Korg Triton-Rack Parameter Manual Download

Page: 276 / 287

Appendices

269

EXB-MOSS Parameter Index

EXB-MOSS . . . . . . . . . . . . . . . . . . . . . TRITON-Rack Parameters

A Trim

Filter: Filter Type . . . . . . . . . . . . . . . . . . . . . . . . 4.1–1/3: Filter1/2: Trim to A

☞

p.265

Amp Level

Amp Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.1–1/2: Amp1/2: Level

☞

p.265

Amplitude AMS (Alternate Modulation Source 1)

LFO1...4: LFO . . . . . . . . . . . . . . . . . . . . . . . . . . 5.3–1...4: LFO1...4: Amp

☞

p.267

AMS (Alternate Modulation Source)

Amp EG: Level Modulation . . . . . . . . . . . . . . . . 5.1–3: Amp EG: L Mod.

☞

p.266

Amp Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.1–1/2: Amp1/2: Amp1/2

☞

p.265

Common P.Mod: Common Pitch Modulation . . . 3.1–1: Common: Common Pitch Mod.

☞

p.264

Common P.Mod: Portamento. . . . . . . . . . . . . . . 3.1–1: Common: Portamento

☞

p.264

EG: Level Modulation . . . . . . . . . . . . . . . . . . . . 5.2–1...4: EG1...4: L Mod.

☞

p.266

Filter: Filter A . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.1–1/3: Filter1/2

☞

p.265

OSC Mixer: Mixer1/2 . . . . . . . . . . . . . . . . . . . . . 2.1–4/5: Mixer1/2

☞

p.258

Bowed String Model: Bow Pressure . . . . . . . . . 2.3–2: Bowed Str: Bow: Bow Pressure

☞

p.264

Bowed String Model: String . . . . . . . . . . . . . . . . 2.3–1: Bowed Str: String

☞

p.263

Brass Model: Lip Character . . . . . . . . . . . . . . . . 2.3–1: Brass: Lip

☞

p.262

Comb Filter: High Damp . . . . . . . . . . . . . . . . . . 2.3–1: Comb F: High Damp

☞

p.259

Comb Filter: Input . . . . . . . . . . . . . . . . . . . . . . . 2.3–1: Comb F: Input

☞

p.259

E.Piano Model: Pickup. . . . . . . . . . . . . . . . . . . . 2.3–1: E.Piano: Pickup

☞

p.261

Organ Model: Tone Generator . . . . . . . . . . . . . . 2.3–1: Organ: Drwbar: Drawbar1...3

☞

p.261

Plucked String Model: Pickup . . . . . . . . . . . . . . 2.3–2: Plucked Str: Attack: Pickup

☞

p.263

Plucked String Model: String . . . . . . . . . . . . . . . 2.3–1: Plucked Str: String

☞

p.263

Reed Model: Reed Character . . . . . . . . . . . . . . 2.3–1: Reed: Reed

☞

p.262

Reed Model: Wave Shape . . . . . . . . . . . . . . . . . 2.3–2: Reed: WShape

☞

p.262

Resonance: BPF Parameters . . . . . . . . . . . . . . 2.3–1: Resonance: BPF: BPF1...4

☞

p.260

Resonance: Resonance Modulation . 2.3–1: Resonance: Input: Resonance Modulation

☞

p.260

Standard: Wave Shape . . . . . . . . . . . . . . . . . . . 2.3–2: Standard: WShape:

☞

p.259

Standard: Waveform . . . . . . . . . . . . . . . . . . . . . 2.3–1: Standard: Wave

☞

p.258

Output Level/Pan: Pan . . . . . . . . . . . . . . . . . . . . 5.1–4: Output/Pan

☞

p.266

AMS (AMS1 Intensity Alternate Modulation Source)

OSC P.Mod.: Pitch Modulation. . . . . . . . . .3.1–2...4: OSC1...SubOSC: Modulation

☞

p.264

AMS1 (Alternate Modulation Source 1)
AMS2 (Alternate Modulation Source 2)

Amp EG: Time Modulation. . . . . . . . . . . . . . . . . 5.1–3: Amp EG: T Mod.

☞

p.266

Comb Filter: Feedback . . . . . . . . . . . . . . . . . . . 2.3–1: Comb F: Feedback

☞

p.259

EG1...4: Time Modulation . . . . . . . . . . . . . . . . . 5.2–1...4: EG1...4: T Mod.

☞

p.266

Filter Mod.: Filter A/B Modulation . . . . . . . . . . . 4.1–1/3: Filter1/2

☞

p.265

LFO1...4: Frequency Modulation . . . . . . . . . . . . 5.3–1...4: LFO1...4: Freq

☞

p.267

Noise Generator: Frequency Modulation. . . . . . 2.1–3: Noise Gen.: Frequency

☞

p.257

OSC Mod.: Pitch Modulation . . . . . . . . . . .3.1–2...4: OSC1...SubOSC: Modulation

☞

p.264

Bowed String Model: Bow Speed . . . . . . . . . . . 2.3–2: Bowed Str: Bow: Bow Speed

☞

p.264

Brass Model: Breath Pressure. . . . . . . . . . . . . . 2.3–1: Brass: Breath

☞

p.262

Comb Filter:Feedback . . . . . . . . . . . . . . . . . . . . 2.3–1: Comb F: Feedback

☞

p.259

Cross Modulation: Modulation Depth . . . . . . . . 2.3–1: Cross Mod: Mod. Depth

☞

p.261

Reed Model: Breath Pressure . . . . . . . . . . . . . . 2.3–1: Reed: Breath

☞

p.262

Resonance: Input . . . . . . . . . . . . . . . . . . . . . . . 2.3–1: Resonance: Input

☞

p.260

Ring Modulation: Modulation Depth . . . . . . . . . 2.3–1: Ring Mod: Mod. Depth

☞

p.260

VPM: Carrier . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.3–1: VPM: Carrier

☞

p.259

VPM: Modulator. . . . . . . . . . . . . . . . . . . . . . . . . 2.3–2: VPM: Mod.: Modulator

☞

p.260

At (Attack Time AMS2 Intensity)

Amp EG: Time Modulation. . . . . . . . . . . . . . . . . 5.1–3: Amp EG: T Mod.

☞

p.266

EG1...4: Time Modulation . . . . . . . . . . . . . . . . . 5.2–1...4: EG1...EG4: T Mod.

☞

p.266

Attack (Attack Level)

Amp EG: Level. . . . . . . . . . . . . . . . . . . . . . . . . . 5.1–3: Amp EG: L

☞

p.266

EG1...4: Level . . . . . . . . . . . . . . . . . . . . . . . . . . 5.2–1...4: EG1...EG4: L

☞

p.266

Attack (Attack Time)

Amp EG: Time . . . . . . . . . . . . . . . . . . . . . . . . . . 5.1–3: Amp EG: T

☞

p.266

EG1...4: Time. . . . . . . . . . . . . . . . . . . . . . . . . . . 5.2–1...4: EG1...EG4: T

☞

p.266

Attack Level

Plucked String Model: Attack. . . . . . . . . . . . . . . 2.3–2: Plucked Str: Attack: Level

☞

p.263

B Trim

Filter: Filter Type . . . . . . . . . . . . . . . . . . . . . . . . 4.1–1/3: Filter1/2: Trim to B

☞

p.265

Balance

Standard: Wave Shape . . . . . . . . . . . . . . . . . . . 2.3–2: Standard: WShape

☞

p.259

Base Note

LFO1...4: Frequency MIDI/Tempo Sync. . .5.3–1...4: LFO1...4: MIDI/Tempo Sync.

☞

p.267

Bowing Point

Bowed String Model: String . . . . . . . . . . . . . . . . 2.3–1: Bowed Str: String

☞

p.263

Break (Break Level)

Amp EG: Level . . . . . . . . . . . . . . . . . . . . . . . . . 5.1–3: Amp EG: L: B(Break Level)

☞

p.266

EG1...4: Time . . . . . . . . . . . . . . . . . . . . . . . . . . 5.2–1...4: EG1...EG4: L

☞

p.266

Breath Noise

Brass Model: Breath Pressure . . . . . . . . . . . . . 2.3–1: Brass: Breath: Noise

☞

p.262

Reed Model: Breath Pressure . . . . . . . . . . . . . 2.3–1: Reed: Breath: Noise

☞

p.262

Bridge Reflection

Bowed String Model: String . . . . . . . . . . . . . . . 2.3–1: Bowed Str: String

☞

p.263

Carrier

Cross Modulation: Wave. . . . . . . . . . . . . . . . . . 2.3–1: Cross

☞

p.261

Ring Modulation: Wave. . . . . . . . . . . . . . . . . . . 2.3–1: Ring

☞

p.260

Center Key

OSC Mod.: Pitch Slope . . . . . . . . . . . . . . . . . . 3.1–2: OSC1...3.1–4: Pitch Slope

☞

p.264

Click Noise Level

E.Piano Model: Hammer . . . . . . . . . . . . . . . . . 2.3–1: E.Piano

☞

p.261

Coarse

Resonance: BPF Parameters. . . . . . . . . . . . . . 2.3–2: Resonance: BPF: BPF1...4

☞

p.260

Coarse (Harmonics Coarse)

Organ Model: Tone Generator . . . . . . . . . . . . . 2.3–1: Organ: Drwbar: Drawbar1...3

☞

p.261

Ctrl (Control)

Plucked String Model: Harmonics . . . . . . . . . . 2.3–1: Plucked Str: Attack: Harmonics

☞

p.263

Damp

Bowed String Model: String . . . . . . . . . . . . . . . 2.3–1: Bowed Str: String

☞

p.263

Plucked String Model: String . . . . . . . . . . . . . . 2.3–1: Plucked Str: String

☞

p.263

Damp Ktr Key (Damp Keyboard Track Key)

Bowed String Model: String . . . . . . . . . . . . . . . 2.3–1: Bowed Str: String

☞

p.263

Dc (Decay Time AMS2 Intensity)

Amp EG: Time Modulation . . . . . . . . . . . . . . . . 5.1–3: Amp EG: T Mod.

☞

p.266

EG1...4: Time Modulation. . . . . . . . . . . . . . . . . 5.2–1...4: EG1...EG4: T Mod.

☞

p.266

Decay

E.Piano Model: Overtone . . . . . . . . . . . . . . . . . 2.3–1: E.Piano

☞

p.261

E.Piano Model: Tone Generator . . . . . . . . . . . . 2.3–1: E.Piano

☞

p.261

Organ Model: Percussion Generator . . . . 2.3–2: Organ.: Perc.: Percussion Generator

☞

p.261

Plucked String Model: String . . . . . . . . . . . . . . 2.3–1: Plucked Str: String

☞

p.263

Decay (Decay Time)

Amp EG: Time . . . . . . . . . . . . . . . . . . . . . . . . . 5.1–3: Amp EG: T

☞

p.266

EG1...4: Time . . . . . . . . . . . . . . . . . . . . . . . . . . 5.2–1...4: EG1...EG4: T

☞

p.266

Depth

Cross Modulation: Modulation Depth . . . . . . . . 2.3–1: Cross Mod: Mod. Depth

☞

p.261

Ring Modulation: Modulation Depth . . . . . . . . . 2.3–1: Ring Mod: Mod. Depth

☞

p.260

Detune

Program Basic: Unison. . . . . . . . . . . . . . . . . . . 2.1–2: OSC: Unison

☞

p.257

Differential

Bowed String Model: Bow Speed . . . . . . . . . . . 2.3–2: Bowed Str: Bow: Bow Speed

☞

p.264

Dispersion

Bowed String Model: String . . . . . . . . . . . . . . . 2.3–2: Bowed Str: String

☞

p.263

Plucked String Model: String . . . . . . . . . . . . . . 2.3–2: Plucked Str: String

☞

p.263

Down (Curve Down)

Plucked String Model: Attack Curve . . . . . . . . . 2.3–2: Plucked Str: String: Curve

☞

p.263

Bowed String Model: Bow Pressure . . . . . . . . . 2.3–2: Bowed Str: Bow: Bow Speed

☞

p.264

Bowed String Model: Bow Speed . . . . . . . . . . . 2.3–2: Bowed Str: Bow: Bow Speed

☞

p.264

Brass Model: Breath Pressure . . . . . . . . . . . . . 2.3–2: Brass: Breath: Pres.EG

☞

p.262

Reed Model: Breath Pressure . . . . . . . . . . . . . 2.3–1: Reed: Breath: Pres.EG

☞

p.262

EG (Amplitude Modulation EG)

Amp Level. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.1–1/2: Amp1/Amp2

☞

p.265

EG (Cutoff Frequency Modulation EG)

Filter: Filter A . . . . . . . . . . . . . . . . . . . . . . . . . . 4.1–1/3: Filter1/Filter2

☞

p.265

Enable

Common P.Mod: Portamento . . . . . . . . . . . . . . 3.1–1: Common: Portamento

☞

p.264

F.Offset

OSC Basic . . . . . . . . . . . . . . . . . . . . . . . . 2.1–2...4: OSC: OSC1…SubOSC: F.Ofs

☞

p.257

Fade

LFO1...4: LFO . . . . . . . . . . . . . . . . . . . . . . . . . 5.3–1...4: LFO1...LFO4

☞

p.267

Summary of Contents for Triton-Rack

Page 1: ...3 E...

Page 2: ...can use the BPM MIDI Sync function Example screen displays The values of the parameters shown in the example screens of this manual are only for explanatory purposes and may not necessary match the va...

Page 3: ...Level Pan 22 5 2 2 Mod Amp2 Modulation 22 5 2 3 EG Amp2 EG 22 PROG 5 2 Ed EGs 22 PROG 5 3 Ed LFOs 23 5 3 1 OS1LFO1 OSC1 LFO1 23 5 3 2 OS1LFO2 OSC1 LFO2 24 5 3 3 OS2LFO1 OSC2 LFO1 24 5 3 4 OS2LFO2 OSC2...

Page 4: ...09 16 55 MULTI 3 2 Param2 Parameter2 56 3 2 1 Othr 8 Other T01 08 56 3 2 2 Othr 16 Other T09 16 56 MULTI 3 3 Key Zone 56 3 3 1 Key 8 Key Zone T01 08 56 3 3 2 Key 16 Key Zone T09 16 56 3 3 3 Slp 8 Key...

Page 5: ...08 15 115 4 1 3 C 0 7 Comb 00 07 115 4 1 4 C 8 15 Comb 08 15 115 GLOBAL 5 1 DKit Drum Kit 116 5 1 1 High High Sample 116 5 1 2 Low Low Sample 118 5 1 3 Voice Voice Mixer 119 GLOBAL 6 1 Arp Pattern 11...

Page 6: ...p OD HG Compressor Overdrive Hi Gain 185 066 Comp P4EQ Compressor Parametric 4 Band EQ 185 067 Comp Cho Fl Compressor Chorus Flanger 186 068 Comp Phaser Compressor Phaser 186 069 Comp M Dly Compressor...

Page 7: ...option board memory 244 Checking after installation 244 Caution when purchasing DRAM SIMM modules 244 Option board memory installation procedure 245 EXB MOSS option 251 Features of the EXB MOSS 251 Th...

Page 8: ...ch as Oscillator and Multisample and make set tings for the Audition function p 5 Ctrl 2 2 Ed Ctrl Controller settings p 9 OSC 2 3 Ed OSC This will be displayed when you select bank I F if the optiona...

Page 9: ...ry 00 15 Name 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 For the procedure...

Page 10: ...e Prog 00 07 08 15 GLOBAL 4 1 1 2 to modify these category names 4 Press To to specify the writing destination You can also use the BANK and A H keys to select a bank It is not possible to write to ba...

Page 11: ...gram param eters will be unchanged 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...

Page 12: ...will have a maxi mum of 30 note polyphony Drums The program will use one oscillator as when Sin gle is selected but Oscillator 1 will be assigned a drum kit instead of a multisample In this case the...

Page 13: ...III This scale was created in the 18th century and is used mainly to tune harpsichords Slendro This is an Indonesian gamelan scale in which an octave consists of five notes When Key is set to C use t...

Page 14: ...The EXB display will differ depending on the type of option board If a program that uses a multisample from a separately sold EXB PCM series board is selected but the neces sary multisample is not ava...

Page 15: ...you adjust the sample playback level cutoff resonance pitch attack and decay for each index of a RAM multisample This command is valid if Mode Oscillator Mode 2 1 1a is Single or Double and you are s...

Page 16: ...ITY Write Program 1 1 1d Copy Oscillator Swap Oscillator 2 1 1d 2 1 5 Audit Audition When selecting preloaded programs you can play back a pre specified riff phrase that is suitable for the sound of t...

Page 17: ...affect the pitch of oscillator 1 and select the controller that will modify the pitch and the depth of this effect Here you can also specify the amount of pitch change caused by the pitch EG and set t...

Page 18: ...tch EG in a range of 1 octave p 208 As you play more softly the pitch change will draw closer to the pitch EG levels Intensity and AMS Pitch EG AMS will be added to determine the depth and direction o...

Page 19: ...o on off status and mode For details on each parameter refer to the preceding 3 1 1 OSC1 3 1 4 OS2lfo OSC2 LFO Specifies the amount of pitch change produced by LFO1 and LFO2 for oscillator 1 For an ex...

Page 20: ...he pitch EG p 206 AMS List I 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 th...

Page 21: ...fect Reso AMS Resonance AMS Off PEG FEG AEG LFO KT EXT Selects the source that will control the Resonance A Reso nance level p 206 AMS List Intensity AMS Intensity 99 99 Specifies the depth and direct...

Page 22: ...DTrk Int to A 99 99 Specifies the depth and direction of the effect on filter 1A produced by keyboard tracking settings Low KBDTrk Key Low High KBDTrk Key High Low KBDTrk Ramp Low and High KBDTrk Ramp...

Page 23: ...s parameter the opposite will occur This value is added to the setting of the Filter A Frequency A Frequency 4 1 1b AMS2 Filter A AMS2 Off PEG AEG EXT Intensity A AMS2 Intensity 99 99 Selects AMS2 Fil...

Page 24: ...the effect that these settings will have on the filter 1 cutoff frequency is determined by Filter EG 4 1 2b 4 1 5a Filter1 EG Specifies the time varying change produced by the filter 1 EG L Level The...

Page 25: ...rten the EG times The direction of change is specified by A AMS1 SW Attack D AMS1 SW Decay S AMS1 SW Slope and R AMS1 SW Release With a setting of 0 the times specified by Filter1 EG 4 1 5a will be us...

Page 26: ...LOBAL 2 1 1a is used for control 5 1 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 t...

Page 27: ...ource that will control the volume of amp 1 p 206 AMS List EXT Velocity cannot be selected Int AMS Intensity 99 99 Specifies the depth and direction of the effect that AMS Amp AMS will have The actual...

Page 28: ...ngly Setting 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 Amp 1 EG 5 1 3a S AMS SW...

Page 29: ...l 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 AMS2 Time Mod AMS2 Off EXT KT I AMS2 Intensity 99 99 A AMS2 SW Attac...

Page 30: ...can use two alternate modulation sources to adjust the speed of the OSC1 LFO1 AMS1 Freq AMS1 Off PEG FEG AEG LFO2 KT EXT Selects the source that will adjust the frequency of the oscil lator 1 LFO1 p 2...

Page 31: ...e used when Mode Oscillator Mode 2 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 3 1 OS1LFO1 OSC1 LFO1 5 3 4 OS2LFO2 O...

Page 32: ...of the order in which you pressed them Off Unchecked Notes will be arpeggiated in the order in which you pressed them Latch Specifies whether or not the arpeggio will continue playing after you take...

Page 33: ...d in stereo from AUDIO OUTPUT INDIVIDUAL 1 2 or 3 4 When the oscillator pan is controlled by CC 10 pan or AMS Alternate Modulation Source the sound will be output with the pan setting that is in effec...

Page 34: ...num ber You can use the BANK and A H keys to select the bank 3 Select the effect that you wish to copy You can also copy from a master effect If All is checked all effect settings will be copied i e...

Page 35: ...1 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 S1 Send1 MFX1 and S2 Send2 MFX2 set tings th...

Page 36: ...ereo input type effect is selected the input will be monaural MFX1 On Off MFX2 On Off Off ON Switch master effect 1 2 on off When off the output will be muted Separately from this setting you can use...

Page 37: ...t the copy source mode bank and num ber You can use the BANK and A H keys to select the bank 3 Select the effect that you wish to copy If you select MFX 1 or 2 Rtn Return return level will be copied a...

Page 38: ...y use Cat HOLD and Utility Select by Category PROG 1 1 1a To specify the category for a combination use Utility Write Combination 1 1 1d To modify a category name use Category Name Comb 00 07 08 15 GL...

Page 39: ...he currently selected combination Solo Selected Timbre The Solo function will alternately be switched on off each time you select Solo Selected Timbre 1 From the utility menu choose Solo Selected Timb...

Page 40: ...L 2 1 1a At the same time bank select program change and volume CC 7 mes sages will be transmitted on the MIDI channel specified for each timbre that is set to Status 3 1 1a of EXT or EX2 However thes...

Page 41: ...ails on how to select the desired utility function refer to PROG 1 1 1d UTILITY Hold Balance Adjusts the volume of the Combi while preserving the vol ume balance between timbres 1 8 Selects the Volume...

Page 42: ...meters can also be set from the 1 1 Play Prog page 2 1 1a Program Select Program Name Program Select Selects the program that will be used by each timbre 1 1 2c Program Name This displays part of the...

Page 43: ...ach track INT The TRITON Rack will produce sound in response to MIDI messages from a connected MIDI device MIDI data will not be transmitted If the arpeggiator has been specified for a timbre that is...

Page 44: ...Status 3 1 1a is set to INT CC 05 porta mento time and CC 65 portamento switch messages will be received to control and change this setting If the setting is PRG CC 05 portamento time will not be rec...

Page 45: ...ple if you execute From 60bpm To 120bpm and then execute From 120bpm To 60bpm will not return to the original result Rather this will set Detune 1200 which is one octave down This command is valid whe...

Page 46: ...same timbre Nor is it possible for the top and bottom slopes to overlap How volume will change according to keyboard location 3 3 1c UTILITY Write Combination Solo Selected Timbre 1 1 1d 3 3 2 Slope K...

Page 47: ...MIDI instrument 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 3 4 1c UTILITY Write Combination Solo...

Page 48: ...thermore if the same control change has been assigned to two or more controllers the setting will be valid for that control change if any single item is checked in either MIDI Filter 3 or 4 Off Unchec...

Page 49: ...message 71 inter nal low pass filter resonance or high pass filter cutoff fre quency for the A mode of knob 2 and the MIDI control change message assigned to the B mode of knob 2 will be transmitted...

Page 50: ...TEMPO knob 1 1 1a 6 1 1b Assign Assign Off A B Assigns arpeggiator A or B to each timbre 1 8 When the ARP ON OFF key is on the arpeggiator specified for each timbre will operate according to Arpeggiat...

Page 51: ...sound when the arpeggiator is off but sounds only when the arpeggiator is on 6 1 1c UTILITY Write Combination Solo Selected Timbre 1 1 1d For details on how to select the desired utility function ref...

Page 52: ...e Drums PROG 2 1 1a With a setting of DKit the BUS Select GLOBAL 5 1 3a 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 Snar...

Page 53: ...ommand can be executed only if the BUS Select GLOBAL 5 1 3a for the individual keys of that drum kit are set to IFX1 5 1 Select DKit IFX Patch to access the dialog box 2 In the right side of DrumKit I...

Page 54: ...ings 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 2 1 1a will be used to control...

Page 55: ...Setup 7 3 1c Master EQ Gain dB Low 18 0 18 0 Mid 18 0 18 0 High 18 0 18 0 These are the same as in Program mode PROG 7 3 1 Setup 7 3 1d MEQ Ctrl MEQ Ctrl MEQ Control Ch Ch01 16 G ch Selects the MIDI c...

Page 56: ...l time When you turn off the power the settings and user pat tern data will be erased If there is data that you wish to keep you must save it on a floppy disk external SCSI device or data filer before...

Page 57: ...PPR function will be on If a pattern is assigned to each key in the 5 1 RPPR RPPR Setup page pressing that key will play the assigned pattern This is controlled on the MIDI channel of the track select...

Page 58: ...data and RPPR will be copied Save Template Multi Save as User Template Multi This command saves the program selections track parame ters and effect settings etc of the multi as a user template multi...

Page 59: ...Parameters 1 1 4a 1 1 4b OSC1 Amp1 Pan L001 OSC2 Amp2 Pan R127 Left Center Right Pan CC 10 C064 Left Center Right L032 L001 R096 R127 Left Center Right Left Center Right OSC1 OSC2 OSC1 Amp1 Pan L032 O...

Page 60: ...E CONTROLS knobs 1 4 and the functions of SW1 and SW2 in Multi mode When you operate these controllers on the MIDI chan nel of the Control Track the MIDI messages assigned here will be transmitted if...

Page 61: ...ied as the Con trol Track 1 1 1a MIDI messages will also be transmitted to control the external device but the TRITON Rack itself will not be controlled When you switch the multi tracks that are set t...

Page 62: ...olled as follows If Mode Oscillator Mode is Single or Double MIDI RPN Coarse Tune messages can be received to control and change the Transpose setting and Fine Tune messages to control and change the...

Page 63: ...ename Multi Delete Multi Copy From Multi Copy From Combi Load Tem plate Multi Save Template Multi 1 1 1c Here you can specify the range of keys that will be sounded by each track Top Bottom Key settin...

Page 64: ...et the Top Bottom Velocity parameters to set the range of velocities that will sound tracks 1 8 and 9 16 and set the Top Bottom Slope parameters to specify the range over which the volume will change...

Page 65: ...EX2 On Checked Reception of MIDI data is enabled Tracks whose Status 3 1 1a 2a is INT or BTH will receive MIDI messages whose channel matches and whose types are checked The types of effect that are...

Page 66: ...I control change message 2 speci fied as the B mode assignment of REALTIME CONTROLS knobs 1 4 or the Y direction of a joystick on a TRITON etc will be received 4 2 1 2 b UTILITY Memory Status Rename M...

Page 67: ...ntrol change message 72 the release time of the TRITON Rack s filter and amp EG s and the B mode 4 knob MIDI control change message will be received 4 3 1 2 b 4 3 3 4 b UTILITY Memory Status Rename Mu...

Page 68: ...own user patterns In contrast preset patterns are shared by all multis Select a user pattern if you wish to record or edit the pattern Pattern Select P00 149 U00 U99 Selects a pattern If you selected...

Page 69: ...cted 1 In Pattern Bank and Pattern Select specify the pat tern By default the pattern length is one measure If you wish to change the number of measures in the pattern set the Utility Pattern Paramete...

Page 70: ...l set this to C 1 and G9 Control Change specifies the control change numbers that will be edited Normally you will set this to ALL You can also check various other events Pitch Bend Program Change Aft...

Page 71: ...ion The time signature and length of the pattern following execution will be according to the settings of the bounce destination If MIDI control data exists in the selected pattern and in the bounce d...

Page 72: ...nly once to the end Manual The pattern will continue repeating as long as you continue holding the key and will stop when you release the key Endless The pattern will continue repeating even after you...

Page 73: ...RPPR to assign preset patterns P00 P01 and P02 to keys Before you begin assign a drum program such as I A036 to track 1 1 Select C 2 as the KEY Check Assign and set Pat tern Bank and Pattern Select 2...

Page 74: ...Use the Arp A page to select the arpeggio pattern and set the parameters B Arpeggiator B will operate Use the Arp B page to select the arpeggio pattern and set the parameters If you wish to realtime...

Page 75: ...1 1c 6 1 5 Zone Scan Zone Specifies the range of notes and velocities that will trigger each arpeggiator A and B 6 1 5a Scan Zone A B Zone Map This shows the Scan Zone settings for arpeggiators A and...

Page 76: ...transmit these settings via MIDI This data will be transmitted on the MIDI channel of each track as set by MIDI Channel 3 1 1a 2a The actual send level is determined by multiplying the value of these...

Page 77: ...od pan following the insert effect Pan CC 8 Send 1 MFX1 and Send 2 MFX2 An asterisk will be displayed at the right of the channel number Ch01 16 for tracks that are routed to an IFX If mul tiple track...

Page 78: ...ster FX Chain MFX Chain Direction Chain Direction MFX1 MFX2 MFX2 MFX1 Signal Chain Signal LR Mix L Only R Only Level Chain Level 000 127 This is the same as in Program mode Refer to PROG 7 3 1 Setup 7...

Page 79: ...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 203 7 3 4a UT...

Page 80: ...amples or samples so you will first need to load previously saved data from a floppy disk or external SCSI device before you can playback or edit it There is no Compare function that allows you to res...

Page 81: ...called an index For example if a 61 note MIDI keyboard is connected and you want to divide the multisample into octaves 12 keys you would create six zones Each of these zones is an index You can assi...

Page 82: ...will not be handled as a stereo sample Keyboard Index This shows the zones and original key locations of the cur rently selected multisample The white triangle indicates the C4 key The note numbers at...

Page 83: ...parameters Pstn Posi tion Range Zone Range and Orig K Orig K Posi tion If you wish to delete an existing index or to exchange indi ces use 4 1 Multisample CREATE will be displayed if the 1 1 Recording...

Page 84: ...no Stereo The sound of the internal L and R channels will be sampled in stereo When you sample in stereo a stereo mul tisample or sample will be created Example 1 Sampling a monaural source connected...

Page 85: ...isely the downbeat but actually be slightly ahead of the beat In such cases you can use Pre Trigger REC to sample without loosing the beginning of the note If you increase this value you will always b...

Page 86: ...le it p 144 Off The analog audio signal will not be input 1 1 3b Create Create Zone Preference These settings determine the initial state of the indexes that are created when you press the F6 CREATE k...

Page 87: ...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 t...

Page 88: ...as follows 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 cha...

Page 89: ...is no empty multisample number and forward movement is not possible multisamples will be renum bered downward Rename MS Rename Multisample This command modifies the name of the currently selected mult...

Page 90: ...ll replace the multisample of the convert destination program with the multisample that is selected here and will not initialize the settings of the remaining program parameters Use this setting if yo...

Page 91: ...the portion of the entire sample waveform that is currently shown in the screen As you zoom in on the time axis you will see that a smaller proportion of the waveform is shown in the screen 2 1 2b Ed...

Page 92: ...r R channel sample for editing 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 re...

Page 93: ...d execute without checking Overwrite p 85 About Overwrite 6 To execute the Cut command press the F8 OK key To cancel press the F7 Cancel key Clear This command converts the data between S Edit Range S...

Page 94: ...ing address at which the data will be mixed 4 In Save to No specify the save destination sample number By default an unused sample number will be selected If you have checked Overwrite this cannot be...

Page 95: ...evel Adj Normalize Level Adjust This command uniformly modifies the data values volume of the data between the S Edit Range Start and E Edit Range End Normalize will amplify the level of the sam ple d...

Page 96: ...ng Overwrite p 85 About Overwrite 8 To execute the Volume Ramp command press the F8 OK key To cancel press the F7 Cancel key Rate Convert This command lowers the sampling rate frequency of the sampled...

Page 97: ...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 If the Front Sample is stereo and the Rear Sample is mono the identical sample w...

Page 98: ...esolution to the desired grid interval The spacing of the grid will be determined by this setting and by Grid Tempo 2 1 2b 5 To execute the setting press the F8 OK key To can cel without executing pre...

Page 99: ...o Off On On Checked S Start E End and LpS Loop Start parameters can be set only at zero cross addresses where the waveform level crosses 0 the center line of the wave form display 2 1 2b Off Unchecked...

Page 100: ...t set ting and execute without checking Overwrite p 85 About Overwrite 7 To execute the Truncate command press the F8 OK key To cancel press the F7 Cancel key Time Slice Time Slice detects the attacks...

Page 101: ...cally be added to the end of the shorter sample so that the two samples will be the same length If you want to reset Beat and Source BPM after pressing the F8 OK key you can do so in step 9a 5 Listen...

Page 102: ...gnification 1 or more so that the sample wave form is displayed accurately when you make adjust ments 2 1 2d Zero Use Zero 2 1 2b If you wish to adjust the S Start or E End address of a divided sample...

Page 103: ...and New BPM Index Select s the index of the sample that will be sounded by the AUDITION key After Time Stretch is executed the time stretched samples will sound However it will not be possible to sele...

Page 104: ...ired 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 a...

Page 105: ...operation press the F8 OK key To cancel without saving press the F7 Cancel key A By repeating steps 9 0 you can create more samples as desired B Press the F7 Exit key to exit the Time Stretch opera t...

Page 106: ...at which the sample is sliced will be indicated by a dotted line vertical If Index is set to xxx zzz yyy the sample of the selected index will be highlighted If Index is other than xxx zzz yyy the Sta...

Page 107: ...mixed 1 Use SMPL 3 1 1b to select the sample that you wish to crossfade 2 From the Edit2 page UTILITY choose Crossfade Loop to open the following dialog box 3 In Crossfade Length specify the length o...

Page 108: ...ear If this occurs refer to CREATE 1 1 1d 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 Create Zone Preference sett...

Page 109: ...3b UTILITY Delete SMPL Copy SMPL Move SMPL Rename SMPL SMPL To Stereo Delete MS Copy MS Move MS Rename MS MS To Stereo MS To Mono Conv To Prog Keyboard Disp 1 1 3g Pitch BPM Adj Pitch BPM Adjust This...

Page 110: ...unctions mainly various types of control change for the front panel REALTIME CONTROLS knobs 1 4 p 214 Realtime Control Knobs B Assign List The functions you specify here will operate when the front pa...

Page 111: ...e used 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 7 2 1a For example you...

Page 112: ...IFX2 7 2 4 IFX3 7 2 5 IFX4 7 2 6 IFX5 Sets the effect parameters for the IFX 1 2 3 4 and 5 effects that you selected in the Setup page p 151 Effect Dmod dynamic modulation is controlled by the global...

Page 113: ...106...

Page 114: ...tuning of each program timbre Combination mode or track Multi mode can be adjusted relative to the Master Tune setting by using MIDI RPN Fine Tune messages Transpose can be adjusted relative to the Ke...

Page 115: ...le modulation With the factory settings this is set to 3 Since the Velocity Curve and AfterT Curve settings are applied immediately before the TRITON Rack s internal tone generator they will affect ho...

Page 116: ...t the change destination banks do not overlap 1 1 2 Pref System Preference 1 1 2a System Preference Bank Map KORG GM 2 Specifies the mapping of programs and combinations rela tive to Bank Select contr...

Page 117: ...g protects the internal drum kit memory On Checked Internal drum kit memory will be protected and the following write operations cannot be performed Off Unchecked Data can be written to internal drum...

Page 118: ...jacks the input data that passes from the AD converter into the TRITON Rack will be forced to zero so that no noise will be input 1 1 3c UTILITY Write Global Setting Change all bank references 1 1 1d...

Page 119: ...l be switched However the program changes for each timbre will be affected by the setting of the Program Change parameter COMBI 4 1 1a When you switch combinations a program change message will be tra...

Page 120: ...e and specify the program num ber below it 4 Press the F8 OK key to transmit the data While the data is being transmitted the display will indi cate Now transmitting data The data size and the time re...

Page 121: ...t the MIDI channel of the transmitting device refer to the owner s manual for that device 3 Turn check the Exclusive setting 2 1 1b 4 Transmit the data from the other device For the proce dure refer t...

Page 122: ...Comb 08 15 Here you can assign names to the program and combination categories Select the category whose name you wish to modify press the F5 TEXT key to access the text dialog box and input the name...

Page 123: ...me use the Rename Drum Kit Utility menu command Key C 1 G9 Selects the key to which you will assign a drumsample and its settings To select the key use the F6 Key F7 Key keys Alternatively if an exter...

Page 124: ...orm Rev Reverse Off On On Checked The drumsample waveform will playback in one shot reverse If the bank is ROM or EXB the location at which the reverse playback will start and end is pre deter mined f...

Page 125: ...ng at To Key and extending upward 4 To execute the Copy Key Setup operation press the F8 OK key To cancel without executing press the F7 Cancel key Select by Category If ROM is selected for Bank you c...

Page 126: ...will sound using the settings of the program that is selected in Program mode These settings are valid only if Use DKit Setting Program PROG 5 1 1b and Use DKit Setting Program PROG 7 1 1a are turned...

Page 127: ...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...

Page 128: ...pera tion 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 Patterns U200 E A...

Page 129: ...pattern 1 Select Initialize Steps to access the dialog box 2 Select the type Type of initialize Empty will initialize all tones to a blank state Full will initialize all tones to a full state 3 To ex...

Page 130: ...arious types of DOS files are distinguished by the exten sion that is added to the filename In the case of a DOS file with an extension other than listed below selecting Load selected to access the di...

Page 131: ...any key other than a mode key to make the TRITON Rack recognize media floppy disk hard disk etc the volume label of that media will be dis played For media that has no volume label the display will i...

Page 132: ...ou 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 exten...

Page 133: ...ms 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 k...

Page 134: ...drum kit will be loaded into the drum kit num ber you specify as the loading destination 1 If desired use From to re select the drum kit to be loaded 2 In To select the loading destination drum kit 3...

Page 135: ...ed icon The selected Track file will be loaded into the multi you specify as the loading destination However it is not possi ble to specify an uncreated multi as the loading destination 1 In To specif...

Page 136: ...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 w...

Page 137: ...to select the Load PCG too and or Load SNG too check boxes If you check Load PCG too the PCG file of the same name as the KSC file will also be loaded If you check Load SNG too the SNG file of the sa...

Page 138: ...ed 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 p 135 Export Smpl AIF WAV If the data that is loaded as a sample contains a loo...

Page 139: ...me the pattern events of the SNG will be loaded in expanded form meaning that if the song makes frequent use of patterns the loaded size will be larger than the size of the SNG file In this way there...

Page 140: ...press the F8 OK key Saving will begin 2 When the disk is full the following dialog box will appear Remove the floppy disk insert the next floppy disk and press the SELECT ARP ON OFF AUDI TION DEMO SN...

Page 141: ...saves all multi from internal memory as a SNG file This command is valid only when the current directory is a DOS directory 1 Select Save Multi to access the following dialog box 2 Use the F5 Name key...

Page 142: ...umulates incoming exclusive data in the remaining free area used by Multi mode and then saves this data to media as an EXL file The remaining amount of internal memory depends on how much data is used...

Page 143: ...edia p 133 If the data does not fit on the media when saving However 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...

Page 144: ...delete multiple files with identical filenames and different extensions or files whose names are partially identical Copy 1 1 3a When wildcards are used only files will be subject to deletion Director...

Page 145: ...matted on an external SCSI device connected via the EXB SCSI sold separately 1 1 4a Drive Drive select This displays information on the media that is selected by Drive Select 1 1 1c Drive select Vol L...

Page 146: ...e demo song is playing The demo song will stop when you press F6 STOP key In the DEMO SNG page MIDI Clock system real time message are not received The song will play at its own individually specified...

Page 147: ...og box 5 To execute press the F8 OK key To cancel without executing press the F7 Cancel key When you execute this operation drum kits and user arpeggio patterns will be reset to the state in which the...

Page 148: ...I PROG MULTI GLOBAL 1 1 3 In these modes the TRITON Rack can function as a 2 in 6 out effect processor for the external input signal from AUDIO INPUT 1 and 2 or you can use the external audio signal i...

Page 149: ...me way as for 000 No Effect the stereo input sound will be output in stereo without modification Separately from this On Off setting MIDI control change CC 92 can be received to turn all IFX1 5 effect...

Page 150: ...nt to IFX1 By setting all Chain settings to IFX1 IFX2 IFX3 IFX4 IFX5 are connected in series The Pan CC 8 BUS Select S1 Send 1 MFX1 and S2 Send 2 MFX2 settings follow ing the IFX5 will be used Setting...

Page 151: ...X3 IFX4 IFX4 IFX5 IFX5 In the following example Drum Program is assigned to Timbre 1 and normal Programs are assigned to Timbres 2 and 3 BUS Select is set to DKit for Timbre 1 IFX1 for Tim bre 2 and I...

Page 152: ...7 2 1 that follows the insert effect will determine the final panning L001 is far left and R127 is far right You can control these parameters via MIDI Control Change CC 8 3 2 BUS Select This parameter...

Page 153: ...t are routed to the corresponding Insert Effects All Rt is a typical option If you wish to control the parameters on a channel select one from Ch01 16 1 In Out The I Os of Master Effects MFX1 and MFX2...

Page 154: ...Drums the USE DKit Setting PROG 7 1 1b will be used If this is checked the setting for each key of the selected drum kit will be used The drum instrument for a key whose drum kit BUS Bus Select GLOBAL...

Page 155: ...3 4 are selected S1 Send 1 MFX1 and S2 Send 2 MFX2 will be ignored 2 3 Sampling Mode You cannot use the Master Effects and Master EQ in Sam pling mode 2 4 Audio Input In Program Combination and Multi...

Page 156: ...Global channel MIDI Channel GLOBAL 2 1 1a This is the normal setting 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 an...

Page 157: ...UTPUT INDIVIDUAL 1 2 3 4 L R BUS stereo mono x 4 mono x 4 BUS Select IFX2 BUS Select IFX1 stereo stereo stereo stereo stereo Chain Effect Mixer Block Diagram in Combination Multi Mode COMBI MULTI 7 2...

Page 158: ...tereo limiter You can link left and right channels or use each chan nel individually Filter Dynamic a Amplifier Type Selects the type of guitar amplifier SS EL84 6L6 b W D Wet Dry Dry 1 99 99 1 Wet Se...

Page 159: ...s the level above which the compressor is applied d Attack Sets the attack time 1 100 e Release Sets the release time 1 100 f Side PEQ Insert Toggles between on off of the trigger signal s EQ Off On g...

Page 160: ...will allow you to create versatile distor tion sounds This effect is suitable for guitar and organ sounds i W D Wet Dly Dry 1 99 99 1 Wet Sets the balance between the effect and dry sounds Source Off...

Page 161: ...Q shelving type G Gain Sets the gain of Low EQ 18 18dB g M1 Mid1 Cutoff 300 10 00kHz Sets the center frequency for Mid High EQ 1 peaking type Q Sets the band width of Mid High EQ 1 0 5 10 0 G Gain Set...

Page 162: ...ion amount of the effect balance 100 100 Band2 Cutoff Band2 Cutoff 0dB 6dB 15dB Band2 Gain dB 6 0 Band2 Dynamic Gain Amt dB 9 0 D mod 0dB 6dB 9dB Band2 Gain dB 6 0 Band2 Dynamic Gain Amt dB 15 0 D mod...

Page 163: ...Higher Max Zero Higher D mod Frequency Bottom 60 Top 30 Higher Max Zero Higher D mod Sweep Mode D mod Frequency Bottom 25 Top 75 Higher Frequency Bottom 75 Top 25 Higher Sweep Mode Auto Envelope Envel...

Page 164: ...Amount 100 100 Sets the modulation amount of the Exciter intensity b Point Emphatic Point Sets the frequency to be emphasized 0 70 Source Off Tempo Selects the modulation source of the frequency to be...

Page 165: ...0 100 Sets the sensitivity with which very low harmonics are added g Envelope Shape Sets the oscillator s volume envelope curve 100 100 h W D Wet Dly Dry 1 99 99 1 Wet Sets the balance between the eff...

Page 166: ...ce Selects the modulation source for the output level Off Tempo Amount Sets the modulation amount of the output level 100 100 f lfoF LFO Frequency Sets the LFO speed 0 02 20 00Hz Source Selects the mo...

Page 167: ...1 99 Wet Sets the balance between the effect and dry sounds Fx 010 Source Off Tempo Selects the modulation source of the effect balance Amount Sets the modulation amount of the effect balance 100 100...

Page 168: ...s delay time D Depth Sets the Tap3 chorus depth 0 30 L Level Sets the Tap3 output level 0 30 P Pan L6 L1 C R1 R6 Sets the Tap3 stereo image e T4 270 Tap4 Delay 0 570ms Sets the Tap4 LFO phase 270 degr...

Page 169: ...the feedback damping amount in the high range i W D Wet Dly Wet 1 99 Dry 1 99 Wet Sets the balance between the effect and dry sounds Fx 010 Source Off Tempo Selects the modulation source of the effec...

Page 170: ...he delay time on the right channel Fx 009 e Swp Mode Sweep Mode EG Dmod Determines whether the flanger is controlled by the envelope genera tor or by the modulation source Src Source Off Tempo Selects...

Page 171: ...the resonance damping amount in the high range Fx 023 i W D Wet Dly Wet 1 99 Dry 1 99 Wet Sets the balance between the effect and dry sounds Fx 010 023 Source Off Tempo Selects the modulation source o...

Page 172: ...Amount 100 100 Sets the modulation amount of LFO2 modulation depth i Feedback Sets the feedback amount 100 100 Fx 017 HiDamp High Damp Sets the damping amount in the high range 0 100 j W D Wet Dly We...

Page 173: ...3 00 LFO Frequency 1 0 3 0 4 0Hz LFO Frequency 1 0Hz Gate1 Signal AUTOFADE Fade In Dealy AutoFade LFO Frequency Wet Dry Delay Delay Left Right Feedback LFO Shape LFO Phase LFO Tri Sine Wet Dry Wet Dry...

Page 174: ...ed when the value changes from 63 or smaller to 64 or higher e Pitch Dep With the Doppler effect the pitch is raised when the sound approaches and the pitch is lowered when the sound goes away This pa...

Page 175: ...Always Off dry sounds are not output With Cross Fade a dry sound is usually output and it is muted only when scratching Set W D to Wet to use this parameter effectively a Scratch Source Off Tempo Sel...

Page 176: ...0Hz Sets the modulation amount of LFO speed d BPM MIDI Sync Off On Switches between using the frequency of the LFO speed and using the tempo and notes Fx 009 BPM Selects MIDI Clock and assigns tempo M...

Page 177: ...ets the depth of LFO modulation 0 100 Source Off Tempo Selects the modulation source of the depth of modulation Amount Sets the modulation amount of the depth of mod ulation 100 100 f W D Wet Dly Dry...

Page 178: ...100 Sets the modulation amount of the tremolo modulation depth i W D Wet Dly Dry 1 99 99 1 Wet Sets the balance between the effect and dry sounds Source Off Tempo Selects the modulation source of the...

Page 179: ...Tempo Amount Sets the modulation amount of the pitch shift 100 100cent b Delay Delay Time Sets the delay time 0 1000ms c Feedback Sets the feedback amount 100 100 d High Damp Sets the damping amount...

Page 180: ...1 99 99 1 R Sets the panning effect sound and dry sound separately g W D Wet Dly Dry 1 99 99 1 Wet Sets the balance between the effect and dry sounds Source Off Tempo Selects the modulation source of...

Page 181: ...ed or decelerated f MicDistance f Spread This is a simulation of stereo microphone settings Early reflection and delay effects 041 Early Reflect Early Reflections This effect is only the early reflect...

Page 182: ...is controlled via the modulation source or the input signal level Src Source Off Tempo Selects the modulation source that controls recording when Envelope is set to Dmod d Threshold 0 100 Sets the rec...

Page 183: ...50 Sets the width of the stereo image of the effect sound Fx 043 j W D Wet Dly Dry 1 99 99 1 Wet Sets the balance between the effect and dry sounds Source Off Tempo Selects the modulation source of th...

Page 184: ...ce Off Tempo Selects the modulation source that resets the LFO f L Phase L LFO Phase 180 180 Sets the phase obtained when the left LFO is reset R Phase R LFO Phase 180 180 Sets the phase obtained when...

Page 185: ...ow much the LFO waveform is changed Fx 020 g LFO Phase 180 180deg Sets the LFO phase difference between the left and right Fx 034 Dynamic Delay Threshold Dry Envelope Wet Control Target Out Polarity W...

Page 186: ...the type of notes to specify the right channel delay time Fx 049 Times 1 16 Sets the number of notes to specify the right channel delay time Fx 049 Adj Adjust Fine adjust the right channel delay time...

Page 187: ...h Damp Sets the damping amount in the high range 0 100 Fx 043 LoDamp Low Damp Sets the damping amount in the low range 0 100 Fx 043 h InLvl Mod Input Level Mod 100 100 Sets the modulation amount of th...

Page 188: ...amount in the high range 0 100 c Pre Delay Sets the delay time from the dry sound 0 200ms Fx 052 d Pre Delay Thru Sets the mix ratio of non delay sound 0 100 Fx 052 e Pre EQ Trim Sets the EQ input lev...

Page 189: ...rametric 4Band EQ Exciter a PEQ Trim Sets the parametric EQ input level 0 100 b B1 Band1 Cutoff Sets the center frequency of Band 1 20 1 00kHz Q Sets the bandwidth of Band 1 0 5 10 0 Fx 006 G Gain Set...

Page 190: ...ly Dry 1 99 99 1 Wet Sets the balance between the effect and dry sounds Source Off Tempo Selects the modulation source of the effect balance Amount Sets the modulation amount of the effect balance 100...

Page 191: ...cts the modulation source of the effect balance Amount Sets the modulation amount of the effect balance 100 100 Left Right Wet Dry Wet Dry Wet Mono In Mono Out Dry Stereo In Stereo Out Trim Parametric...

Page 192: ...m Output Level Envelope Control Comp Left Right Wet Dry Wet Dry Wet Mono In Mono Out Dry Stereo In Stereo Out Routing Overdrive Hi Gain 3 Band PEQ Output Level Mode Overdrive Hi Gain Drive Driver Comp...

Page 193: ...O speed 0 02 20 00Hz f Dly Delay Time Sets the delay time 0 0 50 0ms Dep Depth Sets the depth of LFO modulation 0 100 Fb Feedback Sets the feedback amount 100 100 Fx 020 g F Cho Flng W D Wet 2 98 Dry...

Page 194: ...nt Sets the modulation amount of the effect balance 100 100 Left Right Wet Dry Wet Dry Wet Mono In Mono Out Dry Stereo In Stereo Out Routing Compressor LEQ HEQ EQ Trim Output Level Envelope Control Mu...

Page 195: ...ation source of the effect balance Amount Sets the modulation amount of the effect balance 100 100 Left Right Wet Dry Wet Dry Wet Mono In Stereo Out Dry Stereo In Stereo Out Routing Chorus Flanger Fee...

Page 196: ...Mt Dly Wet Dry Limiter Limiter Gain Adjust Envelope Control Left Right Wet Dry Wet Dry Wet Mono In Mono Out Dry Stereo In Stereo Out Routing Compressor LEQ HEQ EQ Trim Comp Output Level Envelope Contr...

Page 197: ...reo Out LEQ HEQ EQ Trim Exciter Exciter Phaser Phaser Resonance LFO Tri Sine Phaser Wet Dry Normal Wet Invert Output Mode d LoEQ Pre Low EQ Gain Sets the gain of Low EQ 15 15dB HiEQ Pre High EQ Gain S...

Page 198: ...d PEQ Output Level Mode Overdrive Hi Gain Drive Driver a OD Mode Drive Mode OverD Hi Gain Switches between overdrive and high gain distortion Drive Sets the degree of distortion 1 100 Fx 006 b Level O...

Page 199: ...cts the modulation source of the effect balance Amount Sets the modulation amount of the effect balance 100 100 Left Right Wet Dry Wet Dry Wet Mono In Stereo Out Dry Stereo In Stereo Out Routing Overd...

Page 200: ...Wet Mono In Mono Out Dry Stereo In Stereo Out Routing Amp Simulation Amp Simulation Filter Wah Auto Wah Wah D mod Envelope Sweep Mode D mod Auto LFO LFO Left Right Wet Dry Wet Dry Wet Mono In Mono Out...

Page 201: ...e LFO speed 0 02 20 00Hz b Dly Delay Time Sets the delay time 0 0 50 0ms Dep Depth Sets the depth of LFO modulation 0 100 Fb Feedback Sets the feedback amount 100 100 Fx 020 c Pre EQ Trim Sets the EQ...

Page 202: ...langer Fx 010 020 Out Output Mode Normal Wet Inv Selects the output mode for the chorus flanger Fx 060 i W D Wet Dly Dry 1 99 99 1 Wet Sets the balance between the effect and dry sounds Source Off Tem...

Page 203: ...ts tonal quality of effect sound 1 100 d Mid Shape Sets the mid range of tonal quality 0 36 e Tune Fine tuning 50 50 f W D Wet Dly Dry 1 99 99 1 Wet Sets the balance between the effect and dry sounds...

Page 204: ...input Fx 006 e Level Output Level 0 50 Sets the output level Fx 006 Source Selects the modulation source for the output level Off Tempo Amount Sets the modulation amount of the output level 50 50 f L...

Page 205: ...On Selects on off or modulation source for the control of Tap4 output f T5 120 Tap5 Delay 0 570ms Sets the Tap5 LFO phase 120 degrees delay time D Depth Sets the Tap5 chorus depth 0 30 S Staus On Off...

Page 206: ...ut level 0 100 c OD Tone Overdrive Tone Sets the tonal quality of overdrive 0 15 SpSim Speaker Simulation Switches speaker simulation on off Off On d Mode Mode Switch Switches between speaker rotation...

Page 207: ...Left Right Feedback Spread Wet Dry Wet Dry Wet Mono In Stereo Out Dry Stereo In Stereo Out Input Level D mod High Damp Low Damp L Delay Input Level D mod Level Level Level e HiDamp High Damp Sets the...

Page 208: ...the effect sound Fx 043 j W D Wet Dly Dry 1 99 99 1 Wet Sets the balance between the effect and dry sounds Source Off Tempo Selects the modulation source of the effect balance Amount Sets the modulat...

Page 209: ...Off Reset is cancelled and the unit enters Rec ready mode 3 Push the joystick of a connected MIDI instrument in the Y direction forward and play a phrase you wish to hold When you pull the joystick to...

Page 210: ...during perfor mance using the REALTIME CONTROLS knob At this time set Knob 2 B to Knob Mod2 CC 19 for Knob B Assign Program Combination Multi 2 2 1a The 12 o clock position of the knob corresponds to...

Page 211: ...204...

Page 212: ...es of a connected MIDI instrument such as the TRITON are already provided as special parameters without your having to make Alter nate Modulation settings Different types of Alternate Modulation are u...

Page 213: ...ch EXT JS X Joy Stick X MIDI pitch bend joystick X horizontal axis EXT JS Y 01 Joy Stick Y CC 01 MIDI CC 01 modulation 1 joystick Y vertical axis upward EXT JS Y 02 Joy Stick Y CC 02 MIDI CC 02 modula...

Page 214: ...2 CC 19 Knob3 B to Knob Mod 3 CC 20 or Knob4 B to Knob Mod 4 CC 21 p 214 Knob 1 4 B Assign When you set REALTIME CONTROLS to B mode and oper ate knobs 1 4 the specified modulation will apply If AMS in...

Page 215: ...O frequency can be synchronized to the tempo and note value The effect of alternate modulation on various parameters and example applications Pitch PROG 3 1 1a Pitch can be controlled by the filter am...

Page 216: ...cking controller or tempo You can use Int to A LFO1 2 AMS Int to A and Int to B LFO1 2 AMS Int to B to independently specify the intensity for Filter A and B If you select EG as the AMS LFO1 2 AMS the...

Page 217: ...ay 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...

Page 218: ...c Modulation Source Dmod Wet Dry Max Zero Higher D mod Dry Wet 60 40 10 90 Dynamic Modulation Example Wet Dry 10 90 Amt 50 Wet Dry 60 40 Amt 50 Source name Explanation Off dynamic modulation is not us...

Page 219: ...t 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 re...

Page 220: ...ndled as CC 80 and SW2 is handled as CC 81 Porta SW CC 65 Portamento Switch CC 65 When PROG 2 1 Ed Basic Mode Oscillator Mode 2 1 1a is Single turning the switch on LED lit will apply por tamento rega...

Page 221: ...er Simultaneously CC 74 will be transmitted Flt Reso CC 71 Control the resonance of the Filter or the cutoff frequency of the high pass filter If the program s Type Filter1 2 Type is Low Pass Resonanc...

Page 222: ...f 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...

Page 223: ...EQ is either set to Gch or to the same channel as the global MIDI channel In the case of All Routed control is possible on the MIDI channel of any routed timbre Multi mode When one of the TRITON s con...

Page 224: ...On Off 67 Soft 68 69 70 Sustain level 71 Filter resonance level High pass filter cutoff frequency Knob2 72 Release time Knob4 73 Attack time 74 Low pass filter cutoff frequency Knob1 75 Decay time 76...

Page 225: ...unction of a REALTIME CONTROLS knob 32 Bank select LSB 0 127 LSB of bank select message 1 38 Data entry LSB 0 127 LSB of RPN or NRPN data 2 64 Damper 0 127 damper effect 65 Portamento On Off 0 63 Off...

Page 226: ...high pass filter will be controlled 4 5 CC 70 79 correspond to the following program param eters of the TRITON Rack In Program mode when CC 70 79 is received on the global MIDI channel MIDI Channel GL...

Page 227: ...1 2 Ed Filter1 2 Mod 1 page Different parameters are controlled for the bank F programs that are available when the separately sold EXB MOSS option is installed EXB MOSS owner s manual p 251 EXB MOSS...

Page 228: ...T or EX2 When pattern RPPR 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 MULTI 3 1 1a 2a is INT or BTH wil...

Page 229: ...nging the pitch bend range Control change Bn cc vv Transmitted and received as n channel cc control change no vv value Refer to MIDI transmission when the TRITON Rack s con trollers are operated p 216...

Page 230: ...f a REALTIME CON TROLS 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...

Page 231: ...ers can be received to control alternate modulation or dynamic modu lation The controllers and the MIDI messages they transmit will depend on the type of MIDI device that is connected As B mode functi...

Page 232: ...the value together expressing 16 384 lev els to specify the value 3 You 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 ste...

Page 233: ...you assign Master Volume as a B mode function of a REALTIME CONTROLS 1 4 knob and operate the controller This will adjust the overall vol ume balance without changing the relative volume balance betw...

Page 234: ...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 receiv...

Page 235: ...urning echo back off you will prevent the arpeggiator or RPPR from performing duplicate processing on the moni tored notes during recording During playback turn off the arpeggiator and RPPR func tions...

Page 236: ...loading GM GS XG compatible SMF data set Bank Map to GM 2 When a multi pattern is saved as SMF in Disk mode the MIDI channel will be 1 If you wish to exchange sequence data such as patterns between t...

Page 237: ...e and destination Meaning A sample already exists at the destination save location Action Either delete the sample at the destination save location or change the save destination sample number Meaning...

Page 238: ...permitted by MS DOS cannot be used as a filename Meaning You attempted to load a file that was not a Stan dard MIDI File Meaning You attempted to load a Standard MIDI File that was timecode based Mea...

Page 239: ...file or exchange the medium with one that has sufficient free space Meaning When starting realtime recording in Multi mode the minimum amount of free memory such as memory for the BAR events up to the...

Page 240: ...on 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 Meaning The sample you are editing is used by other mult...

Page 241: ...area for Undo Compare func tion is not allocated If you wish to keep the data that was just recorded or edited press the F8 OK key If you wish to return to the previous data i e to delete the data tha...

Page 242: ...G H settings TRITON Rack TRITON keyboard models PCG SNG file load MIDI data dump MIDI parameter change Since TRITON keyboard models do not have these pro gram banks they will not sound or operate cor...

Page 243: ...same settings will be output as when the data was loaded or received via MIDI data dump TRITON Rack TRITON keyboard models PCG SNG file load MIDI data dump The parameter will be set to 0 3 TRITON keyb...

Page 244: ...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...

Page 245: ...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...

Page 246: ...7 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 3...

Page 247: ...ce data Q Cn pp pp Program Change Prog Combi change 1 P Dn vv vv Channel Pressure Sequence data T En bb bb bb bb Bender Change Sequence data C M Chg Transmitted when change a Multi No Status EXT EX2 B...

Page 248: ...00 7F 00 127 Local Control Off On A Bn 7B 123 00 00 All Notes Off A Bn 7C 124 00 00 Omni Mode Off as All Notes Off A Bn 7D 125 00 00 Omni Mode On as All Notes Off A Bn 7E 126 10 16 Mono Mode On as All...

Page 249: ...ctive Sensing MIDI Connect check Receive when MIDI Clock in Global mode is External 2 4 SYSTEM EXCLUSIVE 2 4 1 UNIVERSAL SYSTEM EXCLUSIVE MESSAGE NON REALTIME DEVICE INQUlRY When received this message...

Page 250: ...SCSI interface board This adds a SCSI connector to the TRITON Rack In the same way that you save programs combinations sequence data and sample data etc from the TRITON Rack to a floppy disk you can...

Page 251: ...he 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...

Page 252: ...ove the four screws by hand 2 Pull the lid toward the back and lift to remove it 3 1 Installing the EXB MOSS You must leave the AC AC power supply disconnected until you finish the entire process of r...

Page 253: ...cation where the EXB SCSI will be installed the lower diagram in 2 Detaching the lid 2 Remove the EXB SCSI from its bag 3 Remove the two screws and washers from the two cor ners of the board Be carefu...

Page 254: ...screws that you remove Some models that can use the EXB DI will require these two screws 4 Remove the two screws holding the DI cover that blocks the installation opening of the EXB DI and remove the...

Page 255: ...ed Take it out so that it is not left inside the TRITON Rack 4 Attach the cable as shown in the diagram Firmly press the cable all the way into the connector Do not touch any part of the circuit board...

Page 256: ...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 5 Rever...

Page 257: ...XB PCM DRAM SIMM so that you can use all three slots 4 The notched side of the DRAM SIM is PIN 1 Install the DRAM SIMM with its PIN 1 side aligned with the PIN 1 mark of the slot The DRAM SIMM slots a...

Page 258: ...by Stanford University USA and Yamaha Corporation The structure of a MOSS tone genera tor program A MOSS tone generator program is structured as follows OSC oscillator This section produces the wavefo...

Page 259: ...or an impulse It can be used to generate a diverse array of sounds ranging from noisy sounds to synth bass or string like sounds p 259 EXB MOSS owner s manual p 17 VPM Variable Phase Modulation This o...

Page 260: ...nation bank I E 1 If you have modified the program settings or the order of banks I A or I B load banks I A and I B from the disk included with the TRITON Rack The EXB MOSS combi nations I B use bank...

Page 261: ...programs of banks I A I E and G g 0 g 9 g d and E A E H If you change the program used from a bank I F program to a bank I A I E and G g 0 g 9 g d or E A E H program it will sound without regard to th...

Page 262: ...mpEG page PROG 5 2 Ed EGs EG1 4 pages This affects the EG that is selected for Filter EG PROG 4 1 Ed Filter 1 2 page and Amp Level EG PROG 5 1 Ed Amp Amp 1 2 page CC 71 Filter Resonance Level Resonanc...

Page 263: ...dulation Cross Modulation Sync Modulation Organ Model E Piano Model Double Size Brass Model Detune 0 99 Detunes the notes that are sounded simultaneously by the Unison function 1 1c Voice Assign Mode...

Page 264: ...d Type p 13 1 1d Scale Type ScaleType GLOBAL 3 1 1a User Octave Scale PG p 114 GLOBAL 3 1 2b User All Notes Scale PG p 115 Key p 13 1 1d Scale Key Scale Key Random p 13 1 1d Scale Random 2 1 2 OSC OSC...

Page 265: ...sity Level AMS Intensity 2 1 6 Audition This is the same parameter as for programs of banks other than I F PG p 9 PROG 2 1 5 Audition PROG 2 2 Ed Ctrl 2 2 1 Ctrls Controls TRITON Rack p EXB MOSS Knob1...

Page 266: ...AMS Intensity Feedback p 17 1 3b Feedback Fbk Feed Back AMS1 p 17 1 3b Feedback AMS1 Alternate Modulation Source 1 Intensity p 17 1 3b Feedback Intensity Feedback AMS1 Intensity AMS2 p 17 1 3b Feedba...

Page 267: ...1 Intensity AMS2 p 20 1 3a Input AMS2 Alternate Modulation Source 2 Intensity p 20 1 3a Input Intensity Level AMS2 Intensity AMS p 20 1 3c Resonance Modulation AMS Alternate Modulation Source Intensit...

Page 268: ...s Coarse Fine Level p 23 1 3a Tone Generator Drawbar1 Level AMS p 23 1 3a Tone Generator Drawbar1 AMS Alternate Modulation Source Intensity p 24 1 3a Tone Generator Drawbar1 Intensity Level AMS Intens...

Page 269: ...EQ Gain Reed Model p 27 EXB MOSS owner s manual 2 3 1 Reed TRITON Rack p EXB MOSS InstType p 27 1 3a InstType InstType Jump Bend JS X p 27 1 3a Jump Bend JX X Joystick X Jump Bend JS X p 27 1 3a Jump...

Page 270: ...rve Velocity Curve Down Velocity Control Point p 30 1 3d Harmonics Point Ctrl p 31 1 3d Harmonics Ctrl Control Int p 31 1 3d Harmonics Intensity Harmonics Control Intensity Pickup p 31 1 3e Pickup Pic...

Page 271: ...Step Joystick Step X JS X p 37 2 4a Pitch Bend JS X Joystick Intensity X Step p 37 2 4a Pitch Bend Step Joystick Step X AMS p 37 2 4b Common Pitch Modulation AMS Alternate Modulation Source Intensity...

Page 272: ...er A Ramp Low to A Ramp High p 39 3 2a FilterA B KeyboardTrack Filter A Ramp High to B Key Low p 39 3 2a FilterA B KeyboardTrack Filter A Key Low to B Key High p 39 3 2a FilterA B KeyboardTrack Filter...

Page 273: ...t Level Pan p 42 4 4b Pan Pan AMS p 42 4 4b Pan AMS Alternate Modulation Source Intensity p 42 4 4b Pan Intensity Panpot AMS Intensity PROG 5 2 Ed EGs p 45 EXB MOSS owner s manual 5 2 1 4 EG1 EG4 TRIT...

Page 274: ...uency MIDI Tempo Sync MIDI Tempo Sync Base Note p 44 5 1c Frequency MIDI Tempo Sync Base Note Times p 44 5 1c Frequency MIDI Tempo Sync Times GLOBAL 2 1 1a MIDI MIDI Clock PG p 111 PROG 6 1 Ed Arp Thi...

Page 275: ...AfterT JS X JS Y 01 JS Y 02 JS Y AT 2 JS Y AT 2 Pedal 04 Ribbon 16 Rbn 16 X Rbn 16 X Slider 18 KnobM1 17 KnobM2 19 KnobM3 20 KnobM4 21 KnobM1 KnobM2 KnobM3 KnobM4 Damper 64 SW 1 80 SW 2 81 FootSW 82...

Page 276: ...G L p 266 EG1 4 Level 5 2 1 4 EG1 EG4 L p 266 Attack AttackTime Amp EG Time 5 1 3 Amp EG T p 266 EG1 4 Time 5 2 1 4 EG1 EG4 T p 266 Attack Level Plucked String Model Attack 2 3 2 Plucked Str Attack Le...

Page 277: ...p 267 Intensity AMS1 Int AMS Intensity OSC Mod Pitch Modulation 3 1 2 4 OSC1 SubOSC Modulation p 264 Intensity Balance AMS Intensity Standard Wave Shape 2 3 2 Standard WShape p 259 Intensity Bowing Po...

Page 278: ...eyboad Track 5 1 1 2 Amp1 2 Keyboard Track p 265 Filter Mod Keyboad Track 4 1 2 4 F1 2 Mod Keyboard Track p 265 Key Sync LFO1 4 LFO 5 3 1 4 LFO1 4 Key Sync p 267 KTr Damp KeyboardTrack Decay KeyboardT...

Page 279: ...4 Step Joystick Step X Common P Mod Pitch Bend 3 1 1 Common Pitch Bend p 264 Strength Brass Model Breath Pressure 2 3 1 Brass Breath p 262 Sub OSC OSC Mixer Mixer1 2 2 1 4 5 Mixer1 2 p 258 Sustain Sus...

Page 280: ...d the ADAT 3 Make 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...

Page 281: ...4 119 Load 127 Protect 110 Save 134 Write 121 Assign Arpeggiator Assign Arpeggiator Drumsample 117 Realtime Control Knobs B Assign RPPR Setup 64 SW1 SW2 Attack Level Amp EG 21 210 Filter EG 17 210 Pit...

Page 282: ...4 CREATE Index 76 79 101 Creates a new directory 137 Crossfade Loop 100 Current Directory 124 133 Cut Cut Index 101 Event 63 Sample 86 Cutoff Frequency 14 Cutoff Sample 8 Fc Cutoff Drum Kit 117 118 Fi...

Page 283: ...ation 45 46 Drum Kit 119 Input 111 Multi 69 70 Prgram 26 28 Sampling 79 105 IFX Bal IFX Balance 4 IFX1 5 Off 108 K Key Key Zone Combination 39 Multi 56 Key Drum Kit 116 Key Split 39 Keyboard Index 75...

Page 284: ...g 101 Shift Multi 65 Trans Transpose Multi 55 Transpose Drum Kit 117 Transpose Multi 55 Offset Ofs Offset LFO 23 Pitch Offset 121 S Ofs Start Offset Drum Kit 117 118 Program 7 Original Key 75 76 79 10...

Page 285: ...Rate Convert 89 Sampling Data 134 Sampling will be started 77 Save 133 Save Template Multi 51 Set Date Time 137 Scale 6 Combination 38 Multi 56 Program 6 User All Notes Scale 115 User Octave Scale 114...

Page 286: ...Track 50 Load 128 Rename Track 51 Save 125 134 Transpose Audition 9 Combination 37 Drum Kit 8 117 Global 107 Multi 55 Program 8 Pitch Stretch 4 TRINITY 238 TRITON 235 Truncate 85 93 Tune Stretch Pitch...

Page 287: ...t specifications and voltages required by each country These products are warranted by the KORG distributor only in each country Any KORG product not sold with a warranty card or carrying a serial num...

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