CC#64) [Bn, 40, vv]

This message is transmitted when you operate a damper

pedal (Korg DS-1H etc.) connected to the DAMPER jack,

and the damper effect will be turned on/ off. If the DS-1H is

used, a half-damper effect can be applied.

•

In Combination and Sequencer modes, transmission/

reception of this message can be turned on/ off

independently for each timbre/ track (ꢀ“Enable

Damper” Combination P3: 3–1a, Sequencer P3: 3–7a/ 8a).

The results of receiving these messages will depend on

the instrument. The operation may be different when a

device other than the TRITON STUDIO is connected.

Sostenuto (CC#66) [Bn, 42, vv]

Silencing all notes on a speciﬁc channel

If the above CC# is assigned as the function of the ASSIGN-

ABLE SWITCH, operating the switch will transmit this mes-

sage with vv=127 [7F] for ON, and vv=00 [00] for OFF, and

the sostenuto effect will be turned on/ off. When this mes-

sage is received, the result will be the same as when the con-

troller is operated (OFF for vv=63 [3F] or below, and ON for

vv=64 [40] or above).

All note off (CC#123) [Bn, 7B, 00] (value 00)

When this is received, all currently-sounding notes on that

channel will be turned off (as though the keys had been

released). However, the release portion of the notes will

remain.

All sound off (CC#120) [Bn, 78, 00] (value 00)

When this is received, all currently-sounding notes on that

channel will be silenced. While the All Note Off message

allows the release portion of the notes to remain, the All

Sound Off message will silence the notes immediately.

Soft pedal (CC#67) [Bn, 43, vv]

If the above CC# is assigned as the function of the ASSIGN-

ABLE SWITCH, operating the switch will transmit, and the

soft pedal effect will be turned on. When this message is

received, the result will be the same as when the controller is

operated.

However, these messages are provided for emergency use,

and are not something that you will use while performing.

Controlling the tone/ envelope of a program

CC#70-78 control speciﬁc parameters of a program. For

details on the program parameters that correspond to each

control change, and how the TRITON STUDIO will respond

in each mode when these are received, refer to “TRITON

STUDIO operations when control changes are transmitted/

received ” (ꢀ p .255).

Resetting all controllers on a speciﬁc channel

Reset all controllers (CC#121) [Bn, 79, 00] (value 00)

When this is received, the value of all controllers on that

channel will be reset.

Using RPN to edit

Low pass ﬁlter cutoff (CC#74) [Bn, 4A, vv]

Resonance level/ High pass ﬁlter cutoff (CC#71) [Bn, 47, vv]

Filter EG intensity (CC#79) [Bn, 4F, vv]

RPN (Registered Parameter Number) is a type of message

that allows settings to be made in a way that is common

between instrument manufacturers. (NRPN (Non-registered

Parameter Numbers) and exclusive messages can be freely

used in non-compatible ways by different manufacturers

and models of instrument.)

Release time (CC#72) [Bn, 48, vv]

These messages are transmitted when you operate the TRI-

TON STUDIO’s REALTIME CONTROLS [1]–[4] knobs in A-

mode. (They can also be set as B-mode functions.)

RPN messages can be used for editing with the following

procedure.

1Use RPN MSB (CC#101) [Bn, 65, mm] and RPN LSB

(CC#100) [Bn, 64, rr] (n: channel, mm, rr: upper and

lower bytes of the parameter number) messages to select

the parameter.

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2Use data entry MSB (CC#6) [Bn, 06, mm] and data entry

LSB (CC#38) [Bn, 26, vv] (n: channel, mm, vv: upper and

lower bytes of the value, together expressing 16,384 lev-

els) to specify the value.

3You can use data increment (CC#96) [Bn, 60, 00] or data

decrement (CC#97) [Bn, 61, 00] (n: channel, value is ﬁxed

at 00) to change the value in steps of one.

Controlling the arpeggiator (NPRN)

Arpeggiator operations can be controlled using NRPN (Non

Registered Parameter Number) messages. NRPN messages

can be freely used in non-compatible ways by different man-

ufacturers and models of instrument.

The procedure for using NRPN messages is the same as for

RPN, but you will use NRPN MSB (CC#99) [Bn, 63, mm]

and NRPN LSB (CC#98) [Bn, 62, rr] messages (n: channel,

mm, rr: upper and lower bytes of the parameter number) to

specify the parameter.

The TRITON STUDIO can receive the following three RPN

messages (tuning, transpose, and pitch bend range).

NRPN arpeggiator on/ off

[Bn, 63, 00, Bn, 62, 02, Bn, 06, mm]

Tuning

RPN ﬁne tune [Bn, 65, 00, 64, 01]

This message will be transmitted when you press the

ARPEGGIATOR [ON/ OFF] key. When the switch is turned

ON the data will be mm=127 [7F], and when turned OFF the

data will be mm=0 [00], and the arpeggiator will be turned

on/ off accordingly. (This can also be speciﬁed as a function

of the ASSIGNABLE SWITCH.)

Similarly, the arpeggiator will be turned on/ off when this

message is received. (ON when mm is 64 [40] or greater, and

OFF when 63 [3F] or less.)

This RPN message can be used to adjust the detuning for a

program or timbre (in Combination mode), or for a track (in

Sequencer or Song Play modes).

The procedure is as follows.

1[Bn, 65, 00, 64, 01]: Select RPN parameter 01.

2[Bn, 06, mm, 26, vv]: Use data entry to set the value. A

value of 8192 [mm, vv=40, 00] is center, 0 [mm, vv=00, 00]

is -100 cents, and 16383 [mm, vv=7F, 7F] is +99 cents.

NRPN arpeggiator gate control

[Bn, 63, 00, Bn, 62, 0A, Bn, 06, mm]

This message will be transmitted when you operate the

ARPEGGIATOR [GATE] knob, and the arpeggiator gate will

change. When this message is received, the result will be the

same.

You can use the universal exclusive Fine Tune message

to adjust the overall tuning that corresponds to the

“Master Tune” (Global P0: 0–1a) parameter. (“About

system exclusive messages ” ꢀ p .264)

Transposing

NRPN arpeggiator velocity control

RPN coarse tune [Bn, 65, 00, 64, 02]

[Bn, 63, 00, Bn, 62, 0B, Bn, 06, mm]

This RPN message can be used to adjust the transposition

for a program or timbre (in Combination mode), or for a

track (in Sequencer or Song Play modes).

This message will be transmitted when you operate the

ARPEGGIATOR [VELOCITY] knob, and the arpeggiator

velocity will change. When this message is received, the

result will be the same.

The procedure is as follows.

1[Bn, 65, 00, 64, 02]: Select RPN parameter 02.

2[Bn, 06, mm, 26, vv]: Use data entry to set the value. Nor-

mally only the upper byte is used.

About system exclusive messages

Since the way in which these messages are used is left up to

each manufacturer, they are mainly used to transmit and

receive sound data and editing data for parameters that are

unique to a particular instrument. The TRITON STUDIO’s

system exclusive message format is [F0, 42, 3n, 50, ff, ..... F7]

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 semi-

tones.

You can use the universal exclusive Coarse Tune mes-

sage to adjust the overall tuning that corresponds to the

“Transpose” (Global P0: 0–1a) parameter. (“About sys-

tem exclusive messages ” ꢀ p .264)

F0: exclusive status

42: Korg ID

3n: [n=0–F] global MIDI channel 1–16

50: Future model ID

ff: function ID (type of message)

– ...

Changing the pitch bend range

F7: end of exclusive

RPN pitch bend range [Bn, 64, 00, 65, 00]

This RPN message can be used to adjust the pitch bend

range for a program or timbre (in Combination mode) or for

a track (in Sequencer or Song Play modes).

To obtain a copy of the “MIDI Implementation” which

includes MIDI exclusive format information, please

contact your Korg distributor.

The procedure is as follows.

When exchanging MIDI dumps with a computer via

the EXB-mLAN option, it is not currently possible for

an OMS-compatible application to record or play back

TRITON STUDIO dump data (the same applies to the

TRITON-Rack).

1[Bn, 65, 00, 64, 00]: Select RPN parameter 00.

2[Bn, 06, mm, 26, vv]: Use data entry to set the value. Nor-

mally only the upper byte is used.

A value of 0 [mm, vv=00, 00] is +00, and a value of 1536

[mm, vv=0C, 00] is +12 (one octave). Although it is possible

to set a negative value for a timbre/ track, only positive val-

ues can be set using RPN messages.

Some USB-MIDI interface devices may not be able to

transmit/ receive the TRITON STUDIO’s MIDI exclu-

sive messages.

264

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•

If the “Enable Exclusive” (Global P1: 1–1b) setting is

checked, selecting a combination in Combination P0:

Play will transmit data for one combination. Selecting a

program in Program Play P0: Play will transmit data for

one program.

Universal system exclusive

Certain of the system exclusive messages are publicly

deﬁned for a speciﬁc use, and these are called universal sys-

tem exclusive messages.

The TRITON STUDIO uses the following six universal sys-

tem exclusive messages.

This data is the edit buffer data for the currently selected

combination or program. If this data is received by the

TRITON STUDIO, the data will be written into the edit

buffer, so if you wish to save it to internal memory, you

will need to perform the Write operation. The Write oper-

ation can also be performed by a MIDI exclusive Pro-

gram Write Request or Combination Write Request

message, in addition to the usual method of using the

TRITON STUDIO’s switches. (“Saving data” ꢀBG p.55)

If the “Enable Exclusive” (Global P1: 1–1b) setting is

checked, data will also be dumped in response to a

Dump Request message. This data is transmitted and

received on the global MIDI channel.

Inquiry message request [F0, 7E, nn, 06, 01, F7]

Inquiry message [F0, 7E, nn, 06, 02, (nine bytes), F7]

When an inquiry message request is received, the TRITON

STUDIO will respond by transmitting an inquiry message

that means “I am a Korg TRITON STUDIO, with system ver-

sion ...”

GM system on [F0, 7E, nn, 09, 01, F7]

When this message is received in Song Play mode, the TRI-

TON STUDIO will be initialized for GM playback.

•

Master volume [F0, 7F, nn, 04, 01, vv, mm, F7]

(vv: lower byte of the value, mm: upper byte of the value,

together indicating 16384 steps)

Editing sounds etc.

This message is transmitted if you assign Master Volume as

the function of the ASSIGNABLE PEDAL or as a B-mode

function of a REALTIME CONTROLS [1]–[4] knobs and

operate the controller. This will adjust the overall volume

balance without changing the relative volume balance

between timbres/ tracks. When this message is received, the

result will be the same as when the controller is operated.

By using various MIDI exclusive data dumps, you can

rewrite all programs or an individual program. By using

parameter change messages, you can edit individual param-

eters as follows.

Parameter changes

•

In Program mode, all parameters other than the program

name can be edited. Performance editor parameters are

included.

Master balance [F0, 7F, nn, 04, 02, vv, mm, F7]

(vv: lower byte of the value, mm: upper byte of the value,

together indicating 16384 steps, where 8192 is the default

position, and lower values will move the sound toward the

left)

•

In Combination mode, parameters other than the

combination name can be edited.

In Sequencer mode, parameter changes can be used to

edit P0, 2, 3, 4 parameters other than “Location,”

“Meter,” “ꢀ (Tempo),” “Tempo Mode,” song name,

“Track Select,” “Reso,” “RPPR On/ Off,” and P0:

Sampling, Preference. Parameter changes can also be

used to edit the P7: Arpeggiator, P8: Insert Effect, and

P9: Master Effect parameters.

When this is received, the overall panning will be adjusted

without changing the relative panning between timbres/

tracks.

Master ﬁne tuning [F0, 7F, nn, 04, 03, vv, mm, F7]

(A value of 8192 [mm, vv=40, 00] is center, 4096 [mm, vv=20,

00] is –50 cents, and 12288 [mm, vv=60, 00] is +50 cents.)

Drum kit parameter change/ User arpeggio pattern

parameter change

When this is received, the “Master Tune” (Global P0: 0–1a)

parameter will be set.

•

In Global mode, you can edit drum kits and user

arpeggio patterns.

Master coarse tuning [F0, 7F, nn, 04, 04, vv, mm, F7]

(Normally only the upper byte mm is used. A value of 8192

[mm, vv=40, 00] is center, 6656 [mm, vv=34, 00] is –12 semi-

tones, and 9728 [mm, vv=4C, 00] is +12 semitones.)

Since the other global parameters or Sequencer mode musi-

cal data cannot be edited, you will use data dumps to trans-

fer this data. Data dumping of Sampling mode data is not

supported.

When this is received, the “Transpose” (Global P0: 0–1a)

parameter will be set.

The global MIDI channel is used to transmit and receive this

data.

Transmitting sound settings data (Data Dump)

Data for programs, combinations, drum kits, user arpeggio

patterns, global settings, and sequencer data can be trans-

mitted as MIDI exclusive messages. The operation of send-

ing this system exclusive data to an external device is called

a “data dump.”

By performing a data dump, you can store the TRITON

STUDIO’s sounds and settings on an external device, or

rewrite the sounds and settings of another TRITON STU-

DIO.

First check “Enable Exclusive” (Global P1: 1–1b), so that

exclusive data can be transmitted and received. When you

change modes on the TRITON STUDIO, a mode change

message will transmitted. When you change programs or

combinations, the parameters for one program or one com-

bination will be transmitted together with the program

change. When you edit individual parameters, parameter

change, drum kit parameter change, user arpeggio pattern

parameter change messages or song parameter change mes-

sage will be transmitted.

There are the following three types of data dump.

When these messages are received, the same editing opera-

tion will be performed as on the transmitted device.

After MIDI exclusive data has been received and processed,

a Data Load Completed message will be transmitted. The

control master device must not transmit the next message

until this message is received (or until a sufﬁcient interval of

time has elapsed).

•

When you use the “Dump” (Global P1: 1–1) page menu

command to dump data, various types of internal

memory data will be transmitted. If this data is received

by the TRITON STUDIO, the data will be written

directly into internal memory, and it will not be

necessary to perform the Write operation.

(“Transmission,” “Reception” ꢀ p .145)

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When you change programs or combinations, or use param-

eter changes to edit, the changes will affect the data in the

edit buffer and will not be stored in internal memory unless

you Write, so that the changes will be lost if you re-select the

program or combination. The Write operation can be per-

formed by a MIDI exclusive Program Write Request or Com-

bination Write Request message, in addition to the usual

method of using the TRITON STUDIO’s switches. (“Saving

data” ꢀBG p.55)

It is not necessary to write a song, but it will not be backed

up when the power is turned off. If you wish to keep the

data, save it on external media before turning off the power.

(“Saving on media” ꢀBG p.59)

•

When you set “MIDI Clock” to Internal, the TRITON

STUDIO will be the master device, and will transmit

MIDI timing clock messages.

Arpeggiator: The tempo can be controlled from the TRI-

TON STUDIO. Simultaneously, the performance of the

arpeggiator will be transmitted via MIDI. (In Combina-

tion, Sequencer, and Song Play modes, data will be trans-

mitted by timbres/ tracks whose “Status” is BTH, EXT, or

EX2.) An external tone generator connected to MIDI OUT

will sound, and the tempo of an external sequencer can

be controlled.

Sequencer: The musical data can be played back and

controlled on the TRITON STUDIO. Simultaneously, the

sequencer playback will be transmitted via MIDI from

tracks whose “Status” is BTH, EXT, or EX2. An external

tone generator connected to MIDI OUT will sound, and

the tempo of an external sequencer can be controlled.

However, since exclusive data cannot be recorded on the

TRITON STUDIO’s sequencer, you can use the “Dump

Sequencer” (Global P1: 1–1F) page menu command if the

slave device is the TRITON STUDIO. If the slave device

is another model, you can use the TRITON STUDIO’s

Disk mode data ﬁler function (“Receive and Save MIDI

Exclusive,” “Load and Transmit MIDI Exclusive Data”).

(ꢀ p .161, 168)

If notes are “stuck”

If for some reason, notes become “stuck” and will not stop

sounding, you can usually stop the sound by changing the

mode. If notes played via MIDI are stuck, you can discon-

nect the MIDI cable.

MIDI transmits a message called Active Sensing [FE] at reg-

ular intervals. A device that receives this message will be

aware that an external MIDI device is transmitting to it. Sub-

sequently, if no MIDI messages are received for a certain

interval of time, the receiving device will decide that the

connection has been broken, and will turn off any notes that

had been sounded via MIDI and reset its controller values.

Using the external MIDI device as master and the TRI-

TON STUDIO as slave

Playing the TRITON STUDIO multi-timbrally

from an external device

Connect the TRITON STUDIO’s MIDI IN connector to the

MIDI OUT connector of the external MIDI device. (ꢀ p .258)

Alternatively, connect the mLAN connector of the EXB-

mLAN option to an mLAN-compatible device.

The TRITON STUDIO can be connected to an external

device and played multi-timbrally in the following ways.

•

When you set “MIDI Clock” to External MIDI or

External mLAN, the TRITON STUDIO will be the slave

device.

•

MIDI messages from the external device can play a

combination (8-part multi-timbral performance). You

can change the overall settings (programs, levels, and

effects) by using program change messages to switch

combinations.

MIDI messages from the external device can be used to

play a song (16-part multi-timbral performance). Overall

settings (programs, levels, effects etc.) can be changed by

using a Song Select message to switch songs. (Song

Select messages can be received if “MIDI Clock”: Global

P1: 1–1a is set to External MIDI or External mLAN.)

MIDI Clock messages from the external device can be

used to make the TRITON STUDIO playback a song (set

“MIDI Clock” to External MIDI or External mLAN, and

run the TRITON STUDIO’s sequencer).

Arpeggiator: The tempo will follow the MIDI timing

clock. If you playback the external sequencer, the TRI-

TON STUDIO’s arpeggiator will synchronize to the

external timing clock. (ꢀBG p.138)

Even if “MIDI Clock” is External MIDI or External

mLAN and the TRITON STUDIO is being controlled

from the external device, the performance of the arpeg-

giator will still be transmitted via MIDI. (In Combination

and Sequencer modes, the arpeggiator performance will

be transmitted from timbres/ tracks whose “Status” is

BTH, EXT, or EX2.)

Sequencer: It will not be possible to control the playback

from the TRITON STUDIO; playback will be controlled

by the external device connected to the TRITON STU-

DIO’s MIDI IN. If you wish to playback the external

sequencer to make the TRITON STUDIO’s sequencer

playback in synchronization to the external timing clock,

you must ﬁrst set the same time signature and starting

measure locations on both devices.

Even if “MIDI Clock” is set to External MIDI or External

mLAN and the TRITON STUDIO is being controlled

from an external device, musical data will be transmitted

by tracks whose “Status” is BTH, EXT, or EX2.

•

(ꢀ“Synchronizing the playback of the arpeggiator or

sequencer ”) You can change the overall settings

(programs, levels, effects) by using song select messages

to switch songs.

Synchronizing the playback of the arpeg-

giator or sequencer

The choice of whether the TRITON STUDIO will be the mas-

ter (the controlling device) or the slave (the controlled

device) is made by “MIDI Clock” (Global P1: 1–1a).

Recording musical data from an external

device

Using the TRITON STUDIO as master and the external

MIDI device as slave

Connect the TRITON STUDIO’s MIDI OUT connector to the

MIDI IN connector of the external MIDI device. (ꢀ p .258)

Alternatively, connect the mLAN connector of the EXB-

mLAN option to an mLAN-compatible device.

There are two ways in which you can play back an external

sequencer and record its playback on the TRITON STUDIO.

•

Set “MIDI Clock” (Global P1: 1–1a) to Internal, begin

recording, and then start the external sequencer. With

this method, the MIDI messages will be recorded

without the two devices being synchronized. Since the

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incoming musical data will simply be recorded, this

method allows the performance to be reproduced

faithfully, but since measure divisions etc. will not be

kept track of, this method is not suitable if you intend to

edit the data later.

If you set “MIDI Clock” to External MIDI or External

mLAN, the start of recording and the tempo etc. will all

be under the control of the external sequencer. Since the

two devices will be synchronized during the recording

process, measure divisions etc. will be accurately

preserved. (You will need to set the time signature

before recording.) However, tempo changes during the

performance will not be recorded, so you will have to

insert any tempo changes later. For normal multi-track

recording, you will use this method. (“Multi (multitrack

recording)” ꢀBG p.85)

Local Control Off: Notes from the arpeggiator or RPPR will

not be transmitted from MIDI OUT. The arpeggiator or

RPPR will only sound the notes (on this instrument).

Setting example 1

Record the note messages generated by the arpeggiator or

RPPR function on the external MIDI sequencer/computer

Turn on this instrument’s arpeggiator or RPPR function. Set

this instrument to Local Control On.

•

Turn Local Control On for this instrument.

Turn Echo Back Off on your external sequencer/ computer.

By turning echo back off, you will prevent the arpeggiator or

RPPR function from performing duplicate processing on the

monitored notes during recording.

During playback, turn off the arpeggiator and RPPR func-

tions of this instrument.

Setting example 2

Use the external MIDI sequencer/computer to record only

the notes that trigger the arpeggiator or RPPR function,

and operate this instrument’s arpeggiator or RPPR func-

tion for monitoring while recording, and during playback.

Turn on the TRITON STUDIO’s arpeggiator or RPPR func-

tion. Set the TRITON STUDIO to Local Control Off. The

note messages generated by the arpeggiator or RPPR func-

tion will not be output. On your external MIDI sequencer/

computer, turn echo back on. With these settings, the data

will be recorded and played correctly, and the arpeggiator or

RPPR function will not be applied in duplicate.

Recording the MIDI output of the TRITON

STUDIO’s controllers, arpeggiator, and

internal sequencer to an external

sequencer/ computer

If you wish to record the MIDI output of the TRITON STU-

DIO’s controllers, arpeggiator, and internal sequencer on an

external sequencer or computer and use the TRITON STU-

DIO as the monitoring and playback tone generator while

you record, you must turn off the TRITON STUDIO’s Local

Control setting (“Local Control On” Global P1: 1–1a), and

set your external sequencer/ computer for echo-back (a

function by which the data received at MIDI IN is retrans-

mitted without change from MIDI OUT) so that the data

from the TRITON STUDIO’s controllers, arpeggiator and

internal sequencer will not be applied in duplicate to the

tone generator.

About GM/ GS/ XG

The TRITON STUDIO supports the GM standard. It also

supports the GM2 sound map (including bank select) with

256 programs and 9 drum programs provided in ROM

banks G, g(1)–g(9), and g(d). (Banks g(1)–g(9) are GM2 vari-

ation programs, and g(d) contains drum programs.)

Using the REALTIME CONTROLS [1]–[4] knobs to

record MIDI control changes on an external MIDI

sequencer/ computer

Set the TRITON STUDIO to Local Control Off. Set the exter-

nal MIDI sequencer/ computer to Echo Back On. With these

settings, recording and playback will occur correctly, and

the control changes will not be applied to the tone generator

in duplicate.

GM is a standard that ensures basic compatibility of sounds

etc. between different GM-compatible instruments made by

different manufacturers, but you need to be aware of the fol-

lowing.

•

GM System On is supported in Sequencer and Song Play

modes. (“GM Initialize” Sequencer P0: 0–1K, Song Play

P0: 0–1A)

Roland GS and Yamaha XG are speciﬁcations by which these

respective manufacturers have extended the GM standard.

The TRITON STUDIO automatically converts the GS/ XG

sound maps into the GM2 sound map, and also supports

some of the GS/ XG messages. This allows GS/ XG music

data to be played back in Song Play mode.

Recording the arpeggiator or RPPR function on an

external MIDI sequencer/ computer

When the arpeggiator is on, playing the keyboard or operat-

ing the controllers of the TRITON STUDIO will operate and

control the arpeggiator. The arpeggiator will operate and be

controlled in the same way in response to MIDI messages

received at MIDI IN. The MIDI messages generated from the

arpeggiator will be transmitted from MIDI OUT according

to the Local Control setting (“Local Control On” Global P1:

1–1a) as described below.

Since the TRITON STUDIO does not support all of the

GS/ XG sound maps or messages, some data may not

be played back correctly.

When you wish to playback a music data conform to GM/

GS/ XG format or load it into a song, set “Bank Map” (Glo-

bal P0: 0–2a) to GM(2).

In Sequencer mode, when the RPPR function is on, playing

the keyboard will cause RPPR to operate. Similarly, the

RPPR function will also operate in response to notes

received on the MIDI channel of the track selected by “Track

Select” (Sequencer P0: 0–1a). Notes will be transmitted by

RPPR 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

•

When bank select/ program change messages used by

GS/ XG are received, they will automatically be

converted to the G, g(1)–g(9), g(d) bank/ program map

of the TRITON STUDIO.

Local Control On: Notes from the arpeggiator or RPPR will

be transmitted from MIDI OUT. Normally you will use this

setting.

•

The same conversion is performed when a SMF is

loaded into a song in Disk mode.

For banks that are used in common by GS/ XG, GS

Reset/ XG System ON will be received to automatically

convert to the optimal bank/ program map for each.

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•

If TRITON STUDIO song data that was saved as a

format 1 SMF file is loaded into another device, the track

configuration may be different than it was before being

saved. This is because tracks that contain no musical

data are omitted, and the remaining tracks are moved

into the unused tracks. This will not affect the playback

itself.

If song data that was saved by another device as a

format 1 SMF file is loaded into the TRITON STUDIO,

the track configuration may be different than it was

before being saved. This is because tracks that contain no

musical data are omitted, and the remaining tracks are

moved into the unused tracks. This will not affect the

playback itself.

Support for GS/ XG part mode exclusive messages

•

In Song Play mode when GS/ XG part mode exclusive

messages Drum or MDrm 1–4 are received, bank g(d)

(GM2 drum bank) will be selected for the specified track.

Until this part mode state is defeated, bank select mes-

sages will no longer be received for the speciﬁed track.

When an SMF is loaded into a song in Disk mode, any

bank select messages in a track that is set to a part mode

of Drum or MDrm 1–4 will be ignored, and will not be

loaded.

•

Support for NRPN messages used in GS/ XG music

data

The following NRPN messages can be received to modify

When exchanging sequence data between two TRITON

STUDIO, we recommend that you save the sequence data in

the TRITON STUDIO’s native format (“Save SEQ”).

When sequence data is saved in the TRITON STUDIO’s

native format, all of the settings and patterns unique to the

TRITON STUDIO will be saved, which will ensure a higher

level of reproducibility than when the data is saved as a

Standard MIDI File (“Save to Std MIDI File”).

the sound.

Vibrato Rate

[Bn, 63, 01, Bn, 62, 08, Bn, 06, mm]

[Bn, 63, 01, Bn, 62, 09, Bn, 06, mm]

[Bn, 63, 01, Bn, 62, 0A, Bn, 06, mm]

[Bn, 63, 01, Bn, 62, 20, Bn, 06, mm]

[Bn, 63, 01, Bn, 62, 21, Bn, 06, mm]

[Bn, 63, 01, Bn, 62, 63, Bn, 06, mm]

[Bn, 63, 01, Bn, 62, 64, Bn, 06, mm]

[Bn, 63, 01, Bn, 62, 66, Bn, 06, mm]

[Bn, 63, 14, Bn, 62, kk, Bn, 06, mm]

[Bn, 63, 15, Bn, 62, kk, Bn, 06, mm]

[Bn, 63, 16, Bn, 62, kk, Bn, 06, mm]

[Bn, 63, 17, Bn, 62, kk, Bn, 06, mm]

[Bn, 63, 18, Bn, 62, kk, Bn, 06, mm]

[Bn, 63, 19, Bn, 62, kk, Bn, 06, mm]

[Bn, 63, 1A, Bn, 62, kk, Bn, 06, mm]

[Bn, 63, 1C, Bn, 62, kk, Bn, 06, mm]*

[Bn, 63, 1D, Bn, 62, kk, Bn, 06, mm]

[Bn, 63, 1E, Bn, 62, kk, Bn, 06, mm]

Vibrato Depth

Vibrato Delay

Filter Cutoff

Resonance

EG Attack Time

EG Decay Time

EG Release Time

Drum Filter Cutoff

Drum Filter Resonance

Drum EG Attack Time

Drum EG Decay Time

Drum Coarse Tune

Drum Fine Tune

Drum Volume

Drum Panpot

Drum Rev Send(Send2)

Drum Cho Send(Send1)

kk: Drum Inst No. ([0C...6C] corresponds to C0...C8)

[00, 01...7f] corresponds to Random, L000...R127)

About standard MIDI ﬁles

Standard MIDI ﬁles (SMF) make it possible for different

computer programs or musical instruments made by differ-

ent manufacturers to exchange time-based MIDI data. Each

standard MIDI ﬁle contains one song. The TRITON STUDIO

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.

When a SMF is played back in Song Play mode or loaded

into a song in Disk mode, the program bank that is selected

will differ depending on the “Bank Map” (Global P0: 0–2a)

setting. When playing/ loading SMF data that conforms to

the GM/ GS/ XG speciﬁcations, set “Bank Map” to GM(2).

Song Play mode

•

In Song Play mode, the TRITON STUDIO can playback

SMF data directly from a disk or external SCSI device;

i.e., the data will be played back as it is being read, and

does not need to be loaded into memory.

•

If the SMF data contains a GM System On message, the

TRITON STUDIO will be initialized for GM playback

(ꢀ“GM Initialize” Song Play P0: 0–1A).

Sequencer mode

In Disk mode when you convert a song into a Standard

MIDI File and save it, you can choose either format 0 or for-

mat 1.

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TRITON STUDIO MIDI IMPLEMENTATION

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Can’t open pattern

Continue ?

Various messages

Meaning: When you ﬁnished recording or editing, it was

not possible to allocate enough memory to open

the pattern that was Put into the track. (When it

must be opened automatically.) If you press the

OK button, the pattern data will be deleted, and

the recorded or edited content will be saved. If

you press the Cancel button, the recorded or

edited content will be discarded.

Already connected

Meaning: When you pressed the Connect button to execute

a connection in the Global mode mLAN Output/

Input page, a connection had already been set for

the speciﬁed input plug.

Completed

Action: Check the connection data of the receiving mLAN

device. If the plug and connection have already

been speciﬁed on the receiving device, it is possi-

ble that the current display is out of date, so re-

select the mLAN Output/ Input page to re-display

it. If a connection from another output plug was

assigned to the input plug, break this connection

and then re-execute it.

Meaning: Execution of the command ended normally.

Connection protected

Meaning: When you pressed the Cut button to break a con-

nection in the Global mode mLAN Output/ Input

page, the speciﬁed connection was protected, and

cannot be broken.

Action: Defeat the protect setting on the mLAN device

from which protection was applied, and then

press the Cut button once again.

Are you sure ?

Meaning: This message asks you to conﬁrm execution. To

execute press the OK button. To cancel, press the

Cancel button.

Destination and source are identical

Meaning: When copying or bouncing, the same cue list,

song, track or pattern was selected for both the

source and destination.

Battery voltage for Calender IC is low

Meaning: The calendar backup battery has run down.

Action: Replace the battery as described in “Replacing the

calendar backup battery” (ꢀ p .286, 298).

Action: Select a different cue list, song, track, or pattern

for the source and destination.

Buffer overrun error occurred

Destination from-measure within the limits of source

Meaning: While sampling to the hard disk, the disk could

not be written fast enough to keep up with sam-

pling.

Meaning: When executing the Move Measure command for

all tracks or within the same track, the speciﬁed

destination measure is within the source range.

Action: Set a destination measure that is outside of the

source range.

Action: Execute the Disk mode Utility page menu com-

mand “Check Medium.” If this does not solve the

problem, copy several ﬁles from the hard disk to

other media, then erase those ﬁles and execute the

operation again.

Destination is empty

Meaning: When editing, the track or pattern that was speci-

ﬁed as the destination contains no musical data.

Action: Select a track or pattern that contains musical

data.

Buffer underrun error occurred

Meaning: While playing back a WAV ﬁle from the hard disk,

the disk could not be read fast enough for play-

back processing.

Destination measure is empty

Action: Copy the desired ﬁle to another folder etc., and

then execute once again.

Meaning: The measure that was speciﬁed as the destination

contains no data.

Action: Specify a destination measure that contains data.

Destination multisample already exists

Can’t calibrate

Meaning: A multisample already exists at the destination

(save location) multisample.

Meaning: Calibration could not be performed correctly.

Action: Try again.

Action: Either delete the multisample at the destination

(save location), or change the save destination

multisample number.

Can’t copy/ swap double size effect

Meaning: When copying or swapping an insertion effect,

you attempted to place a double-size effect in

IFX1 or IFX5.

Destination multisample and source multisample are

identical

Action: Modify your settings so that a double-size effect is

not moved to IFX1 or 5, and execute again.

Meaning: The same multisample is selected for the source

and destination.

Action: Select different multisamples for the source and

destination.

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Destination sample already exists

Error in writing to medium

Meaning: A sample already exists at the destination (save

location).

Meaning: An error occurred while writing data to a

medium. (Verify error)

Action: Either delete the sample at the destination (save

location), or change the save destination sample

number.

Action: It is possible that the media has been physically

damaged. Try another media. Avoid using the

media that produced the error.

In the case of MS-DOS format media, execute the

Disk mode Utility page command “Check

Medium.”

Destination sample data used in source sample

Can’t overwrite

Meaning: Since the sample data at the destination (save

location) is also used by the source sample, it can-

not be overwritten.

Failed in the initialization of EXB-mLAN

Action: Without using Overwrite, specify a different sam-

ple for the destination (save location).

Meaning: Failed to initialize the mLAN connection settings,

word clock synchronization settings, and other

internal data of the EXB-mLAN (when the EXB-

mLAN option is installed).

Destination sample is empty

Meaning: The sample for editing is empty.

Action: Disconnect the IEEE 1394 cable from the mLAN

connector of the EXB-mLAN, and execute initial-

ization once again. If an error still occurs, please

contact your Korg distributor.

Destination song is empty

Meaning: The song that was speciﬁed as the copy destina-

tion or bounce destination does not exist.

Action: Execute the Create New Song command in the

dialog box that appears when a new song is

selected before copying or bouncing.

File already exists

Meaning: When executing a Create Directory or File

Rename operation, a directory or ﬁle of the same

name already exists on the disk.

Directory is not empty

Cleanup directory

Are you sure?

Meaning: When executing the Disk mode Utility “Copy”

command without using wild cards, the copy des-

tination contained a ﬁle of the same name as the

copy source.

Meaning: When deleting a directory, ﬁles or directories exist

within that directory.

Meaning: When you executed the Disk mode Utility “Save

Sampling Data” for All, All Multisamples, All

Samples, or One Multisample, a directory already

existed on the disk with the same name as the

directory that you attempted to create on the TRI-

TON STUDIO.

Action: Press the OK button to delete all ﬁles and/ or

directories within that directory.

Disc full

Meaning: When executing “Write to CD,” there is insufﬁ-

cient space remaining on the CD-R/ RW for the

data to be written.

Meaning: When sampling or saving to the hard disk, a ﬁle of

the same name already exists.

Action: Either write to other media, or remove unneeded

tracks.

Action: Either delete the existing directory or ﬁle, or spec-

ify a different ﬁlename.

Disk not formatted

File contains unsupported data

Meaning: When you attempted to perform a high-level for-

mat (quick format) of media, the media had not

been physically formatted yet.

Meaning: You attempted to load an AIFF, WAVE, or KSF ﬁle

that was in a format not supported by the TRI-

TON STUDIO.

Action: Execute the Disk mode Utility “Format” to physi-

cally format the media (full format).

Action: In the case of a AIFF or WAVE ﬁle, use a computer

(if possible) to convert the ﬁle into a format that is

supported on the TRITON STUDIO, and then

load it.

Error in formatting medium

File is read-only protected

Meaning: An error occurred while performing a physical

format (full format) or high-level format (quick

format) of the media.

Meaning: You attempted to write to a ﬁle or to delete a ﬁle

that had a read-only attribute.

Meaning: You attempted to save a ﬁle to media that con-

tained a read-only ﬁle of the same name.

Action: Use other media.

Meaning: When executing the Disk mode utility command

“Convert to ISO9660 Format,” an error occurred

while rewriting the UDF area.

Action: Save the ﬁle with a different name.

File unavailable

Action: Use other media.

Meaning: You attempted to load or open a ﬁle whose format

was incorrect.

Error in reading from medium

Meaning: An error occurred while reading data from a

medium.

Action: Execute the reading operation once again. If the

same error occurs, it is possible that the data on

the disk has been damaged.

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File/ path not found

Illegal SMF format

Meaning: When loading a sample ﬁle in Disk mode, the

speciﬁed ﬁle does not exist. Alternatively, the

speciﬁed ﬁlename does not exist in the location

you selected in a dialog box for choosing another

directory level or other media.

Meaning: You attempted to load a Standard MIDI File of a

format other than 0 or 1.

Inconvertible ﬁle exists

Meaning: A ﬁle that cannot be used with ISO9660 format

exists on the media.

Meaning: When executing the “Delete” command in the

Disk mode Utility page, the speciﬁed ﬁle did not

exist.

Action: Media that was formatted or written by a device

other than the TRITON STUDIO may be impossi-

ble for the TRITON STUDIO to convert into

ISO9660 format. To perform the conversion, use

the packet writing software that was used to for-

mat or write the media.

Meaning: When executing the “Copy” command in the Disk

mode Utility page, and you used a wild card to

specify the copy ﬁle name, the speciﬁed ﬁle was

not found. Alternatively, the length of the copy

source path name exceeded 76 characters.

Meaning: In Disk mode or Song Play mode when you used

the Open button to open a directory, the path

length including the selected directory name

exceeded 76 characters.

Index number over limit

Meaning: When sampling into RAM in Combination, Pro-

gram, or Sequencer mode, there are too many

indexes to be simultaneously converted into a

multisample.

Meaning: When executing Insert in the Disk mode Make

Audio CD page, you attempted to use the Insert

All button to add a WAVE ﬁle, but no WAVE ﬁle

with a sampling frequency of 44.1 kHz or 48 kHz

exists in the selected directory.

Action: Either convert the samples into a different pro-

gram or multisample, or use Sampling mode to

delete some of the indexes before you continue

sampling.

Action: Check the ﬁle or directory.

Meaning: In Disk mode when loading a .KCD ﬁle, a WAVE

ﬁle listed in the Audio Track List could not be

found.

Action: The ﬁle whose Size is not shown in the Disk mode

Make Audio CD page is the one that could not be

found. Check the ﬁle or directory, or delete it from

the Audio Track List.

Master Track can’t be recorded alone

Meaning: When realtime-recording a single track, you

attempted to begin recording with the master

track as the current track.

Action: Begin recording with a track 1–16.

Front sample data used in rear sample

Can’t overwrite

Measure size over limit

Meaning: When executing “Link” in the Sampling mode

Sample Edit page, the sample data of the front

sample is also being used by the rear sample, and

therefore cannot be overwritten.

Meaning: When loading a Standard MIDI File, the number

of events in a measure exceeded the maximum

(approximately 65,535 events).

Meaning: The attempted edit operation would cause the

maximum number of events in a measure

Action: Instead of using “Overwrite,” specify a different

sample as the save-destination.

(approximately 65,535) to be exceeded.

Action: Use event editing etc. to delete unwanted data.

Measure number over limit

Illegal ﬁle description

Meaning: The attempted edit operation would cause the

track length to exceed 999 measures.

Meaning: The ﬁlename that you speciﬁed when saving a ﬁle

or creating a directory contained invalid charac-

ters.

Action: Delete unnecessary measures.

Action: Change the ﬁlename you are specifying. Filena-

mes not permitted by MS-DOS cannot be used as

a ﬁlename.

Medium changed

Meaning: When executing the “Copy” command in the Disk

mode Utility page, the media was exchanged or

ejected, and it was not possible to copy between

separate media on the same drive.

Illegal mLAN message

Meaning: The EXB-mLAN received an invalid message (if

the EXB-mLAN option is installed).

Medium unavailable

Meaning: You selected a medium that does not allow writ-

ing.

Illegal SMF data

Meaning: You attempted to load a ﬁle that was not a Stan-

dard MIDI File.

Medium write protected

Meaning: The ﬂoppy disk or other writing-destination

media is write-protected.

Illegal SMF division

Meaning: You attempted to load a Standard MIDI File that

was timecode-based.

Action: Turn off write protect on the ﬂoppy disk or other

media, and execute the command once again.

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Memory full

No data

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.

Meaning: When loading a Standard MIDI File, the ﬁle con-

tained no events.

Meaning: When you executed Samples in One Multisample

in “Export Smpl as AIFF/ WAVE,” there were no

samples.

Action: Delete other song data etc. to increase the amount

of free memory.

Action: Create sample data.

Meaning: While realtime recording in Sequencer mode,

there is no more free memory to accommodate the

recorded data, so recording has been forcibly

halted.

No medium

Meaning: When executing a command in Disk mode, no

media (ﬂoppy disk etc.) was inserted in the drive.

Action: Insert media such as a ﬂoppy disk, or mount the

drive.

Action: Delete other song data etc. to increase the amount

of free memory.

Memory overﬂow

No node

Meaning: While receiving exclusive data in Disk mode

“Save Exclusive,” all remaining internal memory

was used up.

Meaning: When you pressed the Connect in the Global

mode mLAN Output/ Input page, no mLAN

device existed on the bus.

Action: If you are receiving two or more sets of exclusive

data, transmit them separately to the TRITON

STUDIO.

Action: Check whether an mLAN device is connected to

the EXB-mLAN. If it is connected correctly, check

whether it supports mLAN. (When the EXB-

mLAN option is installed)

Meaning: In Disk mode, you attempted to load more sample

waveform data than there was free memory

capacity.

Also check that the connected mLAN device is

operating correctly.

Action: In Sampling mode, execute Delete sample to cre-

ate free space in the sample waveform data area,

and re-load the data.

No recording track speciﬁed

Meaning: When performing realtime multi-track recording,

you attempted to begin recording with no tracks

set to REC.

Memory protected

Meaning: The internal program, combination, song, drum

kit, or user arpeggio pattern is protected.

Action: Set the desired tracks for recording to REC.

Action: In Global mode, turn off write-protect, and exe-

cute the write or load operation once again.

No space available on medium

Meaning: When you attempted to save or copy a ﬁle, or to

create a directory, there was not enough free space

on the ﬂoppy disk or other medium.

MIDI data receiving error

Meaning: While receiving MIDI exclusive data, the format

of the received data was invalid, for example

because the size of the data was incorrect.

Action: Either delete an existing ﬁle, or exchange the

medium with one that has sufﬁcient free space.

No space available on medium

Multisample L and R are identical

Do you want to make a divided ﬁle?

Meaning: Since the destination (save location) L and R mul-

tisample numbers are the same, the editing opera-

tion could not be executed.

Meaning: When saving a .PCG or .KSF ﬁle, there was insuf-

ﬁcient free space on the media. Please specify

whether you want to save the ﬁle in divided form.

Action: Press the OK button to save the ﬁle across multi-

ple volumes of media, or press the Cancel button

to cancel.

Action: Select a different multisample number for the L

and R of the destination (save location).

Not enough memory

No connection

Meaning: When starting realtime recording in Sequencer

mode, the minimum amount of free memory

(such as memory for the BAR events up to the

recording start location) could not be allocated.

Action: Delete other song data etc. to increase the amount

of free memory.

Meaning: In the Global mode mLAN Output/ Input page

when you pressed the Cut button to break a con-

nection, the speciﬁed connection had not been set.

It is possible that the connection settings have

been changed from another device.

Action: Check the connection settings of the connected

mLAN device. If a connection has not been speci-

ﬁed for the plug of the receiving device, or if it is

connected to a different output plug, it is possible

that the current display is out of date, so re-select

the mLAN Output/ Input page to re-display the

page.

Meaning: When executing “Load Exclusive,” you attempted

to load an .EXL ﬁle that required more than

1,048,576 bytes. Such a ﬁle cannot be loaded by

the TRITON STUDIO.

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Not enough memory to load

Meaning: When you attempted to load a .SNG ﬁle or a stan-

dard MIDI ﬁle in Disk mode, there was insufﬁ-

cient free memory in the sequence memory.

Action: Delete other song data etc. to increase the amount

of free memory.

Obey Copyright Rules

Meaning: This will be displayed when you make settings for

S/ P DIF Input or mLAN input, when you execute

the Disk mode Make Audio CD page “Write to

CD” command, or when you execute “Destina-

tion” in the Sampling mode Audio CD page “Des-

tination” command. Please read “About

Not enough memory to open pattern

Meaning: There was insufﬁcient sequencer memory to open

the pattern, so editing is not possible.

Action: Either delete unwanted data such as a song, track,

or pattern, or do not open the pattern.

Oscillator Mode conﬂicts (check PROG P1)

Meaning: In Sampling mode when you executed “Convert

MS To Program” with Use Destination Program

Parameters checked, the conversion destination

program “Oscillator Mode” setting did not match.

Action: In Program mode, set the “Oscillator Mode” of the

conversion destination program. If converting a

monaural multisample, select Single. If converting

a stereo multisample, select Double.

Not enough multisample memory

Meaning: There is insufﬁcient multisample memory. (The

number of multisamples would exceed the maxi-

mum of 1,000.)

Action: Delete multisamples to increase the amount of

free memory.

Not enough relative parameter memory

Meaning: There is insufﬁcient memory for relative parame-

ters. (The number of samples in the multisamples

would exceed the maximum of 4,000.)

Pattern conﬂicts with events

Meaning: It was not possible to execute the Bounce opera-

tion because one of the tracks contained a pattern,

and the same measure of the other track contained

events or a pattern.

Action: Delete multisamples or indices of multisamples to

increase the amount of free memory.

Action: Open the pattern.

Not enough sample memory

Meaning: There is insufﬁcient sample memory (for sample

parameters or sample waveform data).

Action: Delete samples to increase the amount of free

memory.

Pattern exists across destination to-end-of-measure or

source from-measure

Meaning: When moving a measure, the edit operation could

not be executed because a pattern had been put in

the destination end measure or the source start

measure, and had not been opened.

Not enough sample/ multisample locations available

Meaning: The data you attempted to load would exceed the

maximum number of multisamples or samples.

Action: In Sampling mode, execute “Delete Multisample”

or “Delete Sample” to free a sufﬁcient number,

and reload the data.

Action: Open the pattern.

Pattern exists in destination or source track

Open pattern ?

Meaning: A pattern has been placed in the track that you

speciﬁed as a destination or source for editing. If

you wish to open the pattern and execute (the

events of the pattern will be copied), press the OK

button. If you wish to execute without opening

the pattern, press the Cancel button.

Not enough song locations available

Meaning: When loading a .SNG ﬁle with “Append” speci-

ﬁed, you attempted to load more songs than can

be loaded.

Action: In Sequencer mode, execute “Delete Song” to

increase the number of multi’s that can be used,

and then load the song again.

Pattern used in song

Continue ?

Meaning: When editing, the speciﬁed pattern has been

placed in a track. If you wish to execute, press the

OK button. If you decide not to execute, press the

Cancel button.

Not enough song memory

Meaning: When executing the Sampling mode “Time Slice”

or “Save” commands, the total data for all songs

occupies all of the sequence data memory area, so

that saving is not possible.

Meaning: When sampling to RAM in Sequencer mode, it is

not possible to create track data at the same time.

Action: Increase the amount of free memory, for example

by deleting another song.

Rear sample is empty

Meaning: When you executed “Link” in the Sampling mode

Sample Edit page, the sample that you speciﬁed

as the rear sample is empty.

Action: Specify a sample that contains data as the rear

sample, and execute once again.

Request rejected

Meaning: In the Global mode mLAN Output/ Input page, a

request to mLAN was not accepted.

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Selected ﬁle/ path is not correct

Action: Check that connections between mLAN devices

are correct.

Meaning: When loading a divided .PCG ﬁle, you attempted

to load a .PCG ﬁle of the same name that was not

divided or had differing contents.

Root directory is full

Action: Load the correct .PCG ﬁle.

Meaning: You attempted to create a ﬁle or directory in the

root directory of the media, but this would exceed

the maximum number of root directory entries.

Action: Either delete an existing ﬁle or directory, or Open

a directory to move down one level before execut-

ing once again.

Meaning: When loading a KSF ﬁle that was split across mul-

tiple 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 “Translation” page

menu command. (The sample name and number

of the ﬁrst KSF ﬁle will be displayed.)

Sample data used in other sample(s)

Continue ?

Slice point over limit

Can’t divide

Meaning: Other sample(s) use the same sample data as the

sample that you are editing. To continue editing,

press the OK button.

Meaning: When using the Sampling mode “Time Slice” or

“Time Stretch” commands, the Slice setting would

divide the sample into more samples than the

maximum possible number (1000), and thus

“Divide” cannot be executed.

Sample L and R are identical

Meaning: The edit operation could not be executed because

the destination (save location) L and R sample

numbers are identical.

Action: Use “Link” to connect any “Index” that you do

not require, and then execute “Divide.”

Action: Select different sample numbers for L and R of the

destination (save location).

Source ﬁle is not 48000Hz

Can’t convert

Meaning: When executing the Disk mode Utility page menu

command “Rate Convert,” you selected a WAVE

ﬁle of a sampling rate other than 48000 Hz.

Action: WAVE ﬁles of other than 48000 Hz cannot be con-

verted to 44100 Hz.

Sample length is shorter than minimum

Meaning: You attempted to execute an editing operation

that would make the sample data shorter than 8

samples.

Action: Change the editing range so that the sample data

will be longer than 8 samples.

Source is empty

Meaning: No data exists in the track or pattern that you

speciﬁed as the source.

Sample used in other multisample(s)

Continue ?

Action: Specify a track or pattern that contains musical

data.

Meaning: The sample you are editing is used by other multi-

samples. To continue editing, press the OK but-

ton.

Source sample is empty

Meaning: When executing Insert, Mix, or Paste, the source

sample is empty.

Selected banks are the same

Meaning: This is a dialog box displayed when you load a

TRITON STUDIO .PCG ﬁle that contains drum kit

banks C/ D/ User or user arpeggio banks C/ D,

and indicates that the speciﬁed loading destina-

tion bank is the same bank.

Action: Execute the Copy operation before executing

Insert, Mix, or Paste.

S/ P DIF Clock Error !

Meaning: When “System Clock” was set to S/ P DIF, the

clock could not be detected correctly.

Action: Press the OK button to acknowledge the error

message, return to the dialog box where you spec-

ify the bank, and re-specify the loading destina-

tion bank.

Action: Check whether the digital output from the exter-

nal device is being output correctly. Sampling fre-

quencies of 48 kHz and 96 kHz can be input to the

TRITON STUDIO.

Also check whether there is a problem with the

optical cable.

There is no node

Meaning: The mLAN device speciﬁed in the Global mode

mLAN Output/ Input page does not exist.

Action: Check whether the speciﬁed mLAN device has

been turned off, or whether the cable has been dis-

connected.

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There is no plug

You can’t undo this operation

Are you sure ?

Meaning: The plug speciﬁed in the Global mode mLAN

Output/ Input page does not exist.

Meaning: When you exit recording or event editing in

Sequencer mode, the memory area for Undo

(Compare function) is not allocated. If you wish to

keep the data that was just recorded or edited,

press the OK button. If you wish to return to the

previous data (i.e., to delete the data that was just

recorded or edited), press the Cancel button.

Meaning: When editing in Sequencer mode, memory area

for Undo (Compare function) cannot be allocated.

If you wish to execute the edit, press the OK but-

ton. (It will not be possible to return to the state

before editing.) If you decide not to execute the

edit, press the Cancel button.

Action: Execute the operation once again. If the same

error occurs, check whether the mLAN device

containing the speciﬁed plug is operating cor-

rectly.

There is no readable data

Meaning: Either the ﬁle size is 0 or the ﬁle does not contain

data that can be accessed by the load or open

operation. Alternatively, the data is damaged etc.,

and cannot be loaded or accessed.

Action: In order to allocate memory area for Undo (Com-

pare function), delete unneeded data such as

songs, tracks, or patterns. We recommend that

you save data to ﬂoppy disk before you execute

the edit operation.

This file is already loaded

Meaning: When loading a divided .PCG ﬁle, you attempted

to load a ﬁle that had already been loaded.

Action: Load the .PCG ﬁles that have not yet been loaded.

Track is full

Meaning: In the Disk mode Make Audio CD page, you

attempted to insert a track that would make the

total exceed 99 tracks.

Action: Cut unneeded tracks, and then execute the Insert

operation once again.

Unable to create directory

Meaning: You attempted to create a directory that would

exceed the maximum pathname length (76 charac-

ters for the full pathname).

Unable to save ﬁle

Meaning: When executing the Disk mode Utility command

“Copy,” the copy destination path length

exceeded 76 characters.

Meaning: When saving a ﬁle in Disk mode or Song Play

mode, the save destination path exceeded 76 char-

acters.

Meaning: When you executed the Disk mode Utility page

menu command “Copy,” the ﬁle management

data exceeded the size of the management area.

Word Clock Error !

Meaning: When you set “System Clock” to Word Clock (if

the EXB-DI is installed), the word clock was not

being input correctly.

Action: Check whether there is a problem with the BNC

cable.

You can’t undo last operation

Are you sure ?

Meaning: Once you enter event editing (even if you leave

event editing without actually editing an event), it

will no longer be possible to execute a Compare of

the previous edit. If you wish to enter event edit-

ing, press the OK button. To cancel, press the Can-

cel button.

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S/ P DIF Sample Rate

WAVE ﬁle Play Level

Auto Optimize RAM

Data compatibility

In its various data formats, the TRITON STUDIO maintains

data compatibility with the TRITON/ TRITON pro/ TRITON

proX and TRITON-Rack. Data can be exchanged by using a

ﬂoppy disk or other external media to load/ save, or by

using MIDI exclusive data dump or parameter changes.

However, you must be aware of the following points.

•

TRITON STUDIO → TRITON-Rack or TRITON

(.PCG ﬁle load/MIDI data dump):

These parameter settings will be saved by the TRITON-

Rack or TRITON as internal data, but this data will be

ignored. When the TRITON-Rack or TRITON saves a

.PCG ﬁle or performs a MIDI data dump in this state, the

settings that were loaded or received via MIDI data

dump will be output.

In this section, the TRITON, TRITON pro, and TRITON

proX are collectively referred to as the TRITON.

•

TRITON-Rack or TRITON → TRITON STUDIO

(MIDI data dump):

These parameters will be set to “48 kHz,” “Normal” and

“Off” respectively.

[1] Parameters that are valid on the

TRITON STUDIO but invalid on the

TRITON-Rack and TRITON

Foot Switch Assign “JS+Y (CC#01)-SW2” setting

Foot Pedal Assign “JS+Y (CC#01)-Knob4” setting

TRITON STUDIO → TRITON

(.PCG ﬁle load/MIDI data dump):

1-1. Arpeggio pattern settings in Program, Combi-

nation, and Sequencer modes

These parameter settings will be saved within the TRI-

TON as internal data, but will be ignored. If this state is

saved by the TRITON-Rack or TRITON to a .PCG ﬁle or

transmitted as a MIDI data dump, the settings that were

loaded or received via MIDI data dump will be output.

•

TRITON STUDIO → TRITON (.PCG file load/MIDI

data dump/MIDI parameter change):

The TRITON does not have user arpeggio pattern num-

bers “U232 (E-C)–U506 (User),” and will not sound or

operate correctly.

Drumsample “0413-0416” settings

•

TRITON STUDIO → TRITON-Rack (.PCG file load/

MIDI data dump/MIDI parameter change):

The TRITON-Rack does not have user arpeggio pattern

numbers “U328 (User)–U506 (User),” and will not sound

or operate correctly.

•

TRITON STUDIO → TRITON-Rack and TRITON

(.PCG file load/MIDI data dump):

Since these multisamples do not exist on the TRITON-

Rack or TRITON, they will not sound/ operate correctly.

1-3. Combination or Sequencer mode “Program

1-2. Global mode parameters of the TRITON STU-

DIO

Select” bank EXB-A, B, C, D, E, F, G settings

•

TRITON STUDIO → TRITON

(.PCG ﬁle load/MIDI data dump):

Input (COMBI, PROG, SEQ, S.PLAY, DISK)

: S/ P DIF In

: mLAN In

Since these program banks do not exist on the TRITON,

they will not sound/ operate correctly.

•

TRITON STUDIO → TRITON-Rack or TRITON

(.PCG file load/MIDI data dump):

Data other than this data will be loaded by the TRITON-

Rack or TRITON.

1-4. Program mode OSC1 Drum Kit “064 (E-D)-143

(User)” settings

•

TRITON STUDIO → TRITON (.PCG file load/MIDI

data dump/MIDI parameter change):

System Clock

Since these drum kit numbers do not exist on the TRI-

TON, they will not sound/ operate correctly.

TRITON STUDIO → TRITON

(.PCG ﬁle load/MIDI data dump):

The parameter setting will be saved by the TRITON as

internal data, but this data will be ignored. When the

TRITON saves a .PCG ﬁle or performs a MIDI data dump

in this state, the setting that was loaded or received via

MIDI data dump will be output.

1-5. RAM sample parameter “+12 dB” setting

•

TRITON STUDIO → TRITON, TRITON-Rack (.KSF

file load):

Since the TRITON and TRITON-Rack do not have this

sample parameter, the “+12 dB” On setting will be

ignored. (As of March 2002)

System Clock “S/ P DIF” setting

•

TRITON STUDIO → TRITON-Rack (.PCG file load):

The parameter setting will not be loaded by the TRITON-

Rack.

Receive Ext. Realtime Command

TRITON STUDIO → TRITON-Rack or TRITON

(.PCG file load):

The setting of this parameter is saved by the TRITON-

Rack and TRITON as internal data, but the data itself will

be ignored. If this state is saved by the TRITON-Rack or

TRITON as a .PCG ﬁle, the ﬁle will be saved in the state

that was loaded.

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Note for 1-1, 1-3, 1-4, 2-3, 2-4, 2-5

[2] Parameters that are valid on the

TRITON-Rack but invalid on the TRI-

TON STUDIO and TRITON

The following table shows the bank/ number structure for

the programs, combinations, drum kits, and arpeggio pat-

terns of the TRITON STUDIO, TRITON, and TRITON-Rack.

If data for a bank/ number that does not exist on a model is

loaded into that model, it will not sound/ operate correctly.

Care must be taken when loading ﬁles, dumping MIDI data,

or using MIDI parameter changes between the TRITON

STUDIO, TRITON, and TRITON-Rack.

2-1. Program mode Audition Riff and Transpose

settings

•

TRITON-Rack → TRITON STUDIO or TRITON

(.PCG file load/MIDI data dump/MIDI parameter

change):

TRITON-Rack

Program

INT-A

TRITON

TRITON Studio

Program

INT-A

Program

The parameter settings will be saved by the TRITON

STUDIO or TRITON as internal data, but will be ignored.

When the TRITON STUDIO or TRITON saves this state

as a .PCG ﬁle or performs a MIDI data dump, the settings

will be output in the condition in which they were loaded

or received via MIDI data dump.

INT-B

INT-C

INT-D

INT-E

INT-F

•

TRITON STUDIO or TRITON → TRITON-Rack

(.PCG file load/MIDI data dump):

These parameters will be set to “Off” and “+00” respec-

tively.

G, g(1)...g(d)

EXT-A

G, g(1)...g(d)

EXT-A

EXT-B

EXT-C

EXT-D

2-2. Program, Combination, and Multi mode REAL-

TIME CONTROLS [SELECT] C-mode settings

EXT-E

EXT-F

•

TRITON-Rack → TRITON STUDIO or TRITON

(.PCG file load/MIDI data dump/MIDI parameter

change):

Parameter C settings will be saved by the TRITON STU-

DIO or TRITON as internal data, but this data will be

ignored, and operation will use A or B. When the TRI-

TON STUDIO or TRITON saves this state as a .PCG ﬁle

or performs a MIDI data dump, the settings will be out-

put in the condition in which they were loaded or

received via MIDI data dump.

EXT-G

EXT-H

Combination

INT-A

Combination

INT-A

INT-B

INT-C

INT-D

INT-E

EXT-A

EXT-B

EXT-C

2-3. Combination and Multi mode “Program Select”

EXT-D

bank EXB-A, B, C, D, E, F, G, H settings

EXT-E

•

TRITON-Rack → TRITON (.PCG/.SNG file load/MIDI

data dump/MIDI parameter change):

EXT-F

EXT-G

Since the TRITON does not have these program banks, it

will not sound/ operate correctly.

EXT-H

Drum Kit

000-015(I-A/B)

016-031(E-A)

032-047(E-B)

048-063(E-C)

064-079(E-D)

080-095(E-E)

096-111(E-F)

112-127(E-G)

128-143(E-H)

144-152(GM)

Arpeggio Pattern

P000-004(Preset)

U000-199(I-A/B)

U200-215(E-A)

U216-231(E-B)

U232-247(E-C)

U248-263(E-D)

U264-279(E-E)

U280-295(E-F)

U296-311(E-G)

U312-327(E-H)

Drum Kit

000-015(I-A/B)

016-031(E-A)

032-047(E-B)

048-063(E-C)

064-079(E-D)

080-095(E-E)

096-111(E-F)

112-127(E-G)

128-143(User)

144-152(GM)

Arpeggio Pattern

P000-004(Preset)

U000-199(I-A/B)

U200-215(E-A)

U216-231(E-B)

U232-247(E-C)

U248-263(E-D)

U264-279(E-E)

U280-295(E-F)

U296-311(E-G)

U312-506(User)

•

TRITON-Rack → TRITON STUDIO (.PCG/.SNG file

load/MIDI data dump/MIDI parameter change):

Since the TRITON STUDIO does not have program bank

H, it will not sound/ operate correctly.

00-15(A/B)

16-31(C)

32-47(D)

48-63(User)

2-4. Program mode OSC1 Drum Kit “064 (E-D)-143

(E-H)” settings

•

TRITON-Rack → TRITON (.PCG file load/MIDI data

dump/MIDI parameter change):

Since the TRITON does not have these drum kit num-

bers, it will not sound/ operate correctly.

64-72(GM)

Arpeggio Pattern

P000-004(Preset)

2-5. Program, Combination, and Multi mode arpeg-

U000-199(A/B)

gio patterns “U232 (E-C)-U327 (E-H)” settings

U200-215(C)

•

TRITON-Rack → TRITON (.PCG file load/MIDI data

dump/MIDI parameter change):

U216-231(D)

Since the TRITON does not have these user arpeggio pat-

tern numbers, it will not sound/ operate correctly.

280

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3-3. TRITON STUDIO or TRITON Sequencer mode

parameters and data

[3] Parameters that are valid on the

TRITON STUDIO and TRITON but

invalid on the TRITON-Rack

Sequencer mode data of the TRITON STUDIO and TRI-

TON is compatible with the Multi mode data of the TRI-

TON-Rack via .PCG ﬁle load or MIDI data dump.

However, you must use caution regarding the following

parameters and data.

3-1. Global mode parameters of the TRITON STU-

DIO and TRITON

Meter

Tempo Mode

Beep

Foot Switch Assign

Foot Pedal Assign

Damper Polarity

Foot Switch Polarity

Track1-16 PLAY/ MUTE

Track Play Loop

Track Play Loop Start Measure

Track Play Loop End Measure

Play Intro

•

TRITON STUDIO or TRITON → TRITON-Rack

(.PCG ﬁle load/MIDI data dump)

•

TRITON STUDIO or TRITON → TRITON-Rack

(.SNG ﬁle load/MIDI data dump):

These parameter settings are saved by the TRITON-Rack

as internal data, but are ignored. When the TRITON-

Rack saves this state as a .PCG ﬁle or performs a MIDI

data dump, the settings will be output in the condition in

which they were loaded or received via MIDI data dump.

These parameter settings are maintained by the TRITON-

Rack as internal data, but are ignored. When the TRI-

TON-Rack saves this state as a .PCG/ .SNG ﬁle or per-

forms a MIDI data dump, the settings will be output in

the condition in which they were loaded or received via

MIDI data dump.

•

TRITON-Rack → TRITON STUDIO or TRITON

(.PCG ﬁle load/MIDI data dump):

These parameters will be set to their default values.

•

TRITON-Rack → TRITON STUDIO or TRITON

(.SNG ﬁle load/MIDI data dump):

These parameters will be set to their default values.

Convert Position

TRITON STUDIO or TRITON → TRITON-Rack

(.PCG ﬁle load/MIDI data dump):

Cue List data (Cue list setting data)

The PreMIDI or PostMIDI setting of this parameter is

saved by the TRITON-Rack as internal data, but is

ignored, and the TRITON-Rack will operate as if the set-

ting were PostMIDI. When the TRITON-Rack saves this

state as a .PCG ﬁle or performs a MIDI data dump, the

setting will be output in the condition in which it was

loaded or received via MIDI data dump.

•

TRITON STUDIO or TRITON → TRITON-Rack

(.SNG ﬁle load):

This data will not be loaded.

TRITON STUDIO or TRITON → TRITON-Rack:

(MIDI data dump):

On the TRITON-Rack, this is saved as internal data of

Multi mode, but is ignored. When the TRITON-Rack per-

forms a MIDI data dump in this state, the settings will be

output in the condition in which they were received via

MIDI data dump.

•

TRITON-Rack → TRITON STUDIO or TRITON

(.PCG ﬁle load/MIDI data dump):

This parameter will be set to “PostMIDI.”

MIDI Clock

Track data (Events of all song tracks)

TRITON STUDIO or TRITON → TRITON-Rack

(.PCG ﬁle load/MIDI data dump):

•

TRITON STUDIO or TRITON → TRITON-Rack

(.SNG ﬁle load):

The External PCI/ F setting of this parameter is saved by

the TRITON-Rack as internal data, but is ignored, and

the TRITON-Rack will operate as if the setting were

External. When the TRITON-Rack saves this state as a

.PCG ﬁle or performs a MIDI data dump, the setting will

be output in the condition in which it was loaded or

received via MIDI data dump.

This data will be loaded if you check Load track events?

(ꢀ“Load selected 15, 16”). On the TRITON-Rack, this

will be saved as internal data of Multi mode, but is not

used in Multi mode. This data will be output when the

TRITON-Rack saves a .SNG ﬁle.

TRITON STUDIO or TRITON → TRITON-Rack

(MIDI data dump):

On the TRITON-Rack, this will be saved as internal data

of Multi mode, but is not used in Multi mode. This data

will be output when the TRITON-Rack transmits a MIDI

data dump.

3-2. TRITON Combination and Sequencer mode

MIDI Filter “Enable Foot Pedal/ Switch” param-

eter

•

TRITON STUDIO or TRITON → TRITON-Rack

(.PCG/.SNG ﬁle load/MIDI data dump):

The parameter setting is saved by the TRITON-Rack as

internal data, but is ignored. When the TRITON-Rack

saves this state as a .PCG/ .SNG ﬁle or performs a MIDI

data dump, the setting will be output in the condition in

which it was loaded or received via MIDI data dump.

•

TRITON-Rack → TRITON STUDIO or TRITON

(.PCG/.SNG ﬁle load/MIDI data dump):

This parameter will be set to “On.”

281

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[4] Parameters that are valid on the

TRITON but invalid on the TRITON

STUDIO or TRITON-Rack

[5] Reception of MIDI data dumps

between the TRITON STUDIO, TRI-

TON, and TRITON-Rack

Limitations on reception of MIDI data dumps between the

TRITON STUDIO, TRITON, and TRITON-Rack are

described by the table below.

4-1. Global mode parameters of the TRITON

PC I/ F Baud Rate

•

TRITON → TRITON STUDIO or TRITON-Rack

(.PCG ﬁle load):

[6] Data compatibility with other

devices

Due to differences in format, .PCG and .SNG ﬁles of the

KARMA Music Workstation and TRITON Le series cannot

be loaded. However, full compatibility has been maintained

for .KSC, .KMP, .KSF, .MID, .EXL, .AIF, and .WAV ﬁles.

These ﬁles can be loaded/ saved via external media.

The parameter setting is maintained as internal data by

the TRITON STUDIO and TRITON-Rack, but is ignored.

When this state is saved by the TRITON STUDIO or TRI-

TON-Rack as a .PCG ﬁle or transmitted as a MIDI data

dump, the settings that were loaded or received via MIDI

data dump will be output.

•

TRITON STUDIO or TRITON-Rack → TRITON

(.PCG ﬁle load):

This parameter will be set to its default value.

However, only the “+12 dB” (Sampling P2: 2–1c) setting

of the .KSF ﬁle will be ignored. (As of March 2002)

Transmitting device

Receiving device

TRITON

TRITON STUDIO

TRITON-Rack

Dump Program

[All Bank]

TRITON

TRITON Studio

TRITON

Dump Program

[1Bank]

TRITON Studio

TRITON-Rack

TRITON

L(✕ for EXT-A–EXT-G)

L(✕ for EXT-A–EXT-H)

L(✕ for EXT-H)

Dump Program

[1Program]

TRITON Studio

TRITON-Rack

TRITON

L(✕ for EXT-A–EXT-G)

L(✕ for EXT-A–EXT-H)

L(✕ for EXT-H)

Dump Combination

[All Bank]

TRITON Studio

TRITON

Dump Combination

[1Bank]

TRITON Studio

TRITON-Rack

TRITON

L(✕ for EXT-A–EXT-G)

L(✕ for EXT-A–EXT-H)

L(✕ for EXT-H)

Dump Combination

[1Combination]

TRITON Studio

TRITON-Rack

TRITON

L(✕ for EXT-A–EXT-G)

L(✕ for EXT-A–EXT-H)

L(✕ for EXT-H)

Dump Drum Kit

[All Kit]

TRITON Studio

TRITON-Rack

TRITON

Dump Drum Kit

[1Kit]

TRITON Studio

TRITON-Rack

TRITON

L(✕ for Kit64–143)

Dump Arpeggio Pattern

[All Pattern]

TRITON Studio

TRITON-Rack

TRITON

Dump Arpeggio Pattern

[1Pattern]

TRITON Studio

TRITON-Rack

TRITON

L(✕ for Pat232–506)

L(✕ for Pat328–506)

L(✕ for Pat232–327)

Dump Global Setting

Dump Sequencer

Dump All

TRITON Studio

TRITON-Rack

TRITON

TRITON Studio

TRITON-Rack

TRITON

TRITON Studio

282

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Common Chunk

The number of channels is ﬁxed at 1 (mono).

The sample size is ﬁxed at 16 bits.

Disk mode information

Marker Chunk

Two markers are used as Loop Start Address and End

Address respectively.

Chunks that are supported

When loading

Instrument Chunk

The loop play mode is ﬁxed at Forward Looping.

Zone data of the multisamples will not be exported.

AIFF ﬁles

When data is loaded into the TRITON STUDIO, the follow-

ing 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.

WAVE ﬁles

When exporting, the TRITON STUDIO will use the Format

Chunk, Sample Chunk, and Wave Data. Restrictions are

given below.

Format Chunk

Common chunk

The format category is ﬁxed at standard PCM format.

The number of channels is 1 (mono) or 2 (stereo), and is

ﬁxed at 1 (mono) for export.

Only one (mono) or two (stereo) channels are supported.

Sample sizes of 1–16 bits are supported. If the sample data is

8 bits or less, it will be loaded as 16 bit data with the lower 8

bits always at 0.

The sample size is ﬁxed at 16 bits.

Sample Chunk

Sound Data chunk

The Type is ﬁxed at Forward Loop.

Zone data of the multisamples will not be exported.

Offset and block size are ignored. (Block-Aligning Sound

Data is not supported.)

Marker chunk

Up to eight markers are supported. The ninth and subse-

quent markers will be ignored.

Instrument chunk

If the loop play mode is ForwardBackwardLooping, this will

be handled as ForwardLooping.

baseNote, detune, lowNote, highNote, lowVelocity, highVe-

locity, gain, and releaseLoop will be ignored.

WAVE ﬁles

When loading, the TRITON STUDIO references the Format

Chunk, Sample Chunk, and Wave Data. Limitations are dis-

cussed below.

Format chunk

Standard PCM format is the only format category that is

supported.

Only one (mono) or two (stereo) channels are supported.

Sample sizes of 1–16 bits are supported. If the sample data is

8 bits or less, it will be loaded as 16 bit data with the lower 8

bits always at 0.

Sample Chunk

Only the loop data is referenced. If there is multiple loop

data, the loop with the greatest number of loop playback

times (Play Count) will be used. Even if the Type is Alternat-

ing or Backward, it will be handled as Forward Loop.

Wave data

The Wave List chunk is not supported.

When exporting

AIFF ﬁles

When exporting, the TRITON STUDIO will use the Com-

mon Chunk, Sound Data Chunk, Marker Chunk, and Instru-

ment Chunk.

Limitations on the parameters within each chunk are dis-

cussed below.

283

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•

Attributes

About KORG format ﬁles

Multisample parameter attributes

LSB

KORG format ﬁle structure

MSB

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.

1: Not Use 2nd Start 0: Use It

NC(0)

Korg format file structure

G Relative parameter chunk 1

PIANO.KMP

PCMGROUP.KSC

PIANO.KMP

PI0000.KSF

Chunk ID (‘RLP1’)

[4 bytes]

Sample

parameters

Ac. Piano Multisample

parameters

Chunk size (18 × number of samples in the [4 bytes]

multisample)

RHODES.KMP

SNARE_00.KSF

Sample data

PI0000.KSF

PI0001.KSF

PI0002.KSF

PI0003.KSF

Relative parameters

(for ‘x’ number

of samples)

Original key

MSB 1: Non Transpose 0: Transpose

bits 6–0 original key

Top key (0–127)

[1 byte]

PI0002.KSF

Sample

parameters

PI0003.KSF

[1 byte]

PI0003.KSF

Tune (–99…+99 cents)

Sample

parameters

Level (–99…+99 cents)

Pan (0–127 currently unused)

Filter cutoff (–99…+99 currently unused)

Sample data

SNARE_00.KSF

KSF ﬁlename (including period and extension)

Sample

[12 bytes] × number of samples in the multisample

parameters

Sample data

If the .KSF ﬁlename is “SKIPPEDSAMPL”, it will be treated

as a sample skipped during loading.

If the .KSF ﬁlename is “INTERNALnnnn”, internal samples

will be used.

Unless stated otherwise, all data is Big Endian.

G When a Korg format ﬁle saved on the TRITON STUDIO is

G Relative parameter chunk 2

loaded by the TRINITY,

Chunk ID (‘RLP2’)

Chunk size (4)

[4 bytes]

[1 byte]

•

Of the parameters for each song, the following

parameters are ignored (the chunk that includes the

parameter is given in parentheses)

Transposing (–64…+63)

Resonance (–99…+99)

Attack (–99…+99)

Decay (–99…+99)

Filter cutoff

Transpose

Resonance

Attack

(RLP1 chunk)

(RLP2 chunk)

G Multisample number chunk

Chunk ID(‘MNO1’)

Decay

[4 bytes]

Chunk size (4)

•

Of the parameters for each sample, reverse playback

and loop off settings (included in the attribute

parameters of the SMD1 chunk) will be ignored, and

will be handled respectively as forward playback and

loop on. Only the twelve types of sampling frequency

supported by the Trinity will be loaded correctly, and

if the frequency is unsupported, the next lowest

frequency will be selected.

Multisample number (0–)

KSF (KORG Sample File) ﬁles

There are four types of structure for these ﬁles. One consists

of a Sample Parameter chunk, Sample Data chunk, and Sam-

ple Number chunk (SMP1 + SMD1 + SNO1). Another con-

sists of a Sample Parameter chunk, Sample Data chunk,

Sample Filename chunk, and Sample Number chunk (SMP1

+ SMD1 + SMF1 + SNO1). The latter structure is in the case

where the sample data of the Sample chunk is empty, and

uses the sample data of the .KSF ﬁle speciﬁed by the Sample

Filename chunk (shared sample data).

When saving to a ﬂoppy disk and a single disk cannot

accommodate all of the data, it is possible to automatically

divide the ﬁle and continue the save operation.

When a .KSF ﬁle is created in this way, the ﬁrst ﬁle will con-

sist of the Sample Parameter chunk, Sample Number chunk,

a divided Sample Parameter chunk, and a divided Sample

Data chunk (SMP1 + SNO1 + SPD1 + SDD1), and the second

and subsequent ﬁles will consist of a divided Sample Data

chunk (SDD1).

Split sample files cannot be loaded.

G When a Korg format ﬁle saved on the TRINITY is loaded

into the TRITON STUDIO,

•

Compressed sample files cannot be loaded.

Multisamples that use internal samples of the Trinity

will be assigned identically-numbered RAM samples.

KMP (KORG Multisample Parameter) ﬁles

These consist of the following chunks.

G Multisample parameter chunk

Chunk ID (‘MSP1’)

[4 bytes]

[16 bytes]

[1 byte]

Chunk size (ﬁxed at 18)

Multisample name

Number of samples in the multisample

Attributes

[1 byte]

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G Sample parameter chunk

Chunk ID (‘SMP1’)

Chunk size (32)

G Divided sample parameter chunk

Chunk ID (‘SPD1’)

[4 bytes]

[16 bytes]

[1 bytes]

[3 bytes]

[4 bytes]

Chunk size (12)

Sample name

The following up to the sample size is the same as in the

SMD1 chunk

Default bank (0–3)

Start address

Sampling frequency

Attributes

[4 bytes]

[1 byte]

[4 bytes]

2nd start address

Loop start address

Loop end address

Loop tune

Number of channels

Sample size

G Sample data chunk

Number of samples

Total number of samples in all divided ﬁles

Chunk ID (‘SMD1’)

Chunk size (12 + number of sample

databytes)

[4 bytes]

G Divided sample data chunk

Sampling frequency

[4 bytes]

Chunk ID (‘SDD1’)

[4 bytes]

The sampling frequencies supported by the TRITON

STUDIO are 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/ 7350/ 7111/ 7055/ 6945/ 6534/ 6000/ 5953/

5564/ 5513/ 5333/ 5291/ 5208/ 4945/ 4900/ 4741/ 4703/

4630/ 4356/ 4000/ 3968/ 3906/ 3709/ 3675/ 3556/ 3527/

3472/ 3267/ 3000/ 2976/ 2782/ 2756/ 2667/ 2646/ 2604/

2473/ 2450/ 2370/ 2352/ 2315/ 2178/ 2000/ 1984/ 1855/

1838(Hz).

KSC(Korg SCript) ﬁle

These ﬁles are text ﬁles which contain a list of ﬁlenames for

.KMP/ .KSF ﬁles which are to be handled together.

Lines beginning with # are ignored as comment lines.

The ﬁrst line of the ﬁle must begin with “#KORG Script Ver-

sion 1.0” and subsequent lines (except for comment lines)

consist only of ﬁlename. Only ﬁles with an extension of

KMP/ KSF are processed.

Filename conventions

Attributes

[1 byte]

.KMP ﬁlename for “Save All” or “Save All Multisamples”

Loop tune (–99...+99 cents)

Number of channels (1)

Sample size (8/ 16)

Number of samples

Sample data

KMP filename convention

[1 byte]

[4 bytes]

First 5 characters of

multisample name

Multisample number

The first multisample in internal memory is 000.

variable length

•

Attributes

When data is saved using “Save All,” “Save All Multisam-

ple” or “Save One Multisample,” the individual .KSF ﬁles

used by the Multisample (the .KMP ﬁle) are automatically

given ﬁlenames according to the following convention.

Sample parameter attributes

MSB

LSB

1: +12 dB playback 0: 0 dB playback*

Compression ID

1: Compressed data 0: Un-compressed data

1: Not Use 2nd Start 0: Use It

1: Reverse 0: Forward

KSF filename convention (samples used by the multisample)

1: Loop Off 0: Loop On

* For uncompressed data, this bit is handled as a

switch that specifies the playback gain.

For compressed data, this bit is handled as a

compression ID.

Sample number

The first sample of the multisample is 000.

Multisample number

The first multisample in internal memory is 000.

G Sample number chunk

Chunk ID (‘SNO1’)

Chunk size (4)

Likewise, when data is saved using “Save All” or “Save All

Samples,” the individual .KSF ﬁles are automatically given

ﬁlenames according to the following convention.

[4 bytes]

Sample number (0–)

KSF filename convention (sample)

G Sample ﬁlename chunk

Chunk ID (‘SMF1’)

Chunk size (12)

[4 bytes]

[12 bytes]

First 4 characters of

multisample name

Sample number

The first multisample in internal memory is 0000.

KSF ﬁlename

If the .KSF ﬁlename is “SKIPPEDSAMPL”, it will be

treated as a sample skipped during loading.

If the .KSF ﬁlename is “INTERNALnnnn”, internal sam-

ples will be used.

285

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Please note when installing an option

board/ memory

Option boards/ Memory/ Calen-

dar battery

•

So that static electricity in your body does not damage

the electronic components, touch the ground wire of a

grounded device or an unpainted metallic component

to discharge any static electricity in your body before

installing an option board or memory. Internal compo-

nents of the TRITON STUDIO and of the option/

memory boards may be damaged by static electricity.

Follow the installation procedure, and be sure that

each part is installed correctly and in the correct orien-

tation.

Please use care in handling option boards/ memory.

Dropping them or applying pressure to them may

damage the components.

Avoid touching exposed metal edges of the circuit

board, or portions that need not be handled during

installation.

Please read this before you begin installation

Safety precautions

•

Warnings

•

Before installing an option, be sure to disconnect the

power supply cable and the connecting cables to any

peripheral devices. Failure to do so could cause electrical

shock or may damage the device.

•

When installing, repairing, or replacing an option, you

must perform only those actions that the owner’s

manual directs, and no other.

Do not apply excessive force to the electronic

components or connectors on the circuit board(s) of an

option, or attempt to disassemble them.

•

Be careful not to lose the screws (and washers) that

you remove.

Do not use screws other than those that are installed in

the option board/ memory and the TRITON STUDIO.

Using screws of a different shape or length may dam-

age the unit or cause it to malfunction.

This could cause electric shock, ﬁre, or malfunction.

Cautions

•

Be sure to ﬁrmly tighten the screws used for attach-

ment.

•

Before touching the option, touch a metal component of

the device into which it will be installed, to discharge

any static electricity that may be present in your body.

Static electricity may damage the electronic components.

Be careful of any sharp edges or pointed metal parts on

the option or the device into which the option is being

installed.

Be sure that the option board/ memory is inserted cor-

rectly into the connector or slot. After installation, be

sure to check that the board is installed correctly. If the

board is not inserted all the way, faulty contact or

power supply shorts can occur, making the unit mal-

function.

Sharp edges or points may cause injury.

•

Be careful not to drop parts or the option board/ mem-

ory into the inside of the instrument.

If you are unable to retrieve a screw or part that was

dropped inside the instrument, please contact your

local Korg distributor.

•

Danger of explosion if battery is incorrectly replaced.

Replace only the same or equivalent type.

When handling an option, never touch parts that are not

related to the installation.

Doing so may cause electrocution or malfunctions.

When handling an option, be careful not to touch the

leads on the back side of the circuit board (the side

opposite that on which the components are mounted).

The sharp points may cause injury.

Do not allow the option or other device being installed

to become wet, and do not allow objects to be placed on

top of it.

•

Cautions when installing the calendar

battery

•

So that static electricity in your body does not damage

the electronic components, touch the ground wire of a

grounded device or an unpainted metallic component

to discharge any static electricity in your body before

installing an option board or memory. Internal compo-

nents of the TRITON STUDIO and of the option/

memory boards may be damaged by static electricity.

Follow the installation instructions, being careful not

to reverse the polarity of the battery.

Doing so could cause malfunction.

When installing an option, be careful that screws or

other parts do not fall into the device into which it is

being installed.

Doing so could cause malfunction.

•

Korg Inc. takes no responsibility for any malfunctions or

damage that may occur from improper use or modiﬁca-

tion of this product. Nor will Korg Inc. be responsible for

any damages resulting from the loss or destruction of

data.

Avoid touching exposed metal edges of the circuit

board, or portions that need not be handled during

installation.

•

All screws (and washers) that are removed will be

used, so be careful not to misplace them.

Do not use screws other than those that are installed in

the TRITON STUDIO. Using screws of a different

shape or length may damage the unit or cause it to

malfunction.

•

Be sure to ﬁrmly tighten the screws used for attach-

ment.

When installing the battery, do not use excessive force.

Pressing the battery too hard or using excessive force

may cause malfunctions or damage.

•

Make sure that the battery is completely inserted into

the battery holder. After installation, check to make

sure that the battery is ﬁrmly in place.

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•

When installing the battery, be careful not to drop it

inside the device.

If you drop the battery inside the device and are unable

to retrieve it, please contact your Korg distributor.

I DRAM SIMM (sample data memory modules)

These can be used as sample data memory. Up to two 72-pin

DRAM SIMM (either 16 Mbytes or 32 Mbytes) modules can

be installed, providing a maximum of 64 Mbytes. (ꢀ“Cau-

tion when purchasing DRAM SIMM modules ”)

DRAM SIMM boards are not a manufacturer option.

Please purchase commercially-available boards that are

sold for use in computers.

About option boards/ memory/ calen-

dar battery

In order to achieve the maximum 96 Mbytes capacity,

you will need to remove the 16 Mbytes DRAM SIMM

that is standard, and install three 32 Mbytes DRAM

SIMM boards.

By installing option boards or memory into your TRITON

STUDIO, you can expand its functionality. The following six

types of expansion are possible.

G EXB-MOSS (DSP synthesizer board)

The memory banks and sampling time will depend on

the capacity of the DRAM SIMM boards you install,

and on the slot locations. (ꢀ p .90)

This adds to the TRITON STUDIO a MOSS tone generator

that provides thirteen oscillator algorithms, including Stan-

dard, Ring Modulation, VPM, Resonance, Organ Model, and

Electric Piano Model. This lets you use the MOSS tone gen-

erator in program, combination, multi modes. The MOSS

tone generator has six-note polyphony.

Caution when purchasing DRAM SIMM modules

Some commercially available DRAM SIMM modules

cannot be used on the TRITON STUDIO. Before you

purchase memory modules, please check the following

points.

G EXB-DI (digital interface board)

The six channels of the TRITON STUDIO’s AUDIO OUT-

PUT jacks (MAIN) L/ MONO, R, (INDIVIDUAL) 1–4 (ana-

log audio outputs) will be output as 24 bit 48 kHz digital

signals on channels 1–6 of the ADAT optical format. By

using the WORD CLOCK IN jack, digital audio signals can

be synchronized between the TRITON STUDIO and a con-

nected device.

Types of DRAM SIMM modules that can be used on the

TRITON STUDIO

•

72-pin 16 Mbytes or 32 Mbytes

Access time of 60 ns or less

Address input 11 bit (A0–A10)

Power supply voltage 5 V

G EXB-mLAN (mLAN Interface Board)

DRAM SIMM modules that meet the above requirements

can be used.

This is an option board for connecting the TRITON STUDIO

to an mLAN system. Installing an EXB-mLAN allows the

TRITON STUDIO to be connected easily via an IEEE 1394

cable to other mLAN-compatible electronic musical instru-

ments and computers, enabling high-capacity transmission

and reception of MIDI and audio data. (An EXB-mLAN

installed in the TRITON STUDIO provides 2-in/ 6-out chan-

nels of digital audio at a sampling frequency of 48 kHz.)

This is a great convenience when using recording software

on your computer. Included software allows the connection

status of connected devices to be ﬂexibly programmed from

your computer, and OMS/ ASIO drivers for Macintosh are

also included.

If you have any questions regarding the type of DRAM

SIMM modules that can be used, please contact your local

Korg distributor.

I Calendar battery

This battery maintains the date and time that are recorded

when data is saved. Use a CR2032 type battery.

CR2032 batteries that can be used in the TRITON STUDIO

•

CR2032 batteries manufactured by Sony or Panasonic.

G CDRW-1 (CD-R/ RW drive)

Checking after installation

A song you create on the TRITON STUDIO can be sampled

to the internal hard disk, and that data can be used to create

an audio CD. You can also play back an audio CD inserted

in the CDRW-1, or use the Ripping function to read it into

the TRITON STUDIO. This drive can also be used to save/

load data such as PCG ﬁles (packet writing is supported

ꢀ p .299).

When the TRITON STUDIO is turned on, the currently

installed option boards/ memory will be shown in the

LCD screen.

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.

If it is not displayed, the installation may not have been

performed correctly. Check once again that the board is

installed correctly.

If the calendar battery is not installed correctly, or if the

battery voltage has run low, the LCD screen will show a

message of “Battery voltage for calendar IC is low”

when the power is turned on. Please make sure that

you are using a battery that has not run down, and that

the battery is installed correctly.

G EXB-PCM series (PCM expansion boards)

Each of these boards adds 16 Mbytes of multisamples and

drum samples to the TRITON STUDIO. (The details will dif-

fer according to the series.)

EXB-PCM01:

EXB-PCM02:

EXB-PCM03:

EXB-PCM04:

EXB-PCM05:

Piano/Classic Keyboards

Studio Essentials

Future Loop Construction

Dance Extreme

Vintage Archives

EXB-PCM06/07: Orchestral Collection

EXB-PCM08: Concert Grand Piano (Expected to go on sale in

March 2002)

The multisamples of the EXB-PCM08 are built into the TRITON

STUDIO.

* As of March 2002

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If you have any questions regarding installation, please

contact your local Korg distributor.

Installing an EXB-PCM

Before you perform the installation, be sure to read the fore-

going section “Safety precautions ” and “Please note when

installing an option board/ memory.”

A maximum of seven EXB-PCM boards can be installed

simultaneously.

If you are installing a single EXB-PCM, it will function

correctly when installed in any slot. For easiest installa-

tion, you should use the furthest slot (EXB-PCM Slot 1)

ﬁrst.

While performing the installation, be careful that you

do not cut your hands on any sharp or pointed edges of

the TRITON STUDIO or the option board.

You must leave the AC power cable disconnected until

you have completed all steps of installing the option

board.

OPTIONS

EXB-MOSS: The EXB-MOSS option is installed.

EXB-DI: The EXB-DI option is installed.

EXB-mLAN: The EXB-mLAN option is installed

1Use a coin or similar object to turn the screw counter-

clockwise until the EXB-PCM/ sampling memory (RAM)

slot cover (located at the upper left of the front panel) is

released. (Turn the screw counter-clockwise to loosen it,

or clockwise to tighten it.)

CDRW-1:

The CDRW-1 option is installed.

SIMM

Slot 1...3 (** MB): SIMM’s are installed in SIMM slots 1–3.

The capacity of each SIMM is shown in parentheses. When

shipped from the factory, a 16 MB SIMM is already installed

in SIMM slot 1.

EXB-PCM

Slot 1...7 (****): PCM expansion boards are installed in EXB-

PCM series slots 1–7. The type of each board is shown in

parentheses.

If the calendar battery is not installed correctly, or if the

battery voltage is too low

EXB-PCM/sample

memory (RAM) slot cover

2Raise the EXB-PCM/ sample memory (RAM) slot cover

to the angle shown in the diagram, and remove it.

When you open the EXB-PCM/ sample memory (RAM)

slot cover, do not raise it too far toward the rear.

3Remove the EXB-PCM from its packing pouch.

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4Verify the location of the slot into which you want to

install the EXB-PCM.

Removing an EXB-PCM

•

Spread the catches of the slot apart to the left and right,

and (after removing the stoppers from the catches) tilt

the EXB-PCM and pull it out.

The seven slots closest to yourself are for EXB-PCM mod-

ules. (The three slots furthest from yourself are for

DRAM SIMM modules.)

The notched side of the EXB-PCM is 1 PIN. Install the

EXB-PCM with its 1 PIN side aligned with the 1 PIN

mark ( ) of the slot.

If you wish to remove the rear EXB-PCM board, you

must ﬁrst remove the forward EXB-PCM.

When you spread the catches of the slot apart, the EXB-

PCM may pop out vigorously and fall into an opening

(inside the instrument). Please be careful.

The EXB-PCM slots and the DRAM SIMM slots are

shaped identically. Be careful not to install a memory

module in the wrong slot.

Sample

memory

(RAM) slots

Catches

Catch

EXB-PCM

slots

EXB-PCM

Front

Notch

Locking

hole

Locking

hole

Rear side of EXB-PCM

5At a slant, press the EXB-PCM ﬁrmly all the way into the

slot, and raise it to the vertical position until the catches

of the slot click into the locking holes of the EXB-PCM.

When doing so, pressing the catches of the slot apart to

the left and right will help the board go in smoothly.

1. Firmly press in at an angle.

2. Tilt up vertically.

Catch

E X B -P C M

Front

6Reversing the procedure by which you opened the EXB-

PCM/ sample memory (RAM) slot cover, reattach the

cover and fasten it with the screw.

7When all steps have been completed, turn on the power

and make sure that the EXB-PCM has been installed cor-

rectly. (“Checking after installation ” ꢀ p .287)

8After you have veriﬁed that the EXB-PCM module was

installed correctly, load the data from the ﬂoppy disk

included with the EXB-PCM. (ꢀBG p.65)

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4At a slant, press the DRAM SIMM ﬁrmly all the way into

the slot, and raise it to the vertical position until the

catches of the slot click into the locking holes of the

DRAM SIMM. When doing so, pressing the catches of the

slot apart to the left and right will help the board go in

smoothly.

Installing a DRAM SIMM

Before you perform the installation, be sure to read the fore-

going section “Safety precautions ” and “Please note when

installing an option board/ memory.”

A maximum of three memory SIMMs can be installed.

A DRAM SIMM will function correctly when installed

in any slot.

For ease of installation, we recommend that you ﬁrst

use the slot that is furthest from yourself.

If you wish to use three 32 Mbytes DRAM SIMMs, you

will need to remove the factory-installed 16 Mbytes

DRAM SIMM as explained in “Removing an DRAM

SIMM.”

1. Firmly press in at an angle.

2. Tilt up vertically.

Catch

You must leave the AC power cable disconnected until

you ﬁnish the entire process of removing the lid, install-

ing the option board or memory, and reattaching the

lid.

DRAM SIMM

1Remove the EXB-PCM/ sample memory (RAM) slot

cover as described in “Installing an EXB-PCM board”

steps 1and 2.

Front

2Have the DRAM SIMM at hand.

3Verify the location of the slot into which you will install

the DRAM SIMM module.

The three slots furthest away from yourself are for

DRAM SIMM modules. (The seven slots closest to your-

self are for EXB-PCM modules.) When the TRITON STU-

DIO is shipped from the factory, a 16 Mbytes DRAM

SIMM is installed in the furthest slot. If you want to add

one or two additional memory modules, install them in

the vacant slots. If you want to install three memory

modules, remove the factory-installed DRAM SIMM as

described in “Removing a DRAM SIMM,” and use all

three of the slots.

5Reversing the procedure by which you opened the EXB-

PCM/ sample memory (RAM) slot cover, reattach the

cover and fasten it with the screw.

The end with the notch is 1 PIN. Align the 1 PIN mark

6When all steps have been completed, turn on the power

and make sure that the DRAM SIMM has been installed

correctly. (“Checking after installation ” ꢀ p .287)

(

) of the slot with the 1 PIN marking on the EXB-PCM.

The DRAM SIMM slots and the EXB-PCM slots are

shaped identically. Be careful not to install a board in

the wrong slot.

Removing an DRAM SIMM

•

Spread the catches of the slot apart to the left and right,

and (after removing the stoppers from the catches) tilt

the DRAM SIMM and pull it out.

Catches

Sample

memory

(RAM) slots

If you wish to remove the rear DRAM SIMM board, you

must ﬁrst remove the forward DRAM SIMM.

When you spread the catches of the slot apart, the

DRAM SIMM may pop out vigorously and fall into an

opening (inside the instrument). Please be careful.

EXB-PCM

slots

Notch

Locking

hole

Locking

hole

Catch

Rear side of DRAM SIMM

DRAM SIMM

Front

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6Verify the installation location.

Installing the EXB-MOSS

Before you perform the installation, be sure to read the fore-

going section “Safety precautions ” and “Please note when

installing an option board/ memory.”

Calendar battery holder

While performing the installation, be careful of any

sharp or pointed edges of the TRITON STUDIO or the

option board.

EXB-MOSS connector

You must leave the AC power cable disconnected until

you have completed all steps of installing the option

board.

1You will need a “+” (plus) screwdriver, and some maga-

zines or other material (to prevent damage to the joystick

and knobs etc.: see diagram below).

EXB-DI connector

2Turn off this instrument, and disconnect the AC power

cable and any other cables by which other devices are

connected.

When cover is removed

Rear panel

Make sure that the EXB-PCM/ sample memory (RAM) slot

cover is closed, and that the screw has been tightened.

7Remove the EXB-MOSS from its packing pouch.

8Note that screws and washers are attached to the four

4As shown below, place four books or magazines on your

work surface to prevent damage to the joystick or knobs,

and place the instrument upside down on top of them.

corners of the board.

Place at each corner to avoid the joystick or knobs

Screw

Washer

View from below

9Use the four screws to attach the EXB-MOSS to the corre-

sponding brackets inside the TRITON STUDIO.

EXB-MOSS

Screw

Washer

Chassis to which the board is

being installed

Connector

EXB-MOSS/EXB-DI cover

When you turn over the instrument, be careful not to

lose your balance and drop the instrument.

5Using a screwdriver, remove two screws from the EXB-

MOSS/ EXB-DI cover, raise the cover, and pull it out of

the slit.

When raising the cover, pull it out without forcibly

pushing it backward.

Rear panel

Before the screws are tightened, the EXB-MOSS will

ﬂoat slightly above the brackets. If at this time you

apply excessive force to the EXB-MOSS, the screws or

washers may come out.

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0Plug the cable into the connector as shown in the dia-

Installing the EXB-DI

gram. Press the cable ﬁrmly in until it stops.

Before you perform the installation, be sure to read the fore-

going section “Safety precautions ” and “Please note when

installing an option board/ memory.”

Do not touch any part of the circuit board other than

the connector in which the cable is being inserted.

Connector

While performing the installation, be careful of any

sharp or pointed edges of the TRITON STUDIO or the

option board.

You must leave the AC power cable disconnected until

you have completed all steps of installing the option

board.

1Remove the EXB-MOSS/ EXB-DI cover as described in

steps 1–5of “Installing the EXB-MOSS.”

2Verify the location where the EXB-DI will be installed.

(ꢀ“Installing the E X B-M O S S ” step 6)

3Remove the EXB-DI from its bag.

4Remove the two screws and washers from the two cor-

ners of the board

Press in all the way

Be careful to save the screws that you remove. Some

models that can use the EXB-DI, will require these two

screws.

Rear panel

AReversing the procedure by which you removed the

Screw

Remove

screw and

washer.

EXB-MOSS/ EXB-DI cover, reattach the cover.

BWhen all steps have been completed, turn on the power

and make sure that the EXB-MOSS has been installed

correctly. (“Checking after installation ” ꢀ p .287)

Washer

CAfter you have veriﬁed that the EXB-MOSS was installed

correctly, load the data from the ﬂoppy disk included

with the EXB-MOSS. (ꢀBG p.65)

5Remove the two screws holding the (DI) cover that

blocks the installation opening of the EXB-DI, and

remove the (DI) cover. The two screws you removed will

be used to fasten the EXB-DI.

The (DI) cover you removed will not be used. Take it

out so that it is not left inside the TRITON-Rack. The

cover you removed should be kept in a safe place, since

it will be needed if you later decide to remove the EXB-

DI.

Cover (for DI)

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6Attach the cable as shown in the diagram. Firmly press

Installing the EXB-mLAN

the cable all the way into the connector.

Before you perform the installation, be sure to read the fore-

going section “Safety precautions ” and “Please note when

installing an option board/ memory.”

Do not touch any part of the circuit board other than

the connector to which you are connecting the cable.

While performing the installation, be careful of any

sharp or pointed edges of the TRITON STUDIO or the

option board.

You must leave the AC power cable disconnected until

you have completed all steps of installing the option

board.

1Remove two screws from the mLAN cover plate that cov-

ers the EXB-mLAN installation slot on the rear panel,

and remove the mLAN cover plate.

Press all the way in

IN)

MAX

MIN

(

LEVEL

LIN

Cable

INDIVIDUAL

)

(

MAIN

)

Connector

Rear panel

mLAN cover plate

7With the connectors of the EXB-DI protruding from the

rear panel of the TRITON-Rack, support the EXB-DI with

one hand and use the two screws you removed to fasten

the EXB-DI from the rear of the TRITON-Rack.

The two screws you removed will be used to fasten the

EXB-mLAN in place. The cover you removed should be

kept in a safe place, since it will be needed if you later

decide to remove the EXB-mLAN.

2From the TRITON STUDIO, pull out the cable that will

be connected to the EXB-mLAN.

EXB-DI

IN)

MAX

MIN

LEVEL

LIN

L/M

(

INDIVIDUAL

)

(

MAIN

)

3Remove the EXB-mLAN from its bag.

4Disconnect the cable from the EXB-mLAN connector.

The cable you disconnected should be kept in a safe

8Reversing the procedure described in steps 1–5of

“Installing the EXB-MOSS,” reattach the EXB-MOSS/

EXB-DI cover.

place. This cable may be required for connection if the

EXB-mLAN is installed in another device that can use

it.

9After you have completed all the above steps, turn on the

power and verify that the EXB-DI has been installed cor-

rectly. (“Checking after installation ” ꢀ p .287)

EXB-mLAN connector

Cable

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5Using the three mLAN installation screws (included with

the TRITON STUDIO), attach the mLAN installation

plate (also included with the TRITON STUDIO) to the

EXB-mLAN.

Installing the CDRW-1

Before you perform the installation, be sure to read the fore-

going section “Safety precautions ” and “Please note when

installing an option board/ memory.”

Never attempt to install an internal CD-R/ RW drive

other than the CDRW-1.

While performing the installation, be careful not to cut

your hands on any sharp or pointed metal edges of the

TRITON STUDIO or the CDRW-1.

IN)

MIN

LIN

LEVE

L/M

(

INDIVIDUAL

)

(

MAIN

)

You must leave the AC power cable disconnected until

you have completed all steps of the installation.

EXB-mLAN

1Push off the CDRW-1 cover.

mLAN

installation plate

Slide the [EJECT] switch (located on the bottom of the

TRITON STUDIO) in the direction of the arrow, and the

drive bay cover on the side of the TRITON STUDIO will

be pushed out.

6Connect the cable you pulled out in step 2to the EXB-

mLAN connector. Firmly press the cable all the way into

the connector.

Viewed from below

7Using the two screws you removed in step 1, attach the

2Remove the CDRW-1 cover.

EXB-mLAN to the TRITON STUDIO.

Hook your ﬁngertip on the edge of the cover that was

pushed out, and remove it in the direction of the arrow

shown in the diagram.

Forcefully pulling the cover toward yourself may dam-

age the cover.

IN)

MAX

MIN

LEVEL

LIN

L/M

(

INDIVIDUAL

)

(

MAIN

)

8When all steps have been completed, turn on the power

and verify that the EXB-mLAN has been installed cor-

rectly. (“Checking after installation ” ꢀ p .287)

If you have installed the EXB-mLAN into the TRITON

STUDIO for the ﬁrst time, you must perform the Initial-

ize operation. (ꢀ p .141)

Keep the cover you removed, since it will be needed if

you remove the CDRW-1.

3Insert the CDRW-1.

For details on connections between the EXB-mLAN and

external devices, refer to the “EXB-mLAN owner’s

manual.”

Be sure that the drive is oriented in the correct direction.

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Press the locations indicated by the arrows until the

unit clicks into place, so that the internal connector is

securely connected.

Cautions for handling

•

Make sure that the unit is level when operating.

Do not use in extremely cold or hot locations.

Do not use in locations of high humidity.

Do not use this unit in locations of excessive dust or

smoke.

•

Do not apply strong physical shock to the unit. In

particular, the unit is highly sensitive to physical shock

during operation (either reading or writing), and must

not be jarred.

•

Normally, the drive uses software ejection. Although the

CD tray can be opened by pressing the eject button, you

can also make the tray open by inserting a pointed object

(such as straightened paper clip) into the emergency

eject hole.

Apply equal pressure to both points.

•

Do not store the unit in high temperature or high

humidity.

•

Never touch the focussing lens.

Do not use commercially available lens cleaners.

Do not transport the unit with a disc left in the drive.

Do not leave the unit with the tray left open.

CD-R/ RW disc handling

Please observe the following points when handling discs.

Failure to observe these points may cause problems such as

data not being written correctly, loss of recorded data, or

drive malfunction.

4When you have completed all of the above steps, turn on

the power and verify that the CDRW-1 has been installed

correctly. (“Checking after installation ” ꢀ p .287)

If the TRITON STUDIO did not recognize the CDRW-1,

you can either press strongly once again on the arrows in

step 3, or try reinstalling the CDRW-1.

•

Do not place discs in direct sunlight or in locations of

high temperature or high humidity.

Do not touch the surface of the disc. Hold the disc by its

edges.

Remove dust or dirt from the surface of the disc. Use an

air duster or cleaner to remove dust.

Do not affix labels to the disc, or write on the disc in

locations other than specified.

Removing the CDRW-1

When you slide the [EJECT] switch located on the bottom of

the TRITON STUDIO, the CDRW-1 will be pushed out of the

TRITON STUDIO. Gently remove the CDRW-1.

•

Do not use chemicals or detergent to wipe the disc.

Do not bend or drop the disc.

Fastening the CDRW-1 ﬁrmly in place

Responsibility for loss of data

By using the screw included with the option, you can lock

the [EJECT] switch of the TRITON STUDIO to prevent the

CDRW-1 from coming out accidentally.

Korg Corporation will accept no responsibility for any

damages (direct or indirect, whether sustained by the

customer or by a third party) resulting from loss of or

damage to data written on a CD-R or CD-RW disc.

Inserting a disc

Make sure that the power of the TRITON STUDIO is turned

on.

1Open the disc tray

Press the eject button of the CDRW-1, and the disc tray

will open.

At this time, the tray will open only halfway. Pull it out

manually until a disc can be placed in the tray.

Note when transporting/ moving/ shipping the CDRW-1

The CDRW-1 is a precision device that is vulnerable to

shock and vibration. It may be damaged if it is left in

the TRITON STUDIO during transport or shipping.

Before you transport or ship the TRITON STUDIO,

please remove the CDRW-1 and transport it in its own

packaging.

Eject button

Before using the CDRW-1 for the ﬁrst time, you

must remove the pickup stopper from the disc

tray.

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2Insert the disc

Place the disc on the disc tray with its label facing

Saving/ loading on the CDRW-1

Disk mode P0–2: Save, P0–1: Load

•

Saving/ loading on the CDRW-1 is the same as saving/ load-

ing on an external drive. However, a disc must be formatted

before it can be used for packet writing. (“Packet writing

support on the TRITON STUDIO ” ꢀ p .299)

upward, and centered correctly.

3Close the disc tray.

Manually press the disc tray in until it is completely

closed.

If the TRITON STUDIO does not recognize the disc, re-

install the CDRW-1 as described in “Installing the

CDRW-1.”

Creating an audio CD

•

Disk mode P0–4: Make Audio CD

If you want to use the CDRW-1 to create an audio CD, refer

to “Creating an audio CD from WAVE ﬁles sampled to hard

disk” (ꢀBG p.118)

Removing a disc

1Press the eject button, and the disc tray will open.

2Gently remove the disc from the disc tray.

Playing back an audio CD

•

Sampling mode P5: Audio CD

Disk mode P0–5: Play Audio CD

3Manually press the disc tray in until it is completely

closed.

If you want to use the CDRW-1 to play an audio CD, use the

various SEQUENCER keys in the pages listed above.

Emergency removal of the disc

Normally you can use the above procedure to remove and

insert the disc. However if a problem (such as power failure)

occurs and the disc cannot be removed, you can use the fol-

lowing method to remove the disc.

In the same way as for external audio sources from

AUDIO INPUT 1 and 2, set “Input” to Analog, and set

Input1 (L channel) and Input2 (R channel). (ꢀBG p.102)

To use this method, you will need a pin-like object of

less than 2 mm diameter, such as a straightened paper

clip. Insert this “pin” straight into the manual eject

hole, and press. The disc tray will be forced open.

Sampling from an audio CD

•

Sampling mode P5: Audio CD (analog/ digital)

Program, Combination, Sequencer modes P0 page,

Sampling mode (analog)

•

Please be aware that excessive use of this method may

cause the CDRW-1 to malfunction.

In the same way as for external analog audio sources

from AUDIO INPUT 1 and 2, set “Input” to Analog,

and set Input1 and Input2. (ꢀBG p.104)

If you want to use the Ripping function to sample digi-

tal audio from an audio CD inserted in the CDRW-1,

you can do so in the Sampling mode P5: Audio CD

page. (ꢀBG p.108)

This procedure must be performed with the power off.

Manual eject hole

Formatting a disc

Blank media (indicated in the “drive select” area as Blank

Disc) must be formatted before it can be used for packet

writing of data. (ꢀ p .299)

Formatting is not necessary if you will be using the disc to

create an audio CD.

Using the CDRW-1

When using the CDRW-1, you must be sure that the

TRITON STUDIO is placed on a level surface that does

not vibrate.

Please observe the following points when writing data

to the CDRW-1 (and while formatting a disc). If you fail

to observe these points, it may become impossible to

create an audio CD successfully, or it may no longer be

possible to read data.

•

Do not write or format a disc in a location where there

is high-volume sound.

Do not touch the TRITON STUDIO while a disc is

being written or formatted. (Even slight vibration or

shock may cause an error.)

You must carefully read “About copyright” (ꢀBG p.iii)

and observe the terms of use.

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Replacing the calendar battery

Before you replace the battery, you must read “Safety pre-

cautions ” and “Cautions when installing the calendar bat-

tery.”

While performing this procedure, be careful of any

sharp edge or corner of the TRITON STUDIO or an

option board.

You must leave the AC power cable disconnected until

you have ﬁnished all steps of replacing the calendar

battery.

1Remove the EXB-MOSS/ EXB-DI cover as described in

steps 1–5of “Installing the EXB-MOSS.”

2Verify the location in which the calendar battery is

installed. (ꢀStep 6of “Installing the E X B-M O S S ”)

Calendar battery

With the cover removed

Rear panel

3Remove the calendar battery that has run down.

Press the part of the battery indicated in the diagram

below to release the catch of the battery holder, and then

lift up and remove the battery.

Be careful not to drop the battery into the interior of the

TRITON STUDIO.

Press this part of the battery.

4Install the new battery.

With the “+” side of the calendar battery facing upward,

insert it into the battery holder at an angle, and press it

into place.

5Reversing the procedure described in steps 1–5of

“Installing the EXB-MOSS,” reattach the EXB-MOSS/

EXB-DI cover.

6When all of the above steps have been completed, turn

on the power, and verify that the “Battery voltage for cal-

endar IC is low” is no longer displayed.

7After you have veriﬁed that the above message did not

appear, use the page menu command “Set Date/ Time”

(Disk, Utility) to reset the calendar.

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Some external SCSI devices require an externally

attached terminator, while others contain an internal ter-

minator. Refer to the owner’s manual for your SCSI

device.

Connecting external SCSI devices

External SCSI devices (hard disks, removable media, etc.)

can be connected to the SCSI connector of the TRITON STU-

DIO.

Total SCSI cable length must be 3 meters or less

Data can be saved to a connected hard disk, removable

media, or CD-R/ RW etc. in the same way as to a ﬂoppy

disk, and data can be loaded from a connected CD-ROM.

SCSI

ID0

Hard Disk

ID1

Hard Disk

ID2

Hard Disk

Terminate the last device

I External SCSI device connections

and settings

•

Maximum capacity of external drive: 2 TB (2,000 Gbytes)

per drive

•

SCSI connector: D-sub half-pitch 50 pin

Number of units that can be connected: up to 7 units

5. Turn on the power of the external SCSI device(s), and then

turn on the power of the TRITON STUDIO.

Please use the recommended drives for external con-

nection. For a list of recommended drives, please con-

tact your Korg distributor.

When you turn on the power, ﬁrst turn on the power of

the external SCSI device, and after waiting at least ten

seconds, turn on the power of the TRITON STUDIO.

The power must be turned off in the order of TRITON

STUDIO ﬁ external SCSI device.

Never turn off the power while the external SCSI device

is being accessed (e.g., while the LED of the external SCSI

device is lit).

Since the external SCSI device to be connected may

have a different shape of connector, refer to the owner’s

manual for your external SCSI device to verify the type

of connector before you purchase a SCSI cable.

1. Turn off the power of the TRITON STUDIO and of your

external SCSI device.

When the power of the TRITON STUDIO is turned on,

it will check the SCSI device connection status, and if

the TRITON STUDIO is turned off during this checking

process, the SCSI device may stay in an inoperable

state. If the power of the TRITON STUDIO is once

again turned on in this state, the system cannot be

started up. You must turn the power of the SCSI device

off and then on again, and then turn on the power of

the TRITON STUDIO.

Be sure to turn off the power of the TRITON STUDIO

and the external SCSI device before you connect or dis-

connect SCSI cables or change the ID number of the

external SCSI device.

If the power of the TRITON STUDIO or the external

SCSI device is on when you connect or disconnect SCSI

cables or change the ID number of the external SCSI

device, the TRITON STUDIO or the external SCSI

device may malfunction, or data may be lost.

6. Make sure that the TRITON STUDIO has recognized the

external SCSI device.

Use the drive select command of the TRITON STUDIO’s

Disk mode etc. to make sure that the connected external

SCSI device has been recognized.

If it has not been recognized, immediately turn off the

power of the TRITON STUDIO and of the external SCSI

device, check the connections between the TRITON STU-

DIO and the external SCSI device.

2. On the external SCSI device, set the ID number (0–6).

If you are connecting two or more external SCSI devices

(in a “daisy-chain”), set each external SCSI device to a

different ID number so that they can be distinguished.

For details on setting the ID number, refer to the owner’s

manual for your external SCSI device.

If you set two or more external SCSI devices to the same

ID number, malfunctions or loss of data may result.

3. Connect the SCSI connector of the TRITON STUDIO to the

SCSI connector of the external SCSI device.

Pay attention to the orientation of the cable connector,

and make connections correctly. If the cable connector

has a lock (thumb-screw or page), be sure it is fastened

securely.

I Using an external SCSI device

For details on formatting an external SCSI hard disk or simi-

lar device, and using it to load or save data, refer to p.155,

BG p.59.

If you connect two or more external SCSI devices (in a

“daisy-chain”), be sure that the total length of the con-

nection cables does not exceed 3 meters.

4. Attach a terminator (terminating resistor) to the external

SCSI device so that the connection is terminated.

If two or more external SCSI devices are connected (in a

“daisy-chain”), terminate the device that is furthest from

the TRITON STUDIO.

Even if only one external SCSI device is connected, it

must be terminated.

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The time required for formatting will be approximately 2

minutes for Quick Format, and approximately 50 min-

utes for Full Format.

After formatting, the usable area for 650 MB/ 700 MB

media will be approximately 530 MB/ 570 MB

respectively

Packet writing support on the

TRITON STUDIO

•

The TRITON STUDIO can use packet writing to write to a

CD-R/ RW.

After formatting the media, you can use it in the same way

as a ﬂoppy disk or hard disk.

I Cautions when using packet writing

[1] For a CD-R

I About packet writing

•

Deleting a file merely makes the file appear as if it had

been deleted, and will not increase the free area. Also,

each time a file is updated, a new file is added, and

processing is performed to make it appear as though the

file had been overwritten.

Packet writing is a method of dividing data into small units

called “packets” so that the data can be written efﬁciently,

and is suitable for adding or updating data.

As its packet writing format, the TRITON STUDIO uses

UDF (Universal Disk Format), the format that is also used

on DVD discs. This means that formatted CD-R/ RW media

can also be read by packet writing software that supports

UDF.

[2] For a CD-RW

•

In the same way as on a floppy disk, deleting a file will

increase the free area. Also, updating a file will

overwrite the file over the previous location.

The TRITON STUDIO supports UDF version 1.5.

[3] About writing data

•

Using packet writing to save data on a CD-R/ RW will

take a longer time because writing to CD-R/ RW is

slower than writing to hard disk. The time will also

depend on the CD-R/ RW drive you use, and on the

writing speed supported by the media you use.

I Usable media

To save data, please use media that has been formatted

by the TRITON STUDIO.

•

650 MB and 700 MB CD-R media that supports up to 16×

writing

650 MB and 700 MB CD-RW media that supports up to

4×/ 10× writing

I Loading into an external device

other than the TRITON STUDIO

[1] For a CD-R

I Formatting

•

The disc can be read by a computer on which packet

writing software is installed.

In the same way as when formatting a ﬂoppy disk, insert

blank or previously-formatted media into the drive, and

execute the page menu command “Format” (Disk Utility 0–

3F).

•

By converting it into ISO9660 format, you can make it

possible for the data to be read by an external MIDI

device that supports ISO9660 format, or by a computer

on which packet writing software has not been installed.

For details on the conversion, refer to page menu

command “Convert to ISO9660 Format” (Disk Utility 0–

3G).

When writing to the CDRW-1 option, do not subject the

TRITON STUDIO to vibration or physical shock, since

this may cause errors.

[2] For a CD-RW

Cautions when formatting

•

The disc can be read by a computer on which UDF

reader or packet writing software has been installed.

This disc cannot be converted into ISO9660 format, and

therefore cannot be read by external MIDI devices that

support ISO9660 format.

[1] For a CD-R

•

Data that has been written to CD-R cannot be erased as it

can on a floppy disk. This means that re-formatting

previously-formatted media will not increase the free

area. (Approximately 20 MB of space will be used to add

a new session.)

Since the conversion to ISO9660 format adds ISO9660

session data, it consumes approximately 20 MB of space.

•

Only Quick Format can be selected.

Quick Format requires less than a minute to execute.

External MIDI devices that support ISO9660 format (*1)

(manufactured by Korg Corporation)

It is not necessary to apply Full Format to CD-R media.

•

TRITON/ TRITON pro/ TRITON proX/ TRITON-Rack (*2)

D1600/ D12/ D16

[2] For a CD-RW

* As of February 2002

•

In the same way as a floppy disk, a CD-RW can be

formatted to erase the previously-written contents. This

means that re-formatting the disc will increase the free

area.

*1: Supports ISO9660 level 1.

*2: Only the ﬁrst session can be read.

If reading on an external device other than the TRITON Studio

•

Quick Format: Select this if the media has already been

formatted in UDF format.

Full Format: Select this if the media is blank or if it has

not been formatted in UDF format.

You should also execute this type of formatting if fre-

quent writing errors occur when writing to the media.

When you copy a ﬁle larger than 1.9 Mbytes from CD-

R/ RW (or other media with a slow access speed) to CD-

R, the ﬁle may not be copied in a continuous state.

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Also, when you execute “Rate Convert” (Global 0–3G),

“Save to Std MIDI File” (Disk 0–2F) or similar com-

mand to save to CD-R, the ﬁle may not be written in a

continuous state even if it is copied from media with a

fast access speed such as hard disk. If data in this state

is converted into ISO9660 format, it will be in the

divided ﬁle format supported by ISO9660 level 3.

Such data cannot be read by devices that do not sup-

port loading of divided ﬁles, such as the TRITON and

some computers. In the case of a computer, this CD-R

data can be read if you can install ISO9660 level 3 com-

patible reader software or packet writing software.

EXB-DI option

The EXB-DI option provides an ADAT™ Compatible Opti-

cal Output which digitally outputs the audio signal from the

TRITON STUDIO, and also allows the digital signal to be

synchronized with another digital audio device.

For an explanation of the DIGITAL OUT connector and

WORD CLOCK IN connector, refer to BG p.7.

In this owner’s manual, “ADAT” is used as a general desig-

nation for ADAT compatible multi-track recorders such as

the Alesis ADAT.

Example connections

Digitally recording the sound of the TRITON STUDIO

to an ADAT

1Use an ADAT-Optical cable (sold separately) to connect

the TRITON STUDIO’s Digital OUT connector to the

ADAT’s Digital INPUT.

For connections, use an ADAT-Optical cable manufac-

tured by Alesis Corporation or an optical cable for CD/

DAT (both sold separately).

2Set the TRITON STUDIO’s “System Clock” (Global P0:

0–2a) to Internal.

3Set the word clock source of the ADAT to “DIG 48 K.”

For details refer to the manual for the connected ADAT.

ADAT

DIGITAL IN

DIGITAL OUT

TRITON STUDIO

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Digitally recording the sound of the TRITON STUDIO

that has been mixed on a digital mixer to the ADAT

1Use an ADAT-OPTICAL cable to connect the TRITON

STUDIO’s DIGITAL OUT connector to the ADAT OPTI-

CAL IN connector of the ADAT Optical format-compati-

ble mixer.

2Use ADAT-OPTICAL cables to connect the respective IN

and OUT connectors of the ADAT Optical format-com-

patible mixer and the ADAT.

3Make connections as shown in the following diagram so

that an Alesis BRC Remote Controller or other ADAT

optical format compatible mixer or remote controller can

be used as the master for digital signal synchronization,

and connect the WORD CLOCK OUT connector of the

mixer to the WORD CLOCK IN connector of the TRITON

STUDIO.

For connections, use a BNC Coax cable made by Alesis

Corporation or a BNC cable made for video (both sold

separately).

4Set the TRITON STUDIO’s “System Clock” (Global P0:

0–2a) to Word Clock.

The digital audio signal that is output from the DIGITAL

OUT connector is output in synchronization with the

clock signal received at the WORD CLOCK IN jack,

allowing the digital signals of the two devices to be syn-

chronized.

If you wish to store the “System Clock” setting, use the

“Write Global Setting” utility to write it.

5Set the word clock source of the ADAT to “DIG 48 K.”

For details refer to the manual for the connected ADAT.

If the clock cannot be detected correctly due to a discon-

nected BNC cable or for some other reason, a error mes-

sage “Word Clock Error!” will appear in the LCD. If this

occurs, check whether a problem has occurred with the

BNC cable.

If “System Clock” has been written as Word Clock, the

same error message will be displayed when the TRI-

TON STUDIO is powered-on if the correct clock is not

being input.

ADAT BRC

WORD

CLOCK OUT

Digital Mixer

WORD

CLOCK IN

DIGITAL IN

DIGITAL OUT

DIGITAL IN

DIGITAL OUT

WORD CLOCK OUT

DIGITAL IN

ADAT

WORD CLOCK IN

DIGITAL OUT

TRITON STUDIO

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Realtime Control Knobs B-

Assign 250

Sample 11

BPM

BPM/ MIDI SYNC function 248

Index

Detune (BPM Adj. in Page

Menu)

Audio CD 120

Numerics

000: No Effect 178, 187

Combination 39

Sequencer 63

Detune BPM Adjust

Combination 39

Sequencer 64

Grid 100, 105, 108

MIDI/ Tempo Sync., LFO 26

Pitch BPM Adjust 118

Time Slice 109

Audio CD Track List 169

AUDIO OUTPUT (INDIVIDUAL)

10’s Hold

185

Combination 33

Program

Auto

Auto +12 dB On 6, 57, 99

Auto Arpeggiator 136

Auto Loop On 99

Auto Optimize RAM 140

Auto Punch In 58

12 dB 5, 6, 37, 56, 57, 99, 108, 138

ꢀ ꢀTempo

Time Stretch 113

BUS Select

ADC OVERLOAD !! 5, 37, 56, 98

Combination 179, 183

BUS Sel. (BUS Select) 47

BUS Select (IFX/ Indiv.Out

BUS Select) 46

BUS(IFX/ Indiv.) Select 36

Drum Kit

BUS Select (IFX/ Indiv.Out

Assign) 151

Input/ Sampling (Audio Input)

181, 184

BUS (IFX/ Indiv.) Select 140

Play Audio CD

BUS (IFX/ Indiv.) Select 175

Program 179, 183

BUS (IFX/ Indiv.) Select

BUS Sel. (BUS Select) 30

BUS Select (All OSCs to) 28

Sampling 180

After Touch

Bank

After Touch Curve 136

AMS 242

Convert Position 143

MIDI Filter 144

Combination 40

Sequencer 65

Combination

Bank (Bank Select) 33

Bank Select (When

Status=EX2) 38

Bank/ Combination Select 33

Bank/ Program (Program

Select) 34, 37

AIFF file (.AIF) 163, 168, 283

AKAI S1000/ S3000 format 164

All Routed 47, 85, 132, 182

Load Combination Bank 159

Select Bank & Smpl No. 37

Global

Alternate modulation 14, 18, 20,

25, 241

Bank Map 137

Change all bank references

137

Alternate modulation source

50, 241

Amp 22

Enable Bank Change 144

High Drumsample Bank 148

Low Drumsample Bank 149

Program

AMS 242

Drum Kit

Attack (Amp-Attack) 149

Decay (Amp-Decay) 149

Program 21

BUS (IFX/ Indiv.) Select 97

BUS (Output) Select (BUS

Select) 125

Bank (Bank Select) 1

Bank/ Program Select

High MS Bank

BUS(IFX) Select 122

BUS(Output) Select 99

Sequencer 179, 183

Amp EG 23, 246

Amp Level 2, 21

Keyboard Track, Amp Mod.

Load Program Bank 159

Low MS Bank 10

Select Bank & Smpl No. 6

BUS (IFX/ Indiv.) Select 56

BUS (Output) Select 58

BUS Sel. (BUS Select) 84

BUS Select (IFX/ Indiv.Out

BUS Select) 83

LFO, Amp Mod. 22

Realtime Control Knobs 250

Sampling

Bank (RAM Bank) 90

Sequencer

AMS (Alternate Modulation

Bank Select (When

Status=EX2) 63

Bank/ Track Program Select

Pattern (Pattern Bank) 76, 79

Program Select (Bank/

Program) 51

Source) 241

Song Play 179, 183

Arpeggiator 3, 26, 36, 44, 81, 129

IFX/ Indiv.Out BUS Select

(BUS Select) 131

Arpeggiator Assign 44, 81, 129

Arpeggio

Arpeggio Tone Mode 152

Fixed Note Mode 152

Pattern 3, 27, 36, 45, 82, 130, 152

Preset arpeggio pattern 27, 152

User arpeggio pattern 27, 152

Load 160

Calendar battery 286, 297

Song Play

Calibration 137

Program Select (Bank/

Program) 124

Category

Combination 33, 34, 35

Drumsample 149

IFX Select 30

MFX Select 31

Program 1, 3, 9

Rename 147

Bank select 260

Save 166

Write 153

Base key 89

Beep Enable 139

Attack Time

Amp EG 23

Drum Kit 149

Filter EG 19

Bend Range

Combination 39

Sequencer 63

Sequencer 51

Filter EG + Amp EG

Bounce

Song Play 123, 125

Pitch EG 14

Bounce Pattern 77

Bounce Track 70

CDRW-1 287, 294

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Chain

IFX 30, 47, 84, 179

Copy To Track 78

Copy Track 70

OSC 10

Sequencer 64

MFX 31, 48, 184

Copy, File, Directory 169

Copy, Index 118

Copy, Sample data 102

Copy, Step, Cue List 60

Event 70

Delete

Chain Direction 31, 48, 185

Chain Level 31, 48, 185

Chain Signal 31, 48, 185

Delete button, Jukebox 128

Delete Cue List 60

Delete Measure 71

Delete MS 93

Delete Sample 92

Delete Song 52

Chain to next file 125

Revert, RPPR 79

Chords strummed on a guitar 154

Count-down

Clear/ Erase

Metronome Precount

Delete Step 154

Clear, Audio track list 172

Clear, Load 158, 160, 163

Clear, Sample data 102

Erase Control Data 73

Erase Measure 70

Metronome Precount, Sampling

Sound, Sequencer 58

Delete, file, directory 170

StepBack, note, rest 69

Truncate 101, 109

Create

Detune

Create Control Data 73

Create Directory 170

Create, Index 89, 118

Detune (B P M Ad j . in Page

Menu) ꢀBPM

Detune B P M Ad j u st ꢀBPM

Erase Pattern 77

Erase Track 70

Remove Data 58, 76

Shift/ Erase Note 74

Ctrl Ch 47, 48, 85, 86, 132, 133, 182,

DKit 21, 28, 46, 83, 131, 179, 180,

185, 246, 254

183, 184

Combination 33

Auto Arpeggiator 136

Bank Map 137

Cue List 59

Convert 61

Dmod (Dynamic Modulation

So u rce) 30, 32 , 47, 48, 84, 85, 122,

132, 133, 177, 182, 185, 246

Copy From Combi 52

Load 157, 159

Load 158, 160

Save 166, 167

Double-size effect 178

Memory Protect 139

MIDI Filter 144

Save 166, 167

Current directory 128, 156

DRAM SIMM 287, 290

Cut

Drive select 7 , 96, 121 , 128, 156, 173,

Cut, Audio track 173

Cut, Cue List 60

Cut, Event 70

Cut, Event Edit 69

Cut, Index 118

Cut, mLAN 141, 142

Cut, Multisample 118

Cut, Sample 102

Cut, Sample data 102

Cut, Step, Cue List 60

175

Write 35

Drum Kit 10, 46, 84, 95, 132, 139,

148, 150, 159, 180

Condition at power-on 138

Control change 255, 260

Controller 253

DrumKit IFX Patch 46, 84, 132,

180

Load 157, 159

Oscillator Mode 7

Protect 139

Save 166, 167

Convert

Convert MS To Program 93

Convert Position 143

Convert to ISO9660 Format 171

Convert to Song 61

Rate Convert 105

Use DKit Setting 21, 28, 179, 183

Write 150

Cutoff frequency 16

Alternate Modulation 244

Cutoff, Drumsample 149

Cutoff, Sample Parameters 10

Realtime Control Knobs B–

Assign 250

Select Bank & Smpl No. 6, 56

Time Slice 112

Drums 7, 9, 21, 28, 39, 46, 63, 179,

180, 183

Convert Position 143

Drumsample 148, 149

Copy

Dump 144

Copy Arpeggiator 27, 45, 82,

130

Reception 145

Transmission 145

Copy Arpeggio Pattern 153

Copy Cue List 60

Copy Drum Kit 150

Copy From Combi 52

Copy From Song 52

Copy Insert Effect 29, 46, 84,

122, 132

Copy Key Setup, Drum Kit 150

Copy Master Effect 32, 48, 85,

133

Dynamic modulation ꢀDmod

Damper pedal 232

AMS 242

Damper Polarity 146

Half Damper Calibration 137

MIDI Filter 144

Effect Global Switch 136

Erase ꢀClear/ Erase

Event Edit 69, 77

EXB-DI 287, 292, 300

EXB-mLAN 287, 293

EXB-MOSS 287, 291

EXB-PCM series 287, 288

Combination 40

Sequencer 65

Decay Time

Amp EG 23

Drum Kit 148

Filter EG 19

Copy Measure 72

Copy MS (Copy Multisample)

Filter EG + Amp EG

Exclusive 264

Copy Oscillator

Pitch EG 14

Realtime Control Knobs B-

Assign 250

Exclusive Data 161, 168

MIDI Filter 144

Copy Pattern 77

Copy Pattern to Track too? 53

Copy Sample 92

Copy Scale 147

Copy Song 62

Copy Step 154

Exclusive Group 150

Sample 11

.EXL file 155, 161, 168

Delay Time

Combination 40

Drum Kit 10

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Hold

Key Sync.

Arpeggiator 3, 27, 36, 45, 82,

Hold Balance 36

FF/ REW Speed 54

130, 152

LFO 25

Filter 16

AMS 242

Drum Kit

Cutoff 149

Resonance 149

Program

Key Transpose 135

Key Zone 42, 66

Icon 155

Index

Keyboard & Index 89

Keyboard Display 95

Audio CD 120, 174

Sampling 11, 88, 100, 107, 110,

114, 117

Filter A/ B Modulation, Filter

Mod. 18

Filter EG 19

Filter EG, Filter Mod. 17

Filter Type 16

Keyboard Track, Filter Mod.

LFO, Filter1 LFO Mod. 18

Performance Editor

Sample Parameter 11

Keyboard Track

Amp 22

Sequencer 69

AMS 242, 244

Filter 17

Index, Multisample 11, 57, 88, 89,

100, 107, 110, 117

.KMP, .KSC, .KSF file 155, 162, 163,

Initialize Steps 154

285

Input

Translation 157

(COMBI, PROG, SEQ, S.PLAY,

DISK) 4, 36, 56, 139, 175

(SAMPLING) 96

Korg format 162, 167, 284

Realtime Control Knobs 250

Inputting a tie 69

Inputting notes 69

Inputting rests 69

Fixed Note Mode 152

Layer 42

Flam 154

Legato

Fingered 13

Length

Foot Pedal/ Foot Switch

AMS 242

Insert

Insert Measure 71

Insert Step, Arpeggio 154

Insert Zero 103

Insert, Audio track 172

Insert, Event 69

Insert, Index 118

Insert, Sample 102

Insert, Step, Cue List 60

Foot Pedal Assign 146, 252

Foot Pedal/ Switch

MIDI Filter, Combination 41

MIDI Filter, Sequencer 66

Foot Switch Assign 146, 251

Foot Switch Polarity 146

Arpeggio Pattern 152

Cue List 59

Level 178

LFO 25

Amp 22, 245

AMS 241

Force OSC Mode 38, 63

Format 170

Filter 19, 245

Frequency 25, 246

Pan 21

Pitch 14, 244

Resonance 16

Swap 26

Insert Effect (IFX) 28, 46, 83, 122,

Full Format 171

131

Effect Global Sw, IFX1–5 Off

136

IFX Balance 3

Gain

ISO9660 155, 171

Tempo 26

Waveform 25

MEQ 31, 185, 239

Gate, Arpeggiator 27, 45, 82, 130,

Load

153

Load FX? 60

Load Jukebox List 129

Load selected 157

Load Template Song 53, 124

Loading multiple files 162

.JKB file 129, 155

Get

Get From Track 78

Joystick 260, 261

AMS 242

Global MIDI Channel 142

AMS, Cutoff frequency 18

Dmod 246

Effect 190, 210, 235, 238

Joystick lock 249

LFO speed 25

LFO, Cutoff frequency 19

MIDI Filter 41, 65

Pitch 12, 14

Global setting

Load 157, 160

Save 166, 167

Write 136

Local Control 142

Location 49, 59, 123

Set Location 54, 125

GM 1, 10, 137

Loop

GM Initialize 54, 124

GM system on 265

GM/ GS/ XG 267

Auto Loop On 99

Loop All Track 58

Loop Lock 108

Pitch modulation 14

Loop On 108

Grid 100, 105, 108

Jukebox 129

Loop Start Address 108

Loop Start Measure/ Loop End

Measure 55

Loop Tune 108

Track Play Loop 55

Half Damper 137

.KCD file 155, 165, 169

Hard disk 155, 156, 298

Check Medium 171

Destination 121

KEY

Low Pass & High Pass 16

Drum Kit 148

Resampling 98

RPPR 79

Low Pass Resonance 16

Save to 5, 37, 56, 90

Select Directory 7, 37, 56, 96

Key Split 42

Hide unknown files 157

304

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Mute

PLAY/ MUTE, Song Play 124

Sampling 122

Sequencer 84

Song Play 132

Pan, INPUT

Master Effect (MFX) 182

MFX Balance 3

MFX1 Off/ MFX2 Off 136

MFX1, 2

PLAY/ MUTE/ REC, Sequencer

Combination 36

Global 140

Combination 48

Program 31

Sequencer 85

Program

Normalize 104

Sampling 97

Sequencer 56

Note

Song Play 133

Note On/ Off Receive 150

Note Receive Filter 143

Paste, Sample 103

Master EQ (MEQ) 185, 239

Combination 48

Program 32

Pattern 76

Note Number

Pattern Edit 76

Preset pattern 53, 76

User pattern 76

Load 161

AMS 242

Sequencer 86

Song Play 133

Number of measures

Pattern 77

Master Track 49, 50

Save 166

Song 75

Master Tune 135

.PCG file 155, 157, 166

Media 155

Performance Editor

Octave

Check Medium 171

Total Size 175

Type 156, 175

Pitch

Arpeggio Pattern

Pitch Offset 153

Combination

Octave Motion, Arpeggiator

152

Octave, Arpeggiator 3, 27, 36,

45, 130, 152

Octave, Drum Kit 10

Octave, OSC 10

Memory Protect 139

Memory Status

Sample 99

Bend Range 39

Detune 39

Transpose 39

Sequencer 52

Metronome

Drum Kit

Octave, Performance Editor

Metronome Precount 5, 37, 98

Metronome Setup 6, 37, 58, 99,

125

Transpose 149

Tune 149

Global

Convert Position 143

Key Transpose 135

Master Tune 135

Program

Offset

Offset, LFO 25

Offset, Sequencer 74

S.Offset (Start Offset)

Drum Kit 149

Metronome Sound 76

.MID file 123, 155, 161, 167

MIDI 65, 142, 258

Program

MIDI Channel 259

Optimize 6, 96, 140

AMS 244

Combination 38, 47, 48

Global MIDI Channel 142

Original Key 89, 117

JS (+X), OSC Pitch Mod. 13

JS (–X), OSC Pitch Mod. 13

LFO1/ 2, OSC Pitch Mod. 13

Pitch EG 14

Pitch EG, OSC Pitch Mod. 13

Pitch Slope, OSC Pitch Mod.

Original Key Position 99

Program

Sampling 259

Oscillator (OSC) 7, 9, 10, 12, 38, 63

Force OSC Mode 38, 63

OSC Balance 2

Sequencer 62, 65, 85, 86

Song Play 123, 132, 133

MIDI Clock 143

OSC Select

MIDI Filter 40, 65, 144

Combination 38

Sequencer 63

Oscillator Mode 7

Pitch Stretch

Mixer 181, 184

Pitch, Sample 11

Ribbon, OSC Pitch Mod. 12

mLAN 4, 36, 56, 96, 138, 139, 140,

Over Dub 57

141, 143, 175, 287, 293

Sampling

Over Write

Mono

Constant Pitch 117

Pitch 118

Sequencer

Over Write, Sequencer 57

Overwrite, Sampling 101

Drum Kit 150

Multisample 94

Program 7, 38, 63

Sample 5, 91, 94

Bend Range 63

Create Ctrl Data 73

Detune 63

MOSS 287, 291

Packet writ 299

Transpose 63

Mount 176

Pan

Pitch Bend 39, 63, 73, 260

Move

Pan 252, 261

Move Measure 72

Moving an event 70

Shift/ Erase Note 74

Poly/ Mono

Combination 35, 37

Drum Kit 151

Play Audio CD 174

Program 21, 24, 245, 250

Sequencer 55

Portamento 261

Combination 38

MIDI Filter

Multi REC 58

Combination 40

Sequencer 65

Multisample 9, 87, 88, 117

Load 162

Song Play 125

Portamento Switch 242 , 247 , 251

Portamento Time 13, 250, 252

Program 13

Save 167

Use DKit Setting 21

Pan (CC#8), IFX 181, 250, 252

Combination 47

Program 30, 179

Multi-track recording 58, 267

Sequencer 65

305

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Positional Cross-fade 42

Repeat

Repeat Measure 72

Program

Sequencer 64

Song Play 126

User All Notes Scale 147

User Octave Scale 146

Power On Mode 138

Repeat, Cue List 60

Priority

Priority to play notes 8

Program

Resampling 4, 6, 36, 56, 57, 98, 99

Resolution (Reso)

Arpeggiator 3, 27, 36, 45, 82,

130, 152

Scan Zone 28, 45, 82, 130

Auto Arpeggiator 136

Bank Map 137

Combination 34, 37, 38

Convert MS To Program 93

Load 157

SCSI 298

Sequencer 51, 74, 76

SCSI ID 298

Resonance 16

AMS 245

Select Bank & Smpl No. 6, 56

Send 179, 181, 182

Drum Kit 149

Realtime Control Knobs 250

Sample 11

Memory Protect 139

MIDI Filter 144

Save 166, 167

Sequencer 51

Song Play 123

Combination 36, 46, 47, 179, 183

Play Audio CD 174

Program 4, 29, 30, 179, 183

Sequencer 56, 84, 179, 183

Song Play 132, 179, 183

Reverse

Drum Kit 149

Write 3

Program

Sampling 105, 108

Single Trigger 7, 150

Program Change

MIDI Filter 144

Combination 40

Sequencer 65

SMF (Standard MIDI File) 123, 268

Load 161

Ribbon controller

AMS 242

Save 167

Dmod 247

MIDI Filter

Combination 41

Sequencer 65

Pitch 12

.SNG file 155, 163, 166, 167

Punch In

Solo

Auto Punch In 58

Manual Punch In 57, 251

SOLO ON/ OFF 51, 124

Solo Selected Timbre 35

Solo Selected Track 52, 124

Put To Track 78

Ribbon Lock 249

Song 50, 52, 60

Ripping 121

Convert, Cue List to Song 61

Load 158, 161

Save 166, 167

Rotate

Quantize

Rotate Step 154

Pattern

Routing 179, 183

Combination 46

Program 28

Set Song Length 75

Reso (Realtime Quantize

Resolution) 76

Song

Sort 3, 27, 36, 45, 82, 130, 152

Status 34, 38, 62, 126

Sequencer 83

Song Play 131

Quantize 73

Reso (Realtime Quantize

Resolution) 51

Step

Cue List 59

Current Step, Cue List 60

Step No., Arpeggio Pattern 153

RPPR (Realtime Pattern Play/

Recording) 79

Quick Format 171

RPPR On/ Off 51

Step Recording 68, 77

Stereo multisample 90, 94

Stereo sample 90, 94, 101

Rate Convert 105, 171

S/ P DIF Sample Rate 138

SW1, SW2 12, 43, 67, 119, 127

AMS 243

Realtime Control Knobs B-Assign

12, 43, 67, 119, 127, 250

AMS 241

Sample 88, 89, 100

Free Sample Memory 99

Load 162

Assign 249

Combination 43

Program 12

Sampling 119

Sequencer 67

MIDI Filter

Sample Parameters 10

Sample Time 5, 56, 91

Sample waveform display 100,

107

Save 166, 167

Select Bank & S m pl No. 6, 37, 56

Combination 41

Sequencer 66

Recording Level 5, 37, 56, 91, 98

Song Play 127

MIDI Filter 144

Combination 41

Sequencer 66

Recording Mode 57

Rename

Sample Edit 100

Combination 35

File, Directory 169

Pattern Name 78

Sample memory (RAM) 5, 90

Swap

Optimize RAM 6, 37, 96, 140

Swap Insert Effect 29, 46, 84,

122, 132

Swap LFO 1&2 26

Swap Master Effect 32, 48, 85,

133

Program

Sampling 4, 36, 56, 87, 139

Program/ Combination Cat. 147

Rename Arpeggio Pattern 153

Rename Cue List 60

Rename Drum Kit 150

Rename Multisample 93

Rename Sample 93

Save 167

No space available on medium

166

Save Jukebox List 129

Save Template Song 54, 125

Save to 5, 37, 56, 90

Swap Oscillator

Swap Track 173

Swing 27, 45, 82, 130

Rename Song 52

Track Name 75

Scale

Combination 40

306

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Sync.

BPM/ MIDI Sync. 177, 248

Key Sync.

Arpeggiator 152

Drum Kit 10, 149

Global 135

OSC 10

Volume label 156, 170, 175

Sequencer 63

WAVE file (.WAV) 7, 96, 121, 155,

Arpeggio, Combination 36,

Trigger 4, 37, 56, 97

163, 168, 172, 283

Pre Trigger REC 98

Arpeggio, Program 3, 27

Arpeggio, Sequencer 82

Arpeggio, Song Play 130

Key Sync., LFO 25

MIDI/ Tempo Sync., LFO 26

Sync Both EGs 20, 24

Sync, RPPR 80

WAVE File Play Level 138

Truncate 101, 109

Write

Tune

Write Arpeggio Patterns 153

Write Combination 35

Write Drum Kits 150

Write Global Setting 136

Pitch Stretch

Tune, Drum Kit 10

Tune, Program 10

User All Notes Scale 147

User Octave Scale 146

Write Program

Synchronize 266

System Clock 138

System Exclusive 264

Load 161

Zone Map

Use DKit Setting 21, 28, 179, 183

Arpeggiator 28, 45, 82, 130

Combination 42

Sequencer 66

MIDI Filter 144

Save 168

Use Zero 100, 108

User All Notes Scale 147

User Arpeggio 151

Zone Range 99

User arpeggio pattern 27, 151

User drum kit 10, 148

User Octave Scale 146

User pattern 76

ZOOM 100, 108

Template song

Load Template Song 53, 124

Preset Template Song 53

Save Template Song 54, 125

User Template Song 53

User Scale 146

User template song 53, 54, 124, 125

Tempo 2, 26, 33, 44, 50, 59, 98, 109,

113, 118, 123, 129

AMS 242

Edit 68, 73

Tempo Mode 50, 59

[VALUE] slider

AMS 243

Terminator (terminating resistor)

Velocity

298

AMS 242

Timbre 34

Convert Position 143, 258

Scan Zone, Arpeggiator 28, 45,

83, 131

Timbre assign 36

Timbre Assign, Arpeggiator 36

Velocity Cross-fade 42

Velocity Curve 135

Velocity Intensity, Amp Mod.

Velocity M.Sample SW Lo ¡ Hi

Time signature

Sequencer

Meter 49

Step Recording 68

Song Play

Meter 123

Velocity Sample SW Lo¡H i 148

Velocity Switch 42

Velocity Zone

Time Slice 109

Tone, Arpeggiator 153

TopKey (Top Key), Sampling 89,

Combination 42

Program 11

118

Touch Panel 137

Sequencer 67

Velocity, Arpeggiator 27, 45, 82,

130, 154

Track

Load 161

Velocity, Filter EG 17

Loop All Track 58

Play (Track Select) 123

RPPR 79

Vocoder 233

Volume

Track Edit 68

Track Name 75

Track Play Loop 55

Track Select

Foot Pedal Assign 252

Hold Balance 36

Realtime Control Knobs 250

Volume Ramp, Sampling 104

Volume, Audio CD 120, 174

Volume, Combination 36, 37

Volume, Sequencer 55

Volume, Song Play 125

Cue List 59

Sequencer 50

Transpose

Combination 39

Convert Position 143

307

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308

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309

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310

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IMPORTANT NOTICE TO CONSUMERS

This product has been manufactured according to strict specifications and voltage requirements that

are applicable in the country in which it is intended that this product should be used. If you have

purchased this product via the internet, through mail order, and/or via a telephone sale, you must

verify that this product is intended to be used in the country in which you reside.

WARNING: Use of this product in any country other than that for which it is intended could be

dangerous and could invalidate the manufacturer’s or distributor’s warranty.

Please also retain your receipt as proof of purchase otherwise your product may be disqualified from

the manufacturer’s or distributor’s warranty.

KORG INC.

15 - 12, Shimotakaido 1 - chome, Suginami-ku, Tokyo, Japan.

2002 KORG INC.

1403 FTH Printed in Japan

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