About This Manual Steps in a Procedure Are Listed As 1 2 3

Procedure steps 1 2 3 ... About this manual Steps in a procedure are listed as 1 2 3 ... p., – This “Parameter Guide” contains explanations and other These indicate pages or parameter numbers to which you information regarding the operations of the parameters and can refer. settings on the TRITON proX, TRITON pro, and TRITON. The explanations are organized by mode, page, and tab. Link – Explanations and other information on the effects and their Link indicates a linked parameter on a different page that parameters are also provided for each effect. has the same name or an abbreviated name. – indicates Refer to this guide when an unfamiliar parameter appears in the parameter numbers. the display, or when you need to know more about a partic- Symbols , , , , , ular function. These symbols respectively indicate cautions, advice, MIDI- related explanations, a parameter that can be selected as an alternate modulation source, a parameter that can be Conventions in this manual selected as a dynamic modulation source, and a parameter that can use the BPM/MIDI Sync function. References to the TRITON proX, TRITON pro, and TRITON Example screen displays The TRITON proX, TRITON pro, and TRITON are collec- The values of the parameters shown in the example screens tively referred to in this manual as the TRITON. of this manual are only for explanatory purposes, and may Switches and knobs [ ] not necessary match the values that appear in the LCD References to the switches, dials, and knobs on the TRI- screen of your instrument. TON’s panel are enclosed in square brackets [ ]. References MIDI-related explanations to buttons or tabs indicate objects in the LCD display CC# is an abbreviation for Control Change Number. screen. In explanations of MIDI messages, numbers in square Parameters in the LCD display screen “ “ brackets [ ] always indicate hexadecimal numbers. Parameters displayed in the LCD screen are enclosed in double quotation marks “ “. Boldface type Parameter values are printed in boldface type. Content that is of particular importance is also printed in boldface type.

How to read the “Parameter Guide” (example) Page menu command No.

Mode name Program P5: Edit-Common LFO 5–1: Page Menu Command Page menu Here you can make settings for the LFO that can be used to 0–1A command name cyclically modulate the Pitch, Filter, and Amp of oscillators 1 5–1A and 2. There are two LFO units for each oscillator. By setting Page No. the LFO1 or LFO2 Intensity to a negative (–) value for Pitch, 5–1A: Swap LFO 1&2 Filter, or Amp, you can invert the LFO waveform. This command exchanges the settings of LFO1 and 2. If LFO2 Page menu command has been selected as Frequency Modulation AMS1 or 2 of LFO1, that setting will be cancelled for LFO2 after the LFO1 5–1: OSC1 LFO1 ( ) and 2 settings have been exchanged. If this is selected from Tab No. the OSC1 LFO1 or OSC1 LFO2 tab, the LFO1 and LFO2 of Make settings for the “OSC1 LFO1,” which is the first LFO OSC1 will be exchanged. that can be used for oscillator 1. Tab name (2) 1 Select this command to open the dialog box. 5–1 2 Press the OK button. Tab name (1) 5–1a 5–2: OSC1 LFO2 Here you can make settings for the OSC1 LFO2, which is the 5–1b 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” or Parameter 5–1c “AMS2.” number 5–3: OSC2 LFO1 This can be used when “Oscillator Mode” (1–1a) is set to 5–1a: OSC1 LFO1 Double. Parameter Here you can make settings for the OSC2 LFO1, which is the Waveform [Triangle 0…Random6 (Vector)] name first LFO that can be applied to oscillator 2. ( “5–1: OSC1 Select the LFO waveform. LFO1”) Range of possible parameter values

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Table of Contents 2. Combination mode ...... 29 Combination P0: Play ...... 29 0–1: Prog. Select (Program Select)...... 29 1. Program mode ...... 1 0–2: Mixer ...... 31 Program P0: Play ...... 1 0–3: Arpegg. A (Arpeggio Play A) ...... 32 0–1: Perf. Edit (Performance Edit) ...... 1 0–4: Arpegg. B (Arpeggio Play B)...... 32 0–2: Arpeggio ...... 3 Combination P1: Edit–Program/Mixer ...... 32 Program P1: Edit – Basic ...... 4 1–1: Program/Mixer ...... 32 1–1: Program Basic...... 4 Combination P2: Edit–Trk Param ...... 33 1–2: OSC Basic ...... 5 2–1: MIDI Channel (MIDI Ch)...... 33 1–3: Velo. Zone (Velocity Zone)...... 7 2–2: OSC ...... 33 1–4: Controller (Controller Setup) ...... 8 2–3: Pitch...... 33 Program P2: Edit – Pitch ...... 8 2–4: Other ...... 34 2–1: OSC1 P.Mod (OSC1 Pitch Mod.) ...... 8 Combination P3: Edit-MIDI Filter...... 35 2–2: OSC2 P.Mod (OSC2 Pitch Mod.) ...... 10 3–1: MIDI 1 (MIDI Filter –1) ...... 35 2–3: Pitch EG ...... 10 3–2: MIDI 2 (MIDI Filter –2) ...... 36 Program P3: Edit – Filter ...... 12 3–3: MIDI 3 (MIDI Filter –3) ...... 36 3–1: Filter1...... 12 3–4: MIDI 4 (MIDI Filter –4) ...... 36 3–2: Filter1 Mod...... 13 Combination P4: Edit-Zone/Ctrl ...... 37 3–3: Filter1 lfo Mod (Filter1 LFO Mod.) ...... 14 4–1: Key Z (Key Zone) ...... 37 3–4: Filter1 EG ...... 15 4–2: Vel Z (Vel Zone) ...... 37 3–5: Filter2...... 16 4–3: MOSS Setup (MOSS)...... 38 3–6: Filter2 Mod...... 16 4–4: Controller (Control) ...... 38 3–7: Filter2 lfo Mod (Filter1 LFO Mod.) ...... 16 Combination P7: Edit-Arp ...... 39 3–8: Filter2 EG ...... 16 7–1: Setup ...... 39 Program P4: Edit -Amp...... 17 7–2: Arpegg. A (Arpeggiator A) ...... 40 4–1: Amp1 Lvl/Pan (Amp1 Level/Pan)...... 17 7–3: Arpegg. B (Arpeggiator B)...... 40 4–2: Amp1 Mod...... 17 7–4: Scan Zone (Scan Zone A/B) ...... 40 4–3: Amp1 EG ...... 18 Combination P8: Edit-Insert FX...... 41 4–4: Amp2 Lvl/Pan (Amp1 Level/Pan)...... 20 8–1: Routing ...... 41 4–5: Amp2 Mod...... 20 8–2: Insert Fx ...... 42 4–6: Amp2 EG ...... 20 8–3: IFX 1 ...... 42 Program P5: Edit-Common LFO ...... 20 8–4: IFX 2 ...... 42 5–1: OSC1 LFO1 ...... 20 8–5: IFX 3 ...... 42 5–2: OSC1 LFO2 ...... 21 8–6: IFX 4 ...... 42 5–3: OSC2 LFO1 ...... 21 8–7: IFX 5 ...... 42 5–4: OSC2 LFO2 ...... 22 Combination P9: Edit-Master FX ...... 43 Program P7: Edit-Arpeggiator ...... 22 9–1: Master FX ...... 43 7–1: Arpeg. Setup...... 22 9–2: MFX 1 (Master Effect1)...... 43 7–2: Scan Zone ...... 24 9–3: MFX 2 (Master Effect2)...... 43 Program P8: Edit-Insert Effect ...... 24 9–4: Master EQ...... 44 8–1: Routing ...... 24 8–2: Insert FX ...... 25 8–3: IFX 1 ...... 26 3. Sequencer mode ...... 45 8–4: IFX 2 ...... 26 Sequencer P0: Play/Rec ...... 45 8–5: IFX 3 ...... 26 0–1: Prog. 1–8 (Program T01–08)...... 45 8–6: IFX 4 ...... 26 0–2: Prog. 9–16 (Program T09–16)...... 45 8–7: IFX 5 ...... 26 0–3: Mixer 1–8 (Mixer T01–08) ...... 49 Program P9: Edit-Master Effect ...... 27 0–4: Mixer 9–16 (Mixer T09–16) ...... 49 9–1: Master FX ...... 27 0–5: PlyLoop 1–8 (PlayLoop T01–08) ...... 49 9–2: MFX 1...... 28 0–6: PlyLoop 9–16 (PlayLoop T09–16) ...... 49 9–3: MFX 2...... 28 0–7: Preference...... 50 9–4: Master EQ ...... 28 Sequencer P1: Cue List ...... 51 1–1: Cue List...... 51 Sequencer P2: Trk Param ...... 55 2–1: MIDI Ch 1–8 (MIDI Ch T01–08) ...... 55 2–2: MIDI Ch 9–16 (MIDI Ch T09–16) ...... 55 2–3: OSC 1–8 (OSC T01–08) ...... 55 iv

2–4: OSC 9–16 (OSC T09–16) ...... 55 Sampling P1: Sample Edit ...... 88 2–5: Pitch 1–8 (Pitch T01–08) ...... 56 1–1: Sample Edit ...... 88 2–6: Pitch 9–16 (Pitch T09–16) ...... 56 Sampling P2: Loop Edit ...... 94 2–7: Other 1–8 (Other T01–08) ...... 56 2–1: Loop Edit ...... 94 2–8: Other 9–16 (Other T09–16) ...... 56 Sampling P3: Multisample ...... 96 Sequencer P3: MIDI Filter ...... 57 3–1: Multisample ...... 96 3–1: MIDI 1 1–8 (MIDI Filter –1 T01–08)...... 57 3–2: Preference...... 98 3–2: MIDI 1 9–16 (MIDI Filter –1 T09–16)...... 57 Sampling P4: Controller Setup ...... 98 3–3: MIDI 2 1–8 (MIDI Filter –2 T01–08)...... 58 4–1: Controller Setup ...... 98 3–4: MIDI 2 9–16 (MIDI Filter –2 T09–16)...... 58 Sampling P8: Insert Effect ...... 99 3–5: MIDI 3 1–8 (MIDI Filter –3 T01–08)...... 58 8–1: Insert FX ...... 99 3–6: MIDI 3 9–16 (MIDI Filter –3 T09–16)...... 58 8–2: IFX 1 ...... 100 3–7: MIDI 4 1–08 (MIDI Filter –4 T01–08)...... 58 8–3: IFX 2 ...... 100 3–8: MIDI 4 9–16 (MIDI Filter –4 T09–16)...... 58 8–4: IFX 3 ...... 100 Sequencer P4: Zone/Ctrl...... 59 8–6: IFX 4 ...... 100 4–1: Key Z 1–8 (Key Zone T01–08) ...... 59 8–5: IFX 5 ...... 100 4–2: Key Z 9–16 (Key Zone T09–16) ...... 59 4–3: Vel Z 1–8 (Vel Zone T01–08)...... 60 4–4: Vel Z 9–16 (Vel Zone T09–16)...... 60 5. Song Play mode ...... 101 4–5: MOSS 1–8 (MOSS T01–08) ...... 60 Song Play P0: Program/Mix ...... 101 4–6: MOSS 9–16 (MOSS T09–16) ...... 60 0–1: Prog. 1–8 (Program T01–08)...... 101 4–7: Controller (Controller Setup) ...... 60 0–2: Prog. 9–16 (Program T09–16)...... 101 Sequencer P5: Track Edit...... 61 0–3: Mixer 1–8 (Mixer T01–08) ...... 103 5–1: Track Edit ...... 61 0–4: Mixer 9–16 (Mixer T09–16) ...... 103 5–2: Track Name...... 68 0–5: Preference...... 103 Sequencer P6: Pattern/RPPR ...... 68 Song Play P1: Track...... 104 6–1: Pattern Edit ...... 68 1–1: Status 1–8 (Status/Scale T01–08) ...... 104 6–2: Pattern Name ...... 71 1–2: Status 9–16 (Status/Scale T09–16) ...... 104 6–3: RPPR Setup ...... 71 1–3: MOSS 1–8 (MOSS Setup T01–08) ...... 104 1–4: MOSS 9–16 (MOSS Setup T09–16) ...... 104 Sequencer P7: Arpeggiator ...... 73 7–1: Setup 1–8 (Setup T01–08) ...... 73 Song Play P2: Controller Setup ...... 105 7–2: Setup 9–16 (Setup T09–16) ...... 73 2–1: Controller Setup (Preference) ...... 105 7–3: Arpegg. A (Arpeggiator A) ...... 74 Song Play P3: Select Directory/Jukebox ...... 106 7–4: Arpegg. B (Arpeggiator B) ...... 74 3–1: Select Directory ...... 106 7–5: Scan Zone (Scan Zone A/B) ...... 74 3–1: Jukebox ...... 106 Sequencer P8: Insert Effect ...... 75 Song Play P7: Arpeggiator ...... 107 8–1: Routing 1–8 (Routing T01–08) ...... 75 7–1: Setup 1–8 (Setup T01–08) ...... 107 8–2: Routing 9–16 (Routing T09–16) ...... 75 7–2: Setup 9–16 (Setup T09–16) ...... 107 8–3: Insert FX ...... 76 7–3: Arpegg. A (Arpeggiator A) ...... 108 8–4: IFX 1 ...... 76 7–4: Arpegg. B (Arpeggiator B)...... 108 8–5: IFX 2 ...... 76 7–5: Scan Zone (Scan Zone A/B) ...... 108 8–6: IFX 3 ...... 76 Song Play P8: Insert Effect ...... 109 8–7: IFX 4 ...... 76 8–1: Routing 1–8 (Routing T01–08)...... 109 8–8: IFX 5 ...... 76 8–2: Routing 9–16 (Routing T09–16)...... 109 Sequencer P9: Master Effect ...... 77 8–3: Insert FX ...... 110 9–1: Master FX ...... 77 8–4: IFX 1 ...... 110 9–2: MFX 1...... 77 8–5: IFX 2 ...... 110 9–3: MFX 2...... 77 8–6: IFX 3 ...... 110 9–4: Master EQ ...... 78 8–7: IFX 4 ...... 110 8–8: IFX 5 ...... 110 Song Play P9: Master Effect ...... 111 4. Sampling mode ...... 79 9–1: Master FX ...... 111 Sampling P0: Recording ...... 79 9–2: MFX1...... 111 0–1: Recording ...... 79 9–3: MFX2...... 111 0–2: Input/Setup ...... 86 9–4: Master EQ...... 112 0–3: Preference ...... 87 0–4: Memory Status ...... 87

6. Global mode ...... 113 013: Talking Modulator ...... 162 Global P0: Basic Setup ...... 113 014: Stereo Decimator ...... 163 0–1: Basic ...... 113 015: St. Analog Record (Stereo Analog Record) ...... 163 0–2: System Pref. (System Preference) ...... 115 0–3: Audio Input ...... 116 Pitch/Phase Mod...... 164 Pitch/phase modulation effects ...... 164 Global P1: MIDI ...... 117 016: Stereo Chorus...... 164 1–1: MIDI...... 117 017: St. Harmonic Chorus Global P2: Controller ...... 121 (Stereo Harmonic Chorus)...... 164 2–1: Controller ...... 121 018: Multitap Cho/Delay Global P3: User Scale ...... 121 (Multitap Chorus/Delay) ...... 165 3–1: User Scale ...... 121 019: Ensemble ...... 165 Global P4: Category Name ...... 122 020: Stereo Flanger ...... 166 4–1: Program Cat...... 122 021: St. Random Flanger 4–2: Comb Cat...... 122 (Stereo Random Flanger) ...... 166 Global P5: Drum Kit ...... 123 022: St. Env. Flanger 5–1: Sample Setup ...... 123 (Stereo Envelope Flanger) ...... 167 5–2: Voice/Mixer ...... 125 023: Stereo Phaser ...... 167 Global P6: User Arpeggio ...... 126 024: St. Random Phaser 6–1: Pattern Setup ...... 126 (Stereo Random Phaser)...... 168 6–2: Pattern Edit ...... 128 025: St. Env. Phaser (Stereo Envelope Phaser) ...... 168 026: St. Biphase Mod. 7. Disk mode...... 131 (Stereo Biphase Modulation)...... 169 Files, directories, and icons...... 131 027: Stereo Vibrato ...... 169 0–1: Load ...... 132 028: St. Auto Fade Mod. 0–2: Save ...... 139 (Stereo Auto Fade Modulation) ...... 170 0–3: Utility ...... 141 029: 2Voice Resonator...... 170 0–4: Media Info (Media Information) ...... 143 030: Doppler...... 171 031: Scratch...... 172 Mod./P.Shift ...... 173 8. Effect Guide...... 145 Other modulation and pitch shift effects...... 173 Overview ...... 145 032: Stereo Tremolo...... 173 Insert Effects (IFX 1, 2, 3, 4, 5)...... 146 033: St. Env. Tremolo Master Effects (MFX1, 2) ...... 150 (Stereo Envelope Tremolo) ...... 173 Master EQ ...... 153 034: Stereo Auto Pan...... 174 Individual Outputs ...... 153 035: St. Phaser + Trml (Stereo Phaser + Tremolo) ...... 174 Filter/Dynamic...... 155 036: St. Ring Modulator Filter and dynamics control effects ...... 155 (Stereo Ring Modulator) ...... 175 000: No Effect ...... 155 037: Detune...... 176 001: St. Amp Simulation 038: Pitch Shifter ...... 176 (Stereo Amp Simulation) ...... 155 039: Pitch Shift Mod. 002: Stereo Compressor...... 155 (Pitch Shift Modulation)...... 177 003: Stereo Limiter ...... 155 040: Rotary Speaker ...... 177 004: Multiband Limiter ...... 156 ER/Delay ...... 178 005: Stereo Gate ...... 157 Early reflection and delay effects ...... 178 006: OD/Hi.Gain Wah (Overdrive/Hi.Gain Wah) ...... 157 041: Early Reflections ...... 178 007: St. Parametric 4EQ 042: Auto Reverse ...... 179 (Stereo Parametric 4-Band EQ) ...... 158 043: L/C/R Delay ...... 179 008: St. Graphic 7EQ 044: Stereo/Cross Delay...... 180 (Stereo Graphic 7 Band EQ) ...... 159 045: St. Multitap Delay 009: St. Wah/Auto Wah (Stereo Multitap Delay) ...... 180 (Stereo Wah/Auto Wah) ...... 159 046: St. Modulation Delay 010: St. Random Filter (Stereo Modulation Delay) ...... 181 (Stereo Random Filter) ...... 160 047: St. Dynamic Delay 011: St. Exciter/Enhncr (Stereo Dynamic Delay) ...... 181 (Stereo Exciter/Enhancer) ...... 161 048: St. Auto Panning Dly 012: St. Sub Oscillator (Stereo Auto Panning Delay)...... 182 (Stereo Sub Oscillator)...... 161 049: L/C/R BPM Delay ...... 182 vi

050: St. BPM Delay (Stereo BPM Delay) ...... 183 083: Wah – Amp Sim 051: Sequence Delay ...... 183 (Wah/Auto Wah – Amp Simulation) . . . . . 197 Reverb ...... 184 084: Decimator – Amp Reverb effects ...... 184 (Decimator – Amp Simulation)...... 197 052: Reverb Hall ...... 184 085: Decimator – Comp 053: Reverb SmoothHall ...... 184 (Decimator – Compressor)...... 197 054: Reverb Wet Plate ...... 184 086: Amp Sim – Tremolo (Amp Simulation – Tremolo) ...... 198 055: Reverb Dry Plate ...... 184 087: Cho/Flng – Mt. Dly 056: Reverb Room ...... 185 (Chorus/Flanger – Multitap Delay)...... 198 057: Reverb BrightRoom ...... 185 088: Phaser – Cho/Flng Mono – Mono Chain ...... 185 (Phaser – Chorus/Flanger) ...... 199 Effects that combine two mono effects connected in 089: Reverb – Gate...... 199 series ...... 185 Double Size...... 200 058: P4EQ – Exciter Double-size effects (Available for Insert Effects (Parametric 4-Band EQ – Exciter) ...... 185 IFX2, 3, and 4) ...... 200 059: P4EQ – Wah 090: Piano Body/Damper (Parametric 4-Band EQ – Wah/Auto Wah).186 (Piano Body/Damper Simulation)...... 200 060: P4EQ – Cho/Flng 091: St. Mltband Limiter (Parametric 4-Band EQ – Chorus/Flanger) .186 (Stereo Multiband Limiter) ...... 200 061: P4EQ – Phaser 092: OD/HyperGain Wah (Parametric 4-Band EQ – Phaser) ...... 187 (Overdrive/Hyper Gain Wah) ...... 200 062: P4EQ – Mt. Delay 093: Vocoder...... 201 (Parametric 4-Band EQ – Multitap Delay) . .187 094: Multitap Cho/Delay 063: Comp – Wah (Multitap Chorus/Delay) ...... 202 (Compressor – Wah/Auto Wah)...... 188 095: St. Pitch Shifter (Stereo Pitch Shifter) ...... 202 064: Comp – Amp Sim (Compressor – Amp Simulation) ...... 188 096: Rotary Speaker OD (Rotary Speaker Overdrive) ...... 203 065: Comp – OD/HiGain (Compressor – Overdrive/Hi.Gain) ...... 188 097: Early Reflections ...... 204 066: Comp – Param4EQ 098: L/C/R Long Delay ...... 204 (Compressor – Parametric 4-Band EQ) . . . .189 099: St/Cross Long Dly 067: Comp – Cho/Flng (Stereo/Cross Long Delay) ...... 204 (Compressor – Chorus/Flanger)...... 189 100: LCR BPM Long Dly 068: Comp – Phaser (L/C/R BPM Long Delay)...... 205 (Compressor – Phaser) ...... 190 101: St. BPM Long Delay 069: Comp – Mt. Delay (Stereo BPM Long Delay) ...... 205 (Compressor – Multitap Delay)...... 190 102: Hold Delay ...... 206 070: Limiter – P4EQ Master EQ ...... 207 (Limiter – Parametric 4-Band EQ)...... 191 Master EQ...... 207 071: Limiter – Cho/Flng (Limiter – Chorus/Flanger) ...... 191 9. Appendices...... 209 072: Limiter – Phaser ...... 192 Alternate Modulation Source (AMS) ...... 209 073: Limiter – Mt. Delay (Limiter – Multitap Delay) ...... 192 About Alternate Modulation...... 209 074: Exciter – Comp (Exciter – Compressor) . . . .193 About Alternate Modulation Sources ...... 209 075: Exciter – Limiter...... 193 AMS (Alternate Modulation Source) List ...... 210 076: Exciter – Cho/Flng Alternate Modulation settings ...... 212 (Exciter – Chorus/Flanger) ...... 193 The effect of alternate modulation on various 077: Exciter – Phaser ...... 194 parameters, and example applications ...... 212 078: Exciter – Mt. Delay Dynamic Modulation Source (Dmod) ...... 214 (Exciter – Multitap Delay) ...... 194 Dynamic Modulation Source List...... 215 079: OD/HG – Amp Sim About the BPM/MIDI SYNC function ...... 216 (Overdrive/Hi.Gain – Amp Simulation) . . .195 SW1/2 Assign ...... 217 080: OD/HG – Cho/Flng SW1, SW2 Assign List...... 217 (Overdrive/Hi.Gain – Chorus/Flanger) . . .195 Knob 1...4 B-Assign ...... 218 081: OD/HG – Phaser Realtime Control Knobs B–Assign List ...... 218 (Overdrive/Hi.Gain – Phaser)...... 196 Foot Switch Assign ...... 219 082: OD/HG – Mt. Delay Foot Switch Assign List ...... 219 (Overdrive/Hi.Gain – Multitap Delay) . . . .196 Foot Pedal Assign ...... 220 Foot Pedal Assign List ...... 220

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MIDI transmission/reception when the TRITON’s controllers are operated...... 221 TRITON operations when control changes are transmitted/received...... 223 Disk mode information ...... 226 Chunks that are supported...... 226 About KORG format files ...... 226 Various messages ...... 229 TRITON-SERIES MIDI IMPLEMENTATION ...... 234 Option boards/memory ...... 237 About option boards and memory ...... 237 Please note when installing an option board/memory...... 238 Checking after installation ...... 238 Caution when purchasing DRAM SIMM modules...... 238 Option board/memory installation procedure ...... 239 Index...... 244

* Company names, product names, and names of formats etc. are the trademarks or registered trademarks of their respective owners. viii

1. Program mode

Category [00...15: name] Program P0: Play This is the program category display. You can select programs by category. Press the popup but- Program In this display page you can select and play programs. ton, and the “Category/Program Select” menu will appear. All MIDI data in Program P0: Play is transmitted and Category/Program Select menu: received on the Global MIDI Channel “MIDI Channel”

(Global P1: 1–1a). P0 P1 0–1: Perf. Edit (Performance Edit)

0–1 P2 0–1b 0–1a

The programs of all banks can be organized using up to 16 P3 categories. Use the tabs located at left and right to select a 0–1c category, and the programs in the speciﬁed category will P4 appear. Press the OK button to execute, or press the Cancel button to cancel your selection.

The category for each program can be speciﬁed in the “Write P5 0–1d Program” (0–1A) dialog box.

Program Number: name P7 [(A…F)0…127: name, (G…g(d))1…128: name]

0–1a: Bank, 10’s Hold, Category, Program Number This is the number and name of the program. P8 Here you can select the desired program. When this parame- Bank (Bank Select) [Bank A...F, G, g(1)...g(9), g(d)] ter is selected, you can select programs using the front panel numeric keys [0]–[9], [VALUE] dial, or [ ] [ ] keys. P9 This is the program bank display. When you press the popup button, the “Bank/Program Use the front panel BANK [A]–[G] keys to select the bank. Select” menu will appear. This displays programs by bank, Bank G will cycle as follows each time you press the BANK and allows you to select a program. [G] key. For details on other ways to select programs such as using a G→g(1)→g(2)→g(3)→g(4)→g(5)→g(6)→g(7)→g(8)→g(9)→ foot switch or by using MIDI program change messages g(d)→G from an external MIDI device, refer to p125, 114 in the Basic Bank F can be selected if you have installed the sepa- Guide. rately sold EXB-MOSS option. When installed, the 128 Bank/Program Select menu: special EXB-MOSS programs will be available. The TRITON series provides rewritable banks A, B, C, D, and E, each containing 128 programs (total 640). As non- rewritable program areas, it provides banks G (capital programs for GM2), banks g(1)–g(9) (variation programs), and bank g(d) (drums). A list of the factory-set programs is provided in the separate booklet Voice Name List.

A, B for preset programs C, D (for preset programs, and EXB-PCM series programs) All programs are grouped and displayed by their bank. When you use the tabs at left and right to select a bank, the E (for user programs such as programs that use multisamples from Sampling mode) programs in the selected bank will appear. Press the OK button to execute, or press the Cancel button to cancel your F (for EXB-MOSS programs) selection. G GM2 capital bank g(1)–g(9) GM2 variation banks 0–1b: (Tempo) [040...240, EXT] g(d) GM2 drums bank This sets the tempo of the arpeggiator (Link: “Arpeggio 10’s Hold Tempo ” 7–1a). The tempo can also be adjusted by the front When you press the front panel [./10’s HOLD] key, the dis- panel ARPEGGIATOR [TEMPO] knob. A display of EXT play will indicate , and the ten’s place of the program indicates that the “MIDI Clock” setting (Global P1: 1–1a) has number will be ﬁxed. By pressing a numeric key [0]–[9], you been set to External MIDI or External PCI/F, and that the can change the one’s place in one keystroke. Use the [ ] arpeggiator will synchronize to MIDI Clock messages and [ ] keys to change the 10’s place. received from an external MIDI device. To exit, press the [./10’s HOLD] key once again.

0–1c: Program Information OSC Balance [–10…0…+10] This adjusts the level balance between oscillators 1 and 2. Information on the selected program is displayed here. This At the +00 setting, the value of the program parameters will shows the functions that are assigned to the [SW1] and be unchanged. [SW2] keys and to the B mode of REALTIME CONTROL Positive (+) settings will lower the oscillator 2 level. knobs [1], [2], [3], [4], and the names of the effects that are With an adjustment of +10, the oscillator 2 level will be 0. selected for the insertion effects and the master effects. 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. 0–1d: Performance Editor The oscillator 2 level will not change. The Performance Editor lets you edit major program param- For programs whose “Oscillator Mode” (1–1a) setting is eters without moving to the Program P1–P9 Edit pages. Single, oscillator 2 will not sound. Only the level of This edits multiple program parameters within the currently oscillator 1 will change. For a Drums program, this per- selected program, allowing you to make broad adjustments formance editor will have no effect. easily. You can use the Performance Editor when you wish Amp Level [–10…0…+10] to adjust the depth of effects etc. while you are playing, or to make the initial rough settings to begin the process of creat- This adjusts the amp level. ing a new sound. With an adjustment of +00, the value of the program param- Editing that you do here will affect the values of the pro- eters will be unchanged. gram parameters in the edit buffer. Positive (+) settings will increase the amp level above the If you wish to keep the results of your editing, you must value that was set. write (save) the program (p.38 in the Basic Guide). With an adjustment of +10, the amp level will be 127 (maximum). Editing done by the Performance Editor takes place Negative (–) settings will lower the amp level below the within the valid range of the applicable parameters. If value that was set. you use the Performance Editor to modify a value, then With an adjustment of –10, the amp level will be 0. move to another page or mode, and finally return to Program mode, the previously-edited state will be Attack Time [–10…0…+10] maintained, but the Performance Editor sliders in the This adjusts the amp times of the filter EG and amp EG. LCD screen will return to a value of +00. With an adjustment of +00, the value of the program param- Since the Performance Editor is provided as a way of eters will be unchanged. making approximate edits, the balance between param- Positive (+) settings will lengthen the attack times beyond eters may be lost in some cases. the values that were set. With an adjustment of +10, the attack times will be 90. If the “Enable Exclusive” (Global P1: 1–1b) setting is Negative (–) settings will shorten the attack times. checked, MIDI exclusive parameter changes will be With an adjustment of –10, the attack times will be 0. transmitted whenever you operate the Performance Editor. If these messages are received by a TRITON When you modify “Attack Time,” the EG Start Level, whose “Enable Exclusive” setting is checked, the Per- Attack Level, Start Level Modulation, and Attack Time formance Editor corresponding to that message will be Modulation of the amp EG will also be adjusted simul- modified. taneously, to allow the maximum effect to be obtained. Octave [–03…00…+03] Decay Time [–10…0…+10] An adjustment of +01 will raise the pitch one octave. This adjusts the Decay Time and Slope Time of the filter EG An adjustment of –01 will lower the pitch one octave. and amp EG. However, this setting cannot adjust the pitch higher than 4' With an adjustment of +00, the value of the program param- (feet) or lower than 32' (feet). eters will be unchanged. Positive (+) settings will lengthen the Decay Time and Slope Pitch Stretch [–12...+00...+12] Time beyond the values that were set. With an adjustment of This simultaneously adjusts the Transpose and Tune of the +10, the times will be 99. oscillator. This lets you produce a variety of tonal changes Negative (–) settings will shorten the Decay Time and Slope and variations without loosing the character of the original Time. With an adjustment of –10, the times will be 0. sound. IFX Balance [–10…0…+10] At the +00 setting, the value of the program parameters will This adjusts the “Wet/Dry” setting of insertion effects 1–5 as be unchanged. a whole. An adjustment of +01 will lower the Transpose value by 1, With an adjustment of +00, the value of the program param- and simultaneously raise the Tune value by 100. eters will be unchanged. An adjustment of –01 will raise the Transpose value by 1, Positive (+) settings will raise the Wet levels above the pro- and simultaneously lower the Tune value by 100. gram setting, and lower the Dry levels. With an adjustment However, it is not possible for the Transpose value to exceed of +10, the setting will be “Wet.” the range of ±12, nor the Tune value to exceed the range of Negative (–) settings will lower the Wet levels below the ±1200. program setting, and raise the Dry levels. With an adjust- This Performance Editor function cannot be used with ment of –10, the setting will be “Dry.” bank F. MFX Balance [–10…0…+10] This adjusts the master effect “Return 1” and “Return 2” (9– 1c) settings as a whole. With an adjustment of +00, the value of the program parameters will be unchanged.

2 5 4 3 2 1 turning off thepowerorselectinganotherprogram. program cannotberecovered ifyoufailtowriteitbefore If youwishtokeepaprogram, besure towriteit. An edited This writestheeditedprogram intointernalmemory. 0 With anadjustmentof program setting. Negative ( mum). With anadjustmentof program setting. Positive (+) F aac MasterEffect 1,2 Return MFX Balance Wet/Dry balanceoftheIFX1/2/3/4/5effects IFX Balance AmpEGDecay Time, Slope Time ofAmp1and2; Fil- Decay Time AmpEGAttack Level,Time, Start Attack Level, Level AmpLevel ofAmp1and2 Attack Time Amp Level ance Octave ofOSC1and2 OSC Bal- Transpose and Tune ofOSC1and2 Pitch Stretch Octave – 0 1A: Write Program button To executetheWrite Program operation,press the Press “ been giventhenamesofinstruments etc.,butyoucanuse With thefactorysettings,program categorieshave gram, Combination,Sequencer, orSongPlaymodes. to you are writing. Thecategoryselectedhere canbeused In the desired program name. edit buttontomovethetextdialogbox,andinput If youwishtomodifytheprogram name,press thetext The upperlineshowsthebanknameandprogram name. will appear. When youselectthiscommand,thefollowingdialogbox names. Program Cat. – to theEXB-MOSSowner program parameterswillbeadjusted.Fordetailsrefer separately soldEXB-MOSSoptionisinstalled,different For the you canwritetothecurrently selectedprogram. “ When youpress thefront panel[REC/WRITE]key, the It isnotpossibletowritebanksG edited aprogram from banksG it, youmustwritetobanks A ﬁ “ Update Program 1: PageMenuCommand Category, nd thisprogram whenselectingaprogram inPro- “ . To cancel,press the To Program – settingswillraisethereturn levelsabovethe ) F bank settingswilllowerthereturn levelsbelowthe ter EGDecay Time andSlope Time ofFilter1and2 and FilterEGAttack Time ofFilter1and2 Modulation St, Time ModulationAtofAmp1and2, and 2 High Multisample, Low MultisampleLevel ofOSC1 ” ” specifythecategoryofprogram that (GlobalP4:4 programs thatcanbeusedwhenthe ” ” – +10 tospecifythewritingdestination. dialogboxwillappear. Here too, 10 , thesettingwillbe0. , thesettingwillbe127(maxi- ’ s manual. Cancel button – 1) tomodifythesecategory – E. – g(d) andwishtowrite 0 – – 1A g(d). Ifyouhave . OK cae[1,2,3,4] [ Reso (Resolution) [P00...P04,U00(A/B)...U231(D)] Octave Pat (PatternNo.) 0 arpeggio inrealtime ( panel [TEMPO],[GATE], and[VELOCITY]knobstoeditthe gram To write(save)theresults ofyourediting,use tor inrealtime, suchaschangingthearpeggiopatternetc. are playinginProgram P0:Play, youcaneditthearpeggia- but majorparameterscanbeeditedhere aswell.Whenyou Arpeggiator parametersare editedinP7:Edit- Arpeggiator, 0 same name(andabbreviation) in These parametersare linkedwiththeparametersof ( Keyboard Key Sync. (KeyboardSynchronize) Latch Sort – – “ 2a: Arpeggiator P7: Edit-Arpeggiator 2: Arpeggio 0 0 ” – – or 1a 2a “ Update Program. p.29, 30inthe ” ). ” You canalsousethefront “ 7 – 1b: Arpeggio Setup 1b: Arpeggio Basic Guide , , “ Write Pro- ). , , 0 0 ” , – –

1b 1 3 ]

P9 P8 P7 P5 P4 P3 P2 P1 P0 Program When legato is off, multiple note-on’s will retrigger the Program P1: Edit – Basic voice at each note-on. The oscillator sound, envelope, and LFO will be reset (and retriggered) according to the settings Here you can make basic settings for the program, such as of the program. basic oscillator settings and the scale. If “Legato” is checked, certain multisamples or keyboard locations may produce an incorrect pitch. 1–1: Program Basic Priority [Low, High, Last] This parameter is valid when “Poly/Mono” is set to Mono. 1–1 It specifies which note will be given priority to play when two or more notes are played simultaneously. 1–1a 1–1b Low: Lowest note will take priority. High: Highest note will take priority. Last: Last note will take priority. 1–1c Hold [On, Off] Checked: Hold is On. Even when you take your finger off of the key, the note will continue sounding as if it continued 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. 1–1a: Oscillator Mode [Single, Double, Drums] This is ideal for playing drum sounds, and when you set “Oscillator Mode” (1–1a) to Drums, you should turn Hold Specify the basic program type; whether it will use one or On. two oscillators, or a drum kit. Unchecked: Hold is Off. Except for drum programs, you should normally set Hold Off. Single: The program will use one oscillator (Oscillator 1, Filter 1, Amplifier 1). In this case the program will have a If you turn “Hold” On for a drum program, keys of the maximum of 62-note polyphony. selected drum kit whose “Enable Note Off” parameter Double: The program will use two oscillators (Oscillator 1/ (Global P5: 5–2a) is unchecked will be set to Hold On. 2, Filter 1/2, Amplifier 1/2). In this case the program will Keys that are checked will be set to Hold Off. If you have a maximum of 31-note polyphony. select Hold Off, the keys will be set to Hold Off regardless of their “Enable Note Off” setting. 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 program will have 1–1c: Scale a maximum of 62-note polyphony. Type [Equal Temperament…User Octave Scale15] 1–1b: Voice Assign Mode Select the basic scale for the internal tone generator. Equal Temperament: This is the most widely used scale, Poly/Mono [Poly, Mono] where each semitone step is spaced at equal pitch intervals. Poly: The program will play polyphonically, allowing you Pure Major: In this temperament, major chords of the play chords. selected tonic will be perfectly in tune. Mono: The program will play monophonically, producing Pure Minor: In this temperament, minor chords of the only one note at a time. selected tonic will be perfectly in tune. Single Trigger Arabic: This scale includes the quarter-tone scale used in This is available when the “Poly/Mono” setting is set to Arabic music. Poly. Pythagoras: This scale is based on ancient Greek musical Checked: When the same note is played repeatedly, the pre- theory, and is especially effective for playing melodies. vious note will be silenced before the next note is sounded, Werkmeister (Werkmeister III): This is an equal tempered so that the notes do not overlap. scale that was used since the later Baroque period. Legato Kirnberger (Kirnberger III): This scale was created in the This is available when the “Poly/Mono” setting is set to 18th century, and is used mainly to tune harpsichords. Mono. Slendro: This is an Indonesian gamelan scale in which an Checked: Legato is on. When multiple note-on’s occur, the octave consists of five notes. first note-on will retrigger the sound, and the second and When “Key” is set to C, use the C, D, F, G and A notes. subsequent note-on’s will not retrigger. (Other keys will sound equal-tempered pitches.) Unchecked: Legato is off. Notes will always be retriggered Pelog: This is an Indonesian gamelan scale in which an when note-on occurs. octave consists of seven notes. When legato is on, multiple note-on’s will not retrigger the When “Key” is set to C, use the white keys. (The black keys voice. If one note is already on and another note is turned on, will sound the equal tempered pitches.) the first voice will continue sounding. The oscillator sound, Stretch: This tuning is used for acoustic pianos. 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.

4 mechanism organs oracousticinstruments. ments thathavenaturalinstabilityinpitch,suchastape- set thisto to thepitchwheneachnoteissounded.Normallyyouwill multisamples) and Internal ROMcontains and/or oscillator2. program willbebasedcanselectedhere foroscillator1 The multisample(s)(waveform)ordrum kitonwhichthe 1 2 1 This commandexchangesthesettingsofoscillators1and2. 1 4 3 2 1 This commandcopiesoscillatorsettings. 1 [0 [C As this Random and This settingisnotvalidfor Select thetonicnoteofspeci Key (ScaleKey) User AllNotesScale: illustration showsaLCDscreen where select multisamplesfrom the installedoption.Thefollowing PCM seriesoptionhasbeeninstalled, youwillbeableto pling modeorthatyouloadedin Diskmode.IfanEXB- sample, youcanuseamultisample thatyoucreated inSam- that wasspeci that were speci User OctaveScale00 – – 1 – 1B: SwapOscillator 1A: CopyOscillator button To executetheSwapOscillatorcommand,press the Select thiscommandtoopenthedialogbox. button To executetheCopy Oscillatorcommand,press the In In Select thiscommandtoopenthefollowingdialogbox. program. gram 2: OSCBasic – User AllNotesScale combination oftheselectedscaleand If ascaleotherthanEqualTemperament isselected,the A=440 Hz).Ifthisoccurs,use may skewthetuningofbasekey(forexample P0: 0 1: PageMenuCommand “ “ To, From value isincreased ” – specifythebankandnumberofcopysource ” . To cancel,press the . To cancel,press the 0 1a) tocorrect thepitch. specifythecopydestinationoscillator. . Thisparameterisusedwhensimulatinginstru- ” specifytheoscillatortocopy, andin fi fi ed in ed in 73 “ – drum kits.ByselectingaRAMmulti- “ User All NotesScale This isthefull-rangescale(C 15: User OctaveScale 425 . , agreater variancewillbeapplied These are the single-octavescales different multisamples(preset Equal Temperament Cancel button Cancel button fi ed scale. “ Master Tune 1 1 0 – – – “ 1B 1A 1A Oscillator Mode ” (GlobalP3). ” (GlobalP3). . . “ Key ” , (Global Stretch “ ” – Pro- setting 1 – OK OK G9) … … ” ,

7] B] utsml eet[000...999] [ROM,RAM,EXB*,EXB*] SW Lo velocities greater thanthevalueof tisample. Themultisampleyouselecthere willsoundedby Specify thebankandmultisamplenumberofHighmul- Multisample Select Bank High: for theHighandLowmultisamples. Offset, Reverse,andLevelcanbeadjustedindependently use velocitytoswitchbetweenthetwomultisamples.Start You canselectdifferent multisamplesforHighandLow, and Here youcanselectamultisample. 1 “ (1 option board containingmultisamplesis installed. option board canbeselected.This selectedonlyifan EXB*: Select mode orthatyouloadedinDiskmode.Use RAM: Select ROM: select onlytheHighmultisample. use velocityswitching,set tor Mode The followingillustrationshowsthedisplaywhen set. indicate thetypeofinstalledoption. OSC2 Multisample – – 2a: OSC1 Multisample 1a) hasbeensetto the sponding EXB-PCM(expansion board) isnotinstalled, sary multisampleisnotavailable becausethecorre- sold EXB-PCMseriesboard isselected,buttheneces- If aprogram thatusesamultisamplefrom aseparately option board. ple bank,youcanmaketheprogram sound. program willnotsound. Byre-selecting themultisam- The 1 1 1 1 ” ” Multisamplesfrom aseparatelysoldEXB-PCMseries – – – – → Select amultisamplethatyoucreated inSampling toselectfrom toselectfrom Select apreset multisample.Use 2b 2d 2c 2a “ Hi EXB* ” Bank (1 ” (1 – 1a) hasbeensetto displaywilldiffer dependingonthetypeof ” –

2c) parameter ﬁ eld willindicate ” (1 000 000 Double – 2b) willnotappearandcannotbe – – 999 999 “ OSC1 . . . Ifthisissetto “ OSC1. Drums ” ROM toavalueof ” “ Ifyoudonotwishto “ Velocity M.Sample . . Inthiscase,the Multisample “ Single Multisample 001 “ “ , and , the * Oscilla- ” will 1 1 – – 2 2 5

P9 P8 P7 P5 P4 P3 P2 P1 P0 Program When you press the “Multisample Select” popup button, a Octave [–2[32’], –1[16’], +0[8’], +1[4’]] list of multisamples will appear. If ROM is selected as Adjust the pitch in octave units. The normal octave of the “Bank,” use the dialog box to select the tab for the desired multisample is 8' (feet). category of instruments, and select a multisample from that category. In the case of other banks, select a multisample Transpose [–12…+12] from the list in the dialog box. Adjust the pitch in semitone steps over a range of ±1 octave. Tune [–1200…+1200] Adjust the pitch of the sample in one-cent steps (a semitone is 100 cents) over a range of ±1 octave. Delay (Delay Time) [0ms…5000ms, KeyOff] Specify 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 Each multisample has an upper limit, and may not pro- heard when a harpsichord note is released. In this case, set the duce sound when played above that limit. “Amp1 EG”, “Amp2 EG” (4–3a, 4–6) “Sustain” parameter to 0. S.Offset (Start Offset) This speciﬁes the point at which the multisample will begin 1–2b: OSC2 Multisample sounding. For some multisamples this parameter will have This will appear when “Oscillator Mode” (1–1a) is set to no effect. Double. Checked: The sound will start from the start offset location For details on the settings and function of the parameter, that is pre-determined for each multisample. refer to “1–2a: OSC1 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 1–2c: Velocity M.Sample SW Lo → Hi item will cause playback to start from the Loop Start Address. (Velocity Multisample Switch Low → High) • A sample that was recorded (sampled) in Sampling mode OSC1 (OSC1 Velocity Switch) [1…127] • A sample whose Loop Start Address was edited in The High and Low multisamples selected for oscillator 1 in Sampling mode after the sample was loaded in Disk “OSC 1 Multisample” (1–2a) will be switched around the mode velocity value that you specify here. • A sample whose Loop Start Address was specified Notes played with a velocity stronger than this value will be automatically when it was loaded as an AKAI, AIFF, or sounded by the High multisample. WAVE file in Disk mode Unchecked: The sound will start from the beginning of the OSC2 (OSC2 Velocity Switch) [1…127] multisample waveform. This will appear when “Oscillator Mode” (1–1a) is set to Double. Rev (Reverse) The High and Low multisamples selected for oscillator 2 in The multisample will be played in reverse. In the case of “OSC 2 Multisample” (1–2b) will be switched around the ROM or optional (EXB-PCM series) multisamples that were velocity value that you specify here. originally speciﬁed to loop, or in the case of multisamples Notes played with a velocity stronger than this value will be that were set to loop in Sampling mode, the multisample sounded by the High multisample. will be played back in “one-shot” reverse mode. If the multisample was originally set to reverse, it will playback without change. 1–2d: Drum Kit Checked: The multisample will playback in reverse. Drum Kit [00 (A/B)...63 (User), 64 (GM)...72 (GM)] Unchecked: The multisample will playback normally. Select a drum kit.

Lvl (Multisample Level) [0…127] 00 (A/B)–15 (A/B) Preset drum kits. Specify the level of the multisample. 16 (C)–31 (C) (for user drum kits, EXB-PCM series drum kits) Depending on the multisample, high settings of this 32 (D)–47 (D) (for user drum kits, EXB-PCM series drum kits) parameter may cause the sound to distort when a chord 48 (User)–63 (User) (for user drum kits) is played. If this occurs, lower the level. 64 (GM)–72 (GM) ROM preset drum kits compatible with GM2. Low: Octave [–2[32’], –1[16’], +0[8’], +1[4’]] Bank [ROM, RAM, EXB*, EXB*] Adjust the pitch in octave units. When using a drum kit, set Multisample Select [0...999] the Octave to 8'. The multisample you select here will sounded by velocities When editing a drum program, you must set this less than the value of the “Velocity M.Sample SW Lo→Hi” parameter to 8'. With other settings, the sounds of the (1–2c) parameter “OSC1 (OSC1 Velocity Switch).” drum kit will be assigned to the wrong notes of the key- For details on “S.Offset,” “Rev,” and “Lvl,” refer to “High.” board.

6 3 2 1 “ RAM multisample.Thiscommandisavailablewhenthe cutoff, resonance, pitch,attack,anddecayforeachindexofa This commandletsyouadjustthesampleplaybacklevel, 1 [ [0ms off occurs.Inthiscase,setthe [ With asettingof begin. This speci Delay (DelayTime) Drum kit. The pitchofeachdrum kitcanbeadjustedinGlobalP5: This adjuststhepitchinone-centunits. Tune drum kit.Unlessyouneedtochangethis,leaveitat This adjuststhelocationofinstruments intheselected Transpose selected eitherthe “ gram. that multisampleisselectedbyanotheroscillatororpro- selected multisample.Thesettingwillalsobeusedwhen Sample orOSC2MultiSample.Thesettingwillapplytothe edit cellofeithertheHighorLowsampleOSC1Multi Oscillator Mode Sustain – 1 2A: SampleParameters “ Level: For eachindex,youcanmakethefollowingsettings. tings. Thenumberfollowing Index: Select thiscommandtoopenthefollowingdialogbox. index. Sample: indexes intheselectedmultisample. Cutoff: be displayedhere. 1b). Thevaluethatwasspeci This parameterislinkedtothe volume, andatasettingof will increase thelevels. A setting of values added tothevaluespeci (3 ter A) Resonance ter A) adjustment willbeaddedtothe value speci Resonance: linked withtheSamplingP3:Multi Sampleparameter – ting of Pitch: Lvl 12.00 – – 2: PageMenuCommand 1b, 3 ” ” (1 Adjust theplaybackpitchinone-cent steps. A set- Adjust thevolume.Relativetosettingsof willlowerthepitchoneoctave. This parameteris to +12.00 willdecrease thelevels,andp fi Specify theindexforwhichyouwishtomakeset- – Adjust the – es adelaytimefrom note-onuntilthesoundwill 5) ofFilter1and2. indicates thesamplenumberandnamefor 2a) and 0 . Adjust theresonance levelofthe raisesthepitchoneoctave,and a settingof KeyOff ” (1 “ Bank ” “ – (3 Amp Level 1a) is fi lter cutoff. Thisadjustmentwillbe – , thesoundwillbeginwhennote- 1b, 3 ” (RAM) fi Single ed for – “ – 5) ofFilter1and2. Amp EG 99 fi “ ” ed inSamplingmodewill / ” there willbenosound. (4 or “ or ” “ Level 1 1 1 0 isthetotalnumberof – (Filter A) Frequency (Filter A) – – – – 1a, 4 Double 2A 1B 1A 1A “ … +99 Multisample Select ” ositive (+)values ” (4 5000ms, KeyOff] – (SamplingP3:3 – willdoublethe 4), 1200 – 3a) parameter , andyouhave negative ( fi ed for – fi 12 … lter. This +1200] 0 … . “ +12] (Fil- – ” )

” –

Multisample, andtherangeinwhichadrum kitwillsound. Low multisamplesoftheOSC1MultisampleandOSC2 determine howvelocitywillswitchbetweentheHighand M.Sample SWLo tors 1and2willsound.Inconjunctionwiththe Here youcanspecifythevelocityrangesforwhichoscilla- 1 4 S2Bto [001...127] [001...127] [001...127] [001...127] Set theminimumvelocityvaluethatwillsoundoscillator2. OSC2 Bottom Set themaximumvelocityvaluethatwillsoundoscillator2. OSC2 Top Set theminimumvelocityvaluethatwillsoundoscillator1. OSC1 Bottom Set themaximumvelocityvaluethatwillsoundoscillator1. OSC1 Top 1 – 1 – “ 1B: SwapOscillator. 3a: OSC1/2Velocity Zone box. Press the “ Attack: in Samplingmodewillbedisplayedhere. of EG. Thisadjustmentwillbeaddedtothe EG Decay: of EG. Thisadjustmentwillbeaddedtothe EG 0 3: Velo. Zone Pitch – – tom Velocity. the Top Velocity, northeTop Velocity lessthantheBot- It isnotpossibletosettheBottomVelocity greater than board whileyouholddownthe[ENTER] key. You canalsoinputavaluebyplayingnoteonthekey- able forthiscommand. Please beaware thattheCompare functionisnotavail- 1 “ “ 3: PageMenuCommand 1A: Write Program, – ” ” Filter 1EG, Filter 1EG, 3a (3 (3 ” – – (SamplingP3:3 Adjust theattacktimesof Adjust thedecaytimesof 4a, 3 4a, 3 Done button – – 8, 4 8, 4 → ” ”

“ “ – – Hi Filter 2EG, Filter 2EG, 3a, 4 3a, 4 ” ” (1 ” (Velocity Zone) – – toexecute,andclosethedialog

– 6). 6). “ – 1b). Thevaluethatwasspeci 1 2c) settings,thesesettingswill – 1A: CopyOscillator, ” ”

“ “ Amp 1EG, Amp 1EG, fi fi lter EGandamp lter EGandamp “ “ (Time) Attack (Time) Decay ” ” and and “ Velocity ” and “ “ Amp 2 Amp 2 1 fi “ – ed 1 3 7 ” ” –

P9 P8 P7 P5 P4 P3 P2 P1 P0 Program 1–4: Controller (Controller Setup) Program P2: Edit – Pitch These settings specify the functions of the [SW1] key, the [SW2] key, and the B-mode functions of REALTIME CON- Here you can make pitch modulation settings for oscillators TROL knobs [1]–[4] in Program mode. 1 and 2.

1–4

1–4a 2–1: OSC1 P.Mod (OSC1 Pitch Mod.) These settings specify how keyboard location will affect the pitch of oscillator 1, and select the controllers that will affect 1–4b the oscillator 1 pitch and specify the depth of control. 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.

2–1

2–1a 1–4a: Panel Switch Assign 2–1b These settings assign functions to the front panel [SW1] and [SW2] keys (p.217 “SW1, SW2 Assign List”). 2–1c SW1 [Off, ..., After Touch Lock] 2–1d Assign 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 Toggle/Momentary [Toggle, Momentary] Specify how the on/off state of the [SW1] key will change Pitch Slope [–1.0…+2.0] when it is pressed. Normally you will leave this at +1.0. Toggle: On/off will alternate each time the switch is Positive (+) values will cause the pitch to rise as you play pressed. higher on the keyboard, and negative (–) values will cause Momentary: The function will be on only as long as the the pitch to fall as you play higher on the keyboard. switch remains pressed. With a value of 0, there will be no change in pitch, and the C4 pitch will sound regardless of the keyboard location you SW2 [Off, ..., After Touch Lock] play. Toggle/Momentary [Toggle, Momentary] How the Pitch Slope and pitch are related Assign a function to the [SW2] key. Pitch The functions that can be assigned to SW2 are the same as +2 for SW1, except that SW2 Mod.:CC#81 is available instead +1 of SW1 Mod.:CC#80. 2oct 1oct 0 1oct 1–4b: Realtime Control Knobs B–Assign –1 Assign functions (mainly various types of control change) to C4 C5 Key the “B” mode of the front panel REALTIME CONTROL knobs [1]–[4] (p.218 “Realtime Control Knobs B–Assign Ribbon [–12…+12] List”). Specify how greatly the pitch will be changed when you The functions you set here will take effect when you operate press the ribbon controller. With a value of 12, the pitch can the front panel REALTIME CONTROL knobs [1]–[4] in “B” be changed a maximum of one octave. mode. Positive (+) values will cause the pitch to rise when you Knob 1–B [Off, ..., MIDI CC#95] press the ribbon controller to the right of center, and negative (–) values will cause the pitch to fall. Knob 2–B [Off, ..., MIDI CC#95] For example with a setting of +12, pressing the far right edge Knob 3–B [Off, ..., MIDI CC#95] of the ribbon controller will raise the pitch one octave. With Knob 4–B [Off, ..., MIDI CC#95] a setting of –12, pressing the far right edge of the ribbon controller will lower the pitch one octave. At the center of the ribbon controller, the original pitch will 1–4: Page Menu Command remain, so you can use this in conjunction with pressing the ribbon at its right edge to simulate the “hammering-on” “0–1A: Write Program,” “1–1A: Copy Oscillator,” and “1– techniques used by guitarists. 1B: Swap Oscillator.”

8 With asamplingof With asettingof tion Source) List nest AS [ Specify thedepthanddirection oftheeffect that Intensity (AMS) applied bythepitchEG( (KT, [Off, EXT)] Select thesource thatwillcontrol thepitchmodulation AMS (AlternateModulationSource) ± With asettingof pitch. pitch EGspeci Specify thedepthanddirection ofthemodulationthat Intensity ( 2 [ setting of With asettingof “ Specify thedepthanddirection oftheeffect produced by Intensity ( Select thesource thatwillmodulatethepitchofoscillator1 AMS (AlternateModulationSource) swoops thataguitaristproduces usingthetremolo arm. original pitch.Thiscanbeusedtosimulatethedownward [ the waytoleft,pitchwillfall For exampleifyousetthisto octave ofchange. moved allthewaytoleft. A settingof Specify howthepitchwillchangewhenjoystickis JS ( moved allthewaytoright. A settingof Specify howthepitchwillchangewhenjoystickis JS (+X) the pitchEGlevels. As youplaymore softly, thepitchchangewilldrawcloserto ( a is settoa pressure tothekeyboard, thepitchwillriseifthisparameter For exampleifyouset original pitch. the waytoright,pitchwillriseoneoctaveabove For exampleifyousetthisto octave ofchange. For exampleifyouset have. produced bythepitchEGinarangeof to Pitch change(level) (Intensity (PitchEG)setting) Softly played AMS. 1 octave. – negative ( +12.00 p.212). p.210 1b: PitchEG Note-on – )[ X) ” “ , thevelocitywillcontrol therangeofpitchchange positive (+)value AMS (AlternateModulationSource) List 12.00 Note-off Pitch EG – ) value fi , thepitchwillchangeuptooneoctave. ed in ” Off 12.00 0 ). , nomodulationwillbeapplied.With a Off . Therangeisamaximumofoneoctave )[ , nomodulationwillbeapplied. “ , thepitchwillchangeamaximumof Pitch EG “ “ a positive(+)value Strongly playedwith , nomodulationwillbeapplied. AMS AMS Note-on p.210 , orfallifthisparameterissetto ” ” – +12 to to Note-off 60 ” (2 andmovethejoystickall “ andmovethejoystickall Velocity After Touch AMS (AlternateModula- – 3) willapplytothe [Off, (FEG,AEG,EXT)] [Off, fi ve octavesbelowthe ± 1 octave( – – – andsetthisvalue 12 12.00 12.00 12.00 12 negative ( Strongly playedwitha produces 1 Note-on andapply produces 1 – – “ … … … AMS 60 60 – ” ) value Note-off +12.00] +12.00] +12.00] ). p.212). … … ” +12] +12] will Porta.SW:#65). nate ModulationSource) List of pitchmodulationwillbeapplied. modulation. With asettingof direction willcausetheOSC1LFO1toproduce deeperpitch Modulation Source) List ie(otmnoTm)[000 duce aslowerchangeinpitch. This setstheportamentotime.Increasing thevaluewillpro- This parameterisavailablewhen Time) Time (Portamento of howyouplay. Unchecked: playing). holding theprevious noteasyoupress thenextnote(legato Checked: This parameterisavailablewhen Fingered Unchecked: Checked: Enable or SW2on/off willapplyportamento( applied. IfSW1or2are setto from onenotetothenext)on/off, andspeci This turnstheportamentoeffect (smoothchangeinpitch 2 nest [ Specify thedepthanddirection oftheeffect that Intensity tion produced bytheOSC1LFO1( Select thesource thatwillcontrol thedepthofpitch modula- AMS (AlternateModulationSource) [ As this have onthepitchmodulationappliedbyOSC1LFO1. movement inthe+Y direction (awayfrom yourself)will Specify thedepthanddirection oftheeffect thatjoystick [ JS+Y (JoyStick+Y) applied bytheOSC1LFO1settingsyoumadein Specify thedepthanddirection ofthepitchmodulation LFO1 Intensity 2 will inverttheLFOwaveform. setting of With asettingof have. the LFOwaveform. With asettingof LFO1 For exampleif the LFOwaveform. octave ofpitchmodulation. modulation willbeapplied. – – 1c: Portamento 1d: LFO1/2 mento SW)isreceived. Portamento willalsobeswitchedwhenCC#65(Porta- applied bythepitchEG. mine thedepthanddirection ofthepitchmodulation “ ” Intensity (5 value isincreased – Portamentowillbeappliedwhenyoucontinue Portamentowillbeapplied. 12.00 1). Portamentowillalwaysbeapplied,regardless Portamentowillnotbeapplied. ” “ , theOSC1LFO1willapplyamaximum of (PitchEG)and AMS willbeaddedtodeter- AMS 0 12.00 , modulationwillnotbeapplied. With a ” , amaximumof issetto ” ). , movingthejoystickin+Y [Off, (PEG,FEG, AEG, KT,[Off, EXT)] Negative ( Negative ( ” Porta.SW:CC#65 SW1:CC#80,SW2:CC#81, 12.00 After Touch “ “ amaximumof Enable Enable Negative ( p.210 ± – – 1 octaveofpitch ) p.210 ) values settingswillinvert – – – ” ” 12.00 12.00 12.00 fi “ ischecked. ischecked. and youapply AMS (Alternate es howitwillbe “ , turningSW1 AMS (Alter- – “ willinvert ) values … … … AMS “ ± OSC1 +12.00] +12.00] +12.00] 1 octave … ” 127] will

± 9 1

P9 P8 P7 P5 P4 P3 P2 P1 P0 Program pressure to the keyboard, a positive (+) setting of this param- 2–3a: Pitch EG eter will cause the pitch modulation created by OSC1 LFO1 to be applied with the normal phase, and a negative (–) set- These settings specify how the pitch will change over time. ting will cause the LFO to be applied with inverted phase. The “LFO1 Intensity,” “JS+Y” and “AMS” settings will be Level: added to determine the depth and direction of the pitch These parameters specify the amount of pitch change. modulation applied by OSC1 LFO1 ( p.212). The actual amount of pitch change will depend on the LFO2 Intensity [–12.00…+12.00] “Pitch EG” (2–1b, 2–2) parameter “Intensity.” For example with an “Intensity” setting of +12.00, a “Level” setting of JS+Y (JoyStick +Y) [–12.00…+12.00] +99 would raise the pitch one octave, and a “Level” setting AMS (Alternate Modulation Source) of –99 would lower the pitch one octave. [Off, (PEG, FEG, AEG, KT, EXT)] Start (Start Level) [–99…+99] Intensity [–12.00…+12.00] Specify the amount of pitch change at note-on. Refer to the above “LFO1 Intensity”–“Intensity.” Attack (Attack Level) [–99…+99] 2–1: Page Menu Command Specify the amount of pitch change when the attack time has elapsed. “0–1A: Write Program,” “1–1A: Copy Oscillator,” and “1– Release (Release Level) [–99…+99] 1B: Swap Oscillator.” Specify the amount of pitch change when the release time has elapsed. 2–2: OSC2 P.Mod (OSC2 Pitch Mod.) Time: These parameters specify the time over which the pitch These settings specify how keyboard location will affect the change will occur. pitch, and select the controllers that will affect the oscillator 2 pitch and specify the depth of control. They also specify Attack (Attack Time) [0…99] the depth at which the pitch EG will affect the pitch of oscil- Specify the time over which the pitch will change from note- lator 2, and the depth of pitch change produced by LFO1 on until it reaches the pitch speciﬁed as the attack level. and LFO2. Portamento on/off settings etc. are also found here. Decay (Decay Time) [0…99] For details on the functions of these parameters, refer to the Specify the time over which the pitch will change after preceding section “2–1: OSC1 Pitch Mod (Oscillator Pitch reaching the attack level until it reaches the normal pitch. Modulation).” Release (Release Time) [0…99] Specify the time over which the pitch will change from note- 2–3: Pitch EG off until it reaches the pitch speciﬁed as the release level. Time-varying pitch settings (when Pitch EG Intensity = +12.00) Here you can make settings for the pitch EG, which creates +99 = approximately 1 octave Attack Level time-variant changes in the pitch of oscillators 1 and 2. Note-on Note-off The depth of pitch change produced by these EG settings on oscillator 1 (2) is adjusted by “Pitch EG” (2–1b, 2–2). 0 = pitch when key is held Time (sustained) Start Level Release Level 2–3 Attack Decay Time Time Release Time –99 = approximately 1 octave

2–3a 2–3b: Level Modulation

2–3b 2–3c These settings allow the pitch EG “Level” parameters to be controlled by alternate modulation. AMS1 (Alternate Modulation Source 1) [Off, (KT, EXT)] Select the source that will control the pitch EG “Level” parameters (p.210 “AMS (Alternate Modulation Source) List”). Intensity (AMS1 Intensity) [–99…+99] Specify the depth and direction of the effect applied by “AMS1.” With a setting of 0, the levels speciﬁed by “Pitch EG” (2–3a) will be used. For example if “AMS1” is SW1:CC#80, pressing the [SW1] key to turn it on will change the “Level” parameters of the Pitch EG. (Set “Panel SW Assign” (1–4a) to SW1 Mod.CC#80.) As the absolute value of “Intensity” is increased, the pitch EG levels will change more greatly

10 List nest [ Specify thedepthanddirection oftheeffect that Intensity (KT, [Off, EXT)] Select thesource thatwillcontrol the AMS (AlternateModulationSource) trol the These parametersletyouusealternatemodulationtocon- [ 2 Refer tothepreceding paragraphs [ Intensity (AMS1Intensity) (KT, [Off, EXT)] AMS2 (AlternateModulationSource2) [ caused by Specify thedirection ofchangein At (AMS1SWtoAttack) caused by Specify thedirection ofchangein St (AMS1SWtoStart) change isspeci when the[SW1]keyisturnedon.Thedirection ofthe the pitchEG( decrease it.With asettingof setting of+willraisetheEGlevel,anda decrease it.With asettingof setting of+willraisetheEGlevel,anda When thisparameterissettovaluesof reached. nate modulationvalueatthemomentthatattacklevelis For example,thedecaytimewillbedeterminedbyalter- time thatcomesnext. reaches eachpointwilldeterminetheactualvalueofEG The alternatemodulationvalueatthemomentthatEG fi With asettingof have. change isspeci EG levelsforstrongly-played notes.The direction ofthe “ If tings. turned off, thepitchEGlevelswillreturn totheirownset- t(M2S oAtc)[ [ At (AMS2SWtoAttack) St (AMS2SWtoStart) 99 For exampleif 1/8, 1/16,1/32,or1/64oftheoriginal time). 16, 32,or64timesrespectively (orsloweddownto1/2,1/4, els. softly, thepitchchangewilldrawclosertoEGlev- notes toincrease thechanges inpitchEG absolute valueof Pitch EGchange(level)(AMS=SW1/Velocity, Intensity=positive(+)value of 2 SW1 turnedon(thesettings set at0, At setto+,and A noteplayedsoftlywithSt Intensity ed bythe – “ , thespeci 3c: TimeModulation AMS1 Note-on – ” 3a: PitchEG) ). “ Time ” ” issetto “ “ willproduce increasingly widerchangeinpitch “ AMS1. AMS1. fi Pitch EG Note-off ed EGtimeswillspeedupasmuch as2,4,8, ” fi fi “ parametersofthepitchEG. p.210 AMS1 ed by ed by 0 “ , thepitchEGtimeswillbejustasspeci- ” ” Intensity Velocity If If ” “ SW1 turnedon St setto0, At setto+,and A noteplayedstronglywith (2 “ “ “ ” “ AMS (AlternateModulationSource) St Intensity Intensity issetto St Note-on – ” ” 3a) settings. and and , increasing theabsolutevalueof ” 0 0 willallowstrongly-played there willbenochange. there willbenochange. “ “ Velocity ” ” At. At. isa isa Note-off “ “ “ Attack (AttackLevel) Start (StartLevel) ” ” AMS1 Whenthe[SW1]keyis As youplaymore “ positive (+) positive (+) Time 16 , increasing the “ , Time ”–“ 33 SW1 turnedon St setto0, At setto A noteplayedstronglywith ” parametersof Note-on , At. 49 ” values.The “ – – , ” AMS 66 99 99 value,a value,a – – , will will – – – – ” … … 82 , 0,+] , 0,+] , 0,+] , 0,+]

” Note-off +99] +99] , or will ” –

, and c(M Wt ea)[ [ Specify thedirection inwhich Dc (AMSSWtoDecay) Specify thedirection inwhich At (AMSSWtoAttack) there willbenochange. there willbenochange. (Decay Time). of ting of (Attack Time). of ting of direction ofthechangeisspeci approach theactualsettingsofpitchEG. you playmore softly, thepitchEGtimeswillmore closely Pitch EGchanges(Time) (AMS=Velocity, Intensity=positive(+)value) (settings of2 set to+andDc A noteplayedsoftlywith At 2 “ 1B: SwapOscillator. – – Note-on 0 willcausethetimetobeshortened.With asettingof willcausethetimetobeshortened.With asettingof – – 3: PageMenuCommand 1A: Write Program, + + willcausethetimetobelengthened,andasetting willcausethetimetobelengthened,andasetting – 3a: PitchEG) Note-off ” ” With With positive (+) At setto+andDc A noteplayedstronglywith positive (+) ” Note-on ”

“ 1 – “ 1A: CopyOscillator, “ ﬁ AMS AMS ed by valuesof Note-off valuesof ” ” willaffect the willaffect the “ At At setto A noteplayedstronglywith ” “ and “ Note-on Intensity, Intensity, – “ andDcsetto Dc. ” and “ – – “ ” Attack ” ” Decay Note-off As , 0,+] , 0,+] aset- aset- 11 “ 0 0 1

– –

P9 P8 P7 P5 P4 P3 P2 P1 P0 Program Resonance Mod. by AMS Program P3: Edit – Filter [Off, (PEG, FEG, AEG, LFO, KT, EXT)] Select the source that will control the “Resonance” level Here you can make settings for the filters that will be used (p.210 “AMS (Alternate Modulation Source) List”). 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 Intensity (AMS Intensity) [–99…+99] dB/octave low pass filter and a 12 dB/octave high pass fil- Specify the depth and direction of the effect that “Resonance ter. Mod. by AMS” will have on the resonance level specified by When “Oscillator Mode” (1–1a) is set to Single, filter 1 will “Resonance.” be used, and when it is set to Double, filters 1 and 2 will be For example if Velocity has been selected, changes in key- used. board velocity will affect the resonance. When Single is selected, tabs relating to filter 2 cannot be With positive (+) values, the resonance will increase as you selected. play more strongly, and as you play more softly the resonance will approach the level specified by the “Resonance” setting. 3–1: Filter1 With negative (–) values, the resonance will decrease as you play more strongly, and as you play more softly the reso- Here you can specify the basic type for filter 1 (used by oscil- nance will approach the level specified by the “Resonance” lator 1), and set the cutoff frequency and resonance. setting. The resonance level is determined by adding the “Reso- 3–1 nance” and “Intensity (AMS Intensity)” values.

The effect of resonance 3–1a Low Pass Level

3–1b

3–1c Low resonance value High resonance value

3–1c: Filter B 3–1a: Filter Type Frequency (Cutoff Frequency) [00…99] Filter Type Specify the cutoff frequency of ﬁlter 1B. [Low Pass Resonance, Low Pass & High Pass] This parameter will be displayed when “Type” (3–1a) is set Select the type for ﬁlter 1. to Low Pass & High Pass.

Low Pass Resonance: 24 dB/octave low High Pass pass filter with resonance � Level This filter cuts the low-frequency range that Low Pass & High Pass: 12 dB/octave lies below the cutoff frequency. By cutting low pass filter and 12 dB/octave high pass the lower overtones, it lightens the tone. filter in series 12dB/oct Frequency Trim [00…99] Adjust the level at which the audio signal output from OSC1 is input to ﬁlter 1A. 3–1: Page Menu Command

If this value is raised, the sound may be distorted if Res- “0–1A: Write Program,” “1–1A: Copy Oscillator,” and “1– onance is set to a high value or when you play a chord. 1B: Swap Oscillator.”

3–1b: Filter A

Frequency (Cutoff Frequency) [00…99] Specify the cutoff frequency of ﬁlter 1A.

This is a filter that cuts the high- Low Pass frequency region above the cutoff frequency. Level This is the most common type of filter, 12dB/oct and is used to cut part of the overtone components, making an originally bright 24dB/oct timbre sound more mellow (darker). When the “Filter Type” is Low Pass Frequency Resonance, the cutoff will have a steeper slope.

Resonance [00…99] This emphasizes the overtone components that lie in the region of the cutoff frequency speciﬁed by “Frequency,” producing a more distinctive sound. Increasing this value will produce a stronger effect.

12 apLw[ [C [C If Ramp Low Specify theangleofkeyboard tracking. Ramp (RampSetting): ﬁ Keyboard tracking willapplytotherangeabovespeci- Key High ﬁ Keyboard tracking willapplytotherangebelowspeci- Key Low begin toapply, andsetthe Specify thenotenumbersatwhichkeyboard trackingwill Key (KeyboardTrack Key): Low, keyboard location youplaycanbespeci The wayinwhichthecutoff frequency isaffected bythe quency of These settingsspecifykeyboard trackingforthecutoff fre- 3 quency ( These settingsletyouapplymodulationtothecutoff fre- 3 When B ters for apHg [ Ramp High change appliedto Low For therangeofnotesbetween eters. location (pitch). the cutoff frequency willchangeaccording tothekeyboard occurs whenyouincrease the board location(pitch).Thismeans thattheoscillation of thechangeincutoff frequency willcorrespond tothekey- If youset spond tothekeyboard location. to changeforeachnote. Use thissettingwhenyoudonot wantthecutoff frequency cutoff frequency willnotbeaffected bykeyboard location. ed notenumber. ed notenumber. ” – “ – parameterstospecifythedepthanddirection ofthe 2a: KeyboardTrack Intensity to A 2: Filter1Mod. ” [ENTER] keywhileyoupress anoteonthekeyboard. Note numberscanalsobeentered byholdingdownthe ” 3 3 3 issetto

– – – “ “ 2a 2c 2b (Filter Cutoff Frequency KeyboardTrack)(Filter Cutoff Filter Type ﬁ Key High, “ lter Bwillnotbedisplayed. Frequency “ ﬁ Ramp Low lter 1.

– 62 ” and and ” ﬁ ”

(3 “ lter 1 A andB. ” Ramp Low ) of – ” “ “ 1a) is to Intensity toB Ramp High ﬁ +43 “ lter 1tomodifythetone. Intensity to A LowPassResonance “ and Resonance “ ” Key Low and “ ” Ramp High issetto ” “ are setto Ramp High ﬁ ” ” ed bythe ” and and (3 – +62 1b) willcorre- “ “ ” +50 – – Intensity to Key High, to , theangle 99 99 , parame- ” – – “ , param- – 1 1 Key … … “ 43 … … Ramp +99] +99] , the 3 G9] G9] – 2 ”

(The settingofIntensityto A (3 Softly played Changes incutoff frequency off frequency, butwiththepolarityofEGinverted. also causethe by the that velocitywillhaveonthetime-varyingchangescreated by the that velocitywillhaveonthetime-varyingchangescreated eoiyt [ quency. With [ Velocity toA 3 [ tracking willhaveon Specify thedepthanddirection oftheeffect thatkeyboard Intensity toB board trackingspeci Specify thedepthanddirection oftheeffect thatthekey- Intensity toA (“Intensity toA” and “Intensity toB” = setting How cutofffrequencyisaffected by keyboard locationandtheRamp nest oA[ With fi varying changescreated bythe Specify thedepthanddirection oftheeffect thatthetime- Intensity toA [ This parameterspeci Velocity toB the With fi This parameterspeci “ Low when theEGlevelssetbyFilter1 parameters (3 ues speci With With are inthe when theEGlevelssetbyFilter 1 EG parameters (3 they are inthe Velocity to A lter 1A cutoff frequency. lter 1A cutoff frequency. – 2b: FilterEG fi Note-on the effect willbeintheoppositedirection. ” fi lter 1EGtoproduce greater changesincutoff fre- positive (+) positive (+)values positive (+)values negative ( and ed bykeyboard tracking,andwith fi fi Low Ramp= Low Ramp=0 Low Ramp=+43 Low Ramp=+99 lter 1EGtocontrol the lter 1EG(assetby “–” “ Low Ramp= Ramp High Cutoff frequency area. Note-off negative ( – – ” fi 4a) are in the “–” 4a) are inthe ). – lter 1EGtoproduce greater changesincut- – ) 62 settings,thesoundwillbecomebrighter settings,thesoundwillbecome darker area. – fi 99 – fi fi 2b)) ed by fi es thedepthanddirection oftheeffect es thedepthanddirection oftheeffect lter 1B( – ” Low Key Note-on , playingmore strongly will cause , theeffect will beinthedirection ) values willhaveon Setting to+ Strongly played “ “ “ “ Filter 1EG Key Low, + + ” ” fi High Key fi area, anddarkerwhenthey +50 area, andbrighterwhen , playingmore strongly will lter 1Bcutoff frequency ( “ lter 1EGwillhaveonthe Note-off Intensity to A ) “ “ ” fi Level Level ”

lter 1A. “ 3 Key High, negative ( – High Ramp= High Ramp= High Ramp=0 High Ramp=+62 High Ramp=+99 Key 4) tocontrol the ” ” Note-on and and Setting to Strongly played ” – – – – – ). 99 99 99 99 99 “ “ – – ” Time Time – 99 43

… … … … … “ ) val- Ramp – Note-off +99] +99] +99] +99] +99] ” ” 13

P9 P8 P7 P5 P4 P3 P2 P1 P0 Program Intensity to B [–99…+99] 3–3: Filter1 lfo Mod (Filter1 LFO Mod.) Specify the depth and direction of the effect that the time- Here you can use the filter 1 LFO to apply cyclic modulation varying changes created by the filter 1 EG will have on the to the cutoff frequency of filter 1 (for oscillator 1) to create filter 1B cutoff frequency (“Intensity to A”). cyclical changes in tone. AMS (Alternate Modulation Source) [Off, (EXT)] 3–3 Select the source that will control the depth and direction of the effect that the time-varying changes produced by the filter 1 EG will have on the cutoff frequency of filters 1A and 3–3a 1B (p.210 “AMS (Alternate Modulation Source) List”). Int to A (AMS Intensity to A) [–99…+99] Specify the depth and direction of the effect that “AMS” will 3–3b have on filter 1A. For details on how this will apply, refer to “Intensity to A.” Int to B (AMS Intensity to B) [–99…+99] Specify the depth and direction of the effect that “AMS” will have on filter 1B. For details on how this will apply, refer to 3–3a: LFO 1 “Intensity to A.” Intensity to A [–99…+99] The sum of the settings for “Velocity to A (B),” “Inten- Specify the depth and direction of the modulation that OSC1 sity to A (B),” and “(AMS) Int to A (B)” will determine LFO1 (set by “OSC1 LFO1” 5–1) will have on the cutoff fre- the depth and direction of the effect produced by the fil- quency of filter 1A. ter EG. Negative (–) settings will invert the phase.

3–2c: Filter A/B Modulation Intensity to B [–99…+99] Specify the depth and direction of the modulation that OSC1 Filter A: LFO1 will have on the cutoff frequency of ﬁlter 1B (“Inten- sity to A”). AMS1 (Alternate Modulation Source1) Change in cutoff [Off, (PEG, AEG, EXT)] Select the source that will control modulation of the ﬁlter 1A cutoff frequency (p.210 “AMS (Alternate Modulation Source) List”).

Intensity [–99…+99] Low setting High setting Specify the depth and direction of the effect that “AMS1” will have. JS–Y Intensity to A [–99…+99] When “AMS1” is JS X, a positive (+) value for this parame- By moving the joystick in the Y direction (toward yourself), ter will cause the cutoff frequency to rise when the joystick is you can control the depth at which OSC1 LFO1 modulates moved toward the right, and fall when the joystick is moved the cutoff frequency of filter 1A. This parameter specifies the toward the left. With a negative (–) value for this parameter, depth and direction of the control. the opposite will occur. Higher settings of this parameter will produce greater This value is added to the setting of the Filter A “Frequency” increases in the effect of OSC1 LFO1 on filter 1 when the joy- (3–1b). stick is moved toward yourself. AMS2 (Alternate Modulation Source2) JS–Y Intensity to B [–99…+99] [Off, (PEG, AEG, EXT)] By moving the joystick in the Y direction (toward yourself), you can control the depth at which OSC1 LFO1 modulates Intensity [–99…+99] the cutoff frequency of filter 1B. This parameter specifies the Select “AMS2,” and specify the depth and direction of the depth and direction of the control (“JS-Y Intensity to A”). effect that the selected source will have (“AMS1,” “Inten- sity”). AMS (Alternate Modulation Source) [Off, (PEG, FEG, AEG, KT, EXT)] Filter B: Select a source that will control the depth and direction of This will be displayed when “Filter Type” (3–1a) is Low Pass cutoff frequency change for both filters 1A and 1B (p.210 & High Pass. “AMS (Alternate Modulation Source) List”). Two alternate modulation sources can be used to modulate the cutoff frequency of filter 1B (“Filter A”). Intensity to A [–99…+99] Specify the depth and direction of the effect that “AMS” will have on filter 1A. 3–2: Page Menu Command For example if “AMS” is After Touch, higher settings of this parameter will allow greater change to be applied to OSC1 “0–1A: Write Program,” “1–1A: Copy Oscillator,” and “1– LFO1 when you apply pressure to the keyboard. 1B: Swap Oscillator.”

14 ra BekPitLvl [ [ [ has elapsed. Specify thechangeincutoff frequency afterthedecaytime Break (BreakPointLevel) has elapsed. Specify thechangeincutoff frequency aftertheattacktime Attack (AttackLevel) Specify thechangeincutoff frequency atthetimeofnote-on. Level) (Start Start The result willdependonthe Level: Specify thetime-varyingchangeproduced bythe 3 time-varying changesinthecutoff frequency of Here youcanmakesettingsfortheEGthatwillproduce 3 [ [ Intensity toA LFO2 (setby Adjust thedepthofcyclicmodulationappliedbyOSC1 3 Specify thedepthanddirection oftheeffect that Intensity toB ter Type fi The depthoftheeffect thatthesesettingswillhaveonthe and 1B. have on nest oB[ Intensity toB negative ( to bebrightenedby fi fi JS JS nest oA[ Intensity toA AMS (AlternateModulationSource) nest oB[ Intensity toB lter 1cutoff frequency isdeterminedby lters 1A and1B( lter, – – 3 – “ 1B: SwapOscillator. – – 4a: Filter1EG 3b: LFO2 0 nest oB[ [ Y IntensitytoB Y IntensitytoA 4: Filter1EG – – 3 3 3: PageMenuCommand positive (+) 1A: Write Program, – – 4a 4b ” fi (3 lter 1B( – ) levels – 1a). Forexamplewiththe “ OSC1 LFO2 valuesofEGIntensitywillcausethetone . “ “ positive (+)levels Intensity to A LFO 1 ” ” [Off, (PEG,FEG,AEG,KT,[Off, EXT)]

” “ ” 5 1 3 – – – fi 1A: CopyOscillator, 2) tothecutoff frequency of 3a). lter thatwasselectedin ” ). , anddarkenedby Low PassResonance “ Filter EG fi “ – – – – – – – – – – AMS lters 1A 99 99 99 99 99 99 99 99 99 99 fi ” lter 1EG. ” and … … … … … … … … … … (3 ” +99] – +99] +99] +99] +99] +99] +99] +99] +99] +99] will “ 3 3 2b). “ Fil- – – 1 4c 4 –

ees RlaeTm)[00 [00 on occursuntiltherelease levelisreached. [00 Specify thetimeoverwhichlevelwillchangeafternote- Release (ReleaseTime) decay timehaselapseduntilthesustainlevelisreached. [00 Specify thetimeoverwhichlevelwillchangeafter Slope (SlopeTime) attack leveltothebreak pointlevel. Specify thetimeoverwhichlevelwillchangefrom the Decay (DecayTime) on untiltheattacklevelisreached. Specify thetimeoverwhichlevelwillchangefrom note- Attack (AttackTime) [ will occur. These parametersspecifythetimeoverwhicheachchange Time: [ the release timehaselapsed. Specify thechangeincutoff frequency thatwilloccurwhen Release (ReleaseLevel) occurs. tained from aftertheslopetimehaselapseduntilnote-off Specify thechangeincutoff frequency thatwillbemain- Sustain (SustainLevel) t(tr ee)[ [ Specify thedirection inwhich Level) St (Start Specify thedepthanddirection oftheeffect that Intensity the (KT, [Off, EXT)] Select thesource thatwillcontrol the AMS (AlternateModulationSource) the These settingsletyouusealternatemodulationtocontrol 3 List For exampleif have. level, andasettingof of Level). level. With asettingof 4a) willbeused. is settoa EG levelswillriseasyouplaymore strongly. If and With asettingof play more strongly. – frequency cutoff The specified + 4b: LevelModulation fi “ ” forthisparameterwillallow “ Level ). lter 1EG( Br ” ” When to+andset negative ( ” parametersofthe Level Start Note-on “ “ AMS Intensity p.210 0 , thelevelsspeci Time Attack Attack Level – ) values ” “ – is “ Intensity 0 willallow AMS (AlternateModulationSource) there willbenochange. ” Velocity hasa Time Decay Level Point Break , theEGlevelswillfallasyou “ fi Sustain Level AMS lter 1EG. ” positive (+) toa , andyouset Time Slope “ “ fi AMS AMS ed by ” willaffect “ positive (+)value Note-off Level ” ” toraisetheEG tolowertheEG “ Time Release Filter 1EG ” value,asetting parametersof “ “ St, “ Level Release “ – – – Intensity Start (Start AMS 99 99 99 ”

“ – … … … At , 0,+] ” … … … … ” (3 Time +99] +99] +99] will , the ” 15 99] 99] 99] 99]

– ”

P9 P8 P7 P5 P4 P3 P2 P1 P0 Program At (Attack Level) [–, 0, +] Sl (Slope Time) [–, 0, +] Specify the direction in which “AMS” will affect “Attack Specify the direction in which “AMS1” will affect the slope (Attack Level).” When “Intensity” has a positive (+) value, a time. With positive (+) values of “Intensity,” setting this setting of + for this parameter will allow “AMS” to raise the parameter to + will allow AMS1 to lengthen the time, and EG level, and a setting of – will allow “AMS” to lower the setting this parameter to – will allow AMS1 to shorten the EG level. With a setting of 0 there will be no change. time. With a setting of 0 there will be no change. Br (Break Point Level) [–, 0, +] Rl (Release Time) [–, 0, +] Specify the direction in which “AMS” will affect “Break Specify the direction in which “AMS1” will affect the release (Break Point Level).” When “Intensity” has a positive (+) time. With positive (+) values of “Intensity,” setting this value, a setting of + for this parameter will allow “AMS” to parameter to + will allow AMS1 to lengthen the time, and raise the EG level, and a setting of – will allow “AMS” to setting this parameter to – will allow AMS1 to shorten the lower the EG level. With a setting of 0 there will be no time. With a setting of 0 there will be no change. change. Filter 1 EG changes (Time) (AMS = Velocity, Intensity = a positive (+) value)

Filter 1 EG changes (level) (AMS = Velocity, Intensity = a positive (+) value) Note-on Note-on Note-on Note-off Note-off Note-off Note-on Note-on Note-on Note-off Note-off Note-off

Softly played note with At, Strongly played note with Strongly played note with Dc, Sl and Rl set to + At, Dc, Sl and Rl set to + At, Dc, Sl and Rl set to – Softly played note with St, Strongly played note with Strongly played note with (setting of 3–4a: Filter 1 EG) At, and Br set to + (setting St, At, and Br set to + St, At, and Br set to – of 3–4a: Filter 1 EG) AMS2 (Alternate Modulation Source2) [(EXT, KT)] 3–4c: Time Modulation Intensity [–99…+99] At (Attack Time) [–, 0, +] These settings let you use alternate modulation to control the “Time” parameters of the filter 1 EG. Dc (Decay Time) [–, 0, +] Sl (Slope Time) [–, 0, +] AMS1 (Alternate Modulation Source1) [Off, (KT, EXT)] Rl (Release Time) [–, 0, +] Select the source that will control the “Time” parameters of These parameters are the settings for “AMS2” to control the the filter 1 EG (p.210 “AMS (Alternate Modulation Source) “Time” parameters of the filter 1 EG (“AMS1”–“Rl”). List”).

Intensity [–99…+99] 3–4: Page Menu Command Specify the depth and direction of the effect that “AMS1” will have. 0–1A For example if “AMS1” is set to Flt KTr +/+, the EG “Time” parameters will be controlled by the Keyboard Track (3–2a) 1–1A settings. With positive (+) values of this parameter, positive 1–1B (+) values of “Ramp (Ramp Setting)” will lengthen the EG 3–4A times, and negative (–) values of “Ramp (Ramp Setting)” will shorten the EG times. The direction of change is specified by “At,” “Dc,” “Sl,” and “Rl.” 3–4A: Sync Both EGs With a setting of 0, the times specified by “Filter 1 EG” (3– When this is checked, the filter 1 EG and filter 2 EG can be 4a) will be used. edited simultaneously. (Editing either one will modify the If “AMS1” is set to Velocity, positive (+) values of this other as well.) 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. With a setting of 0, the times specified by “Filter 1 EG” (3– 3–5: Filter2 4a) will be used. 3–6: Filter2 Mod. At (Attack Time) [–, 0, +] 3–7: Filter2 lfo Mod (Filter1 LFO Mod.) Specify the direction in which “AMS1” will affect the attack 3–8: Filter2 EG time. With positive (+) values of “Intensity,” setting this parameter to + will allow AMS1 to lengthen the time, and These are the filter 2 parameters (for oscillator 2) ( “3–1: Fil- setting this parameter to – will allow AMS1 to shorten the ter 1”–“3–4: Filter 1 EG”). time. With a setting of 0 there will be no change. These will appear when “Oscillator Mode” (1–1a) is Double. Dc (Decay Time) [–, 0, +] Specify the direction in which “AMS1” will affect the decay time. With positive (+) values of “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.

16 at eachnote-on. Random: center, and Select thesource thatwillmodifypan( AMS (AlternateModulationSource) This isvalidwhen Use DKitSetting [Random,L001 [0 A settingof Set thepan(stereo location)ofoscillator1. Pan 4 Set thevolumeofoscillator1. Amp Level 4 These parameterscontrol thevolumeandpanofoscillator1. 4 tor 1,andamp2controls oscillator2. Here are thevolume-related settings. Amp 1controls oscilla- to the nate ModulationSource) List Checked: 2b). When has beenmadeforeachkeyofthedrum kit(GlobalP5:5 Unchecked: use thissetting. “ Pan – – – 1b: Pan(Panpot) 1a: AmpLevel(Ampli 1: Amp1Lvl/Pan by the value of64willplacethesoundatlocationspeci value of0or1willplacethesoundatfarleft,a This canbecontrolled byCC#10(panpot). A CC#10 1 The GlobalMIDIchannel determined bymultiplyingthevaluesofCC#7and#11. (volume) and#11 (expression). Theresulting levelis The volumeofaprogram canbecontrolled byCC#7 trolled ontheglobalMIDIchannel 127 willplacethesoundatfarright.Thisiscon- (Global P1:1 ” 4 4 – – – setting(4 “ 1a) isusedforcontrol. 1a 1b Pan Program P4:Edit-Amp The soundwillbeheard from adifferent location The soundwillbeoutputatthe “ ” “ R127 Oscillator Mode L001 setting. Pan All noteswillbeoutputasspeci – ” tofarright. placesthesoundatfarleft, 1b). – settingforeachoscillator, andavalueof 1a). “ Oscillator Mode [Off, (PEG,FEG, AEG, LFO,KT,[Off, EXT)] fi ” ” is er Level) ). Thischangewillberelative “ (Amp1 Level/Pan) MIDI Channel Drums ” (1 , youwillnormally – “ 1a) issetto MIDI Channel p.210 “ … Pan fi C064 C064 ed bythe ” ” “ (GlobalP1: settingthat AMS (Alter- inthe … … Drums R127] 127] ” 4 fi

– – ed 1 . oscillator 1)tomodulatethevolume. These settingsallowyoutoapplymodulationamp1(for 4 [ For exampleif Specify thedepthofeffect produced by Intensity apLw[ [C ber. With [C increase asyouplaynotesbelowthe With Ramp Low Specify theangleofkeyboard tracking. Ramp (RampSetting): note numberyouspecifyhere. Keyboard trackingwillapplytotherangeofnotesabove Key High note numberyouspecifyhere. Keyboard trackingwillapplytotherangeofnotesbelow Key Low The volumewillnotchangebetween begin toapply. Specify thenotenumberatwhichkeyboard trackingwill Key (KeyboardTrack Key): the volumeofoscillator1.Use These parametersletyouusekeyboard trackingtoadjust 4 High. play lower). toward theleftasnotenumbersdecrease (i.e.,asyou increase beyondtheC4note(i.e.,asyouplayhigher),and sound tomovetoward therightasnotenumbers Number the keyboard locationthatyouplay. parameters tospecifyhowthevolumewillbeaffected by the oppositeeffect. – 4 – “ 1B: SwapOscillator. 2a: KeyboardTrack 0 2: Amp1Mod. – – [ENTER] keyandplayinganoteonthekeyboard. The notenumbercanalsobeinputbyholdingthe 4 4 4 positive (+)values 1: PageMenuCommand ” 1A: Write Program, – – – 2a 2c 2b , positive (+)values negative ( Negative ( “ Pan – ” ) values issetto ” – ) values ofthisparameter, thevolume will ”

“ 1 of thisparameterwillcausethe , thevolumewilldecrease. – C064 1A: CopyOscillator, ofthisparameterwillhave “ and Key “ “ Key Low Key Low ” “ and AMS “ AMS. “ ” Ramp is ” ” – – notenum- and 99 99 Note ” ” – – and 1 1 … … ” … … “

Key +99] +99] 4 G9] G9] 17 “ – 1 2 –

P9 P8 P7 P5 P4 P3 P2 P1 P0 Program Ramp High [–99…+99] AMS (Alternate Modulation Source) With positive (+) values of this parameter, the volume will [Off, (PEG, FEG, AEG, KT, EXT)] increase as you play notes above the “Key High” note num- Select a source that will control the depth by which “OSC1 ber. With negative (–) values, the volume will decrease. LFO1” will modulate the volume of oscillator 1 (p.210 Volume change produced by keyboard location and Ramp settings “AMS (Alternate Modulation Source) List”).

Volume Intensity [–99…+99] As the absolute value of this setting is increased, the effect of “AMS” on “OSC1 LFO1” will increase. Negative (–) values Ramp Low=+99 Ramp High=+99 will invert the LFO waveform. Ramp Low=0 Ramp High=0 LFO2 Intensity [–99…+99]

Ramp Low=–99 Ramp High=–99 AMS (Alternate Modulation Source) [Off, (PEG, FEG, AEG, KT, EXT)] Key Key Low Key High Intensity [–99…+99] Specify the depth and direction of the effect that “OSC1 LFO 2” will have on the volume of oscillator 1. Refer to the pre- 4–2b: Amp Modulation (Ampliﬁer Modulation) ceding sections “LFO1 Intensity”–“Intensity.”

These parameters specify how the volume of oscillator 1 will be affected by velocity. 4–2: Page Menu Command

Velocity Intensity [–99…+99] “0–1A: Write Program,” “1–1A: Copy Oscillator,” and “1– With positive (+) values, the volume will increase as you 1B: Swap Oscillator.” play more strongly. With negative (–) values, the volume will decrease as you play more strongly. 4–3: Amp1 EG Volume change (with positive (+) values of this parameter) These parameters let you create time-varying changes in the Note-on Note-on Note-off Note-off volume of oscillator 1.

4–3

Softly played Strongly played 4–3a AMS (Alternate Modulation Source) [Off, (PEG, FEG, EXT)] 4–3b Select the source that will control the volume of amp 1 4–3c (p.210 “AMS (Alternate Modulation Source) List”) (EXT) Velocity cannot be selected. Intensity [–99…+99] Specify the depth and direction of the effect that “AMS” will have. 4–3a: Amp1 EG (Ampliﬁer1 EG) The actual volume will be determined by multiplying the value of the changes produced by the amp EG with the val- These parameters specify how the amp 1 EG will change ues of Alternate Modulation etc., and if the levels of the amp over time. EG are low, the modulation applied by Alternate Modula- Level: tion will also be less. Start (Start Level) [00…99] For example if “AMS” is set to After Touch, positive (+) values of this parameter will cause the volume to increase Specify the volume level at note-on. when pressure is applied to the keyboard. However if the If you want the note to begin at a loud level, set this to a high EG settings etc. have already raised the volume to its maxi- value. mum level, the volume cannot be increased further. Attack (Attack Level) [00…99] With negative (–) values of this parameter, the volume will decrease when pressure is applied to the keyboard. Specify the volume level that will be reached after the attack time has elapsed.

4–2c: LFO 1/2 Break (Break Point Level) [00…99] Specify the volume level that will be reached after the decay These parameters let you use “OSC1 LFO1” (5–1) and time has elapsed. “OSC1 LFO 2” (5–2) to control the oscillator 1 volume. Sustain (Sustain Level) [00…99] LFO1 Intensity [–99…+99] Specify the volume level that will be maintained from after Specify the depth and direction of the effect that “OSC1 the slope time has elapsed until note-off occurs. LFO1” will have on the volume of oscillator 1. Negative (–) values will invert the LFO waveform.

18 occur. List t(takLvl [ [ Specify thedirection inwhich At (AttackLevel) [ Specify thedirection inwhich Level) St (Start Specify thedepthanddirection oftheeffect that Intensity the amp1EG( (KT, [Off, EXT)] Select thesource thatwillcontrol the AMS (AlternateModulationSource) “ source tomodifytheamp1EG levelsthatwere speci These parametersletyouuseanalternatemodulation 4 [00 [00 note-off untilitreaches 0. Specify thetimeoverwhichvolumewillchangeafter [00 Release (ReleaseTime) tain level. when itreaches thebreak pointleveluntilitreaches thesus- Specify thetimeoverwhichvolumewillchangefrom [00 Slope (SlopeTime) point level. when itreaches theattackleveluntilitreaches thebreak Specify thetimeoverwhichvolumewillchangefrom Decay (DecayTime) If thestartlevelis note-on untilitreaches theattacklevel. Specify thetimeoverwhichvolumewillchangeafter Attack (AttackTime) Time: decrease theEGlevel.With asettingof occur. (Attack Level). (Start Level). For exampleif have. EG level,andsettingthisparameter to setting thisparameterto decrease theEGlevel.With asettingof level, andsettingthisparameterto ting thisparameterto “ more strongly. Setting cause theamp1EGvolumelevelstoincrease asyouplay speci play more strongly. With asettingof will causetheamp1EGvolumelevelstodecrease asyou Amp 1EG Br – 3b: LevelModulation ” Volume ” to+andsetting ). ﬁ ed in Amplifier EG ” Note-on “ (4 ” Amp 1EG If ” “ – Level Start If AMS 3a). “ Attack Level Time Attack p.210 Intensity 0 “ , thiswillbetherisetimeofsound. Intensity ” “ + is Intensity “ “ Time Decay willallow AMS toincrease theEG Intensity ” AMS (AlternateModulationSource) (4 + Velocity Break Point willallow AMS toincrease the ” – issettoa 3a). ” Time Slope issettoa “ “ ” AMS AMS toa ” , setting toa – Level Sustain willallow AMS to ” ” 0 positive (+)value “ willchange willchange positive (+)value , thelevelswillbeas negative ( Level – 0 0 positive (+)value willallow AMS to , nochangewill , nochangewill Note-off Release Time “ St, ” parametersof ”

“ “ At, – – AMS 99 ) values “ “ ” Attack Start – – and … ﬁ Time , 0,+] , 0,+] … … … … ” ed in +99] will will , set- 99] 99] 99] 99]

, (settings of4 and At andBraresetto+ Softly playednotewhenSt=0 With asettingof List nest AS nest)[ Intensity (AMS1Intensity) the amp1EG( Select thesource thatwillcontrol the (EXT, [Off, KT)] AMS1 (AlternateModulationSource1) “ source tomodifytheamp1EGtimesthatwere speci These parametersletyouuseanalternatemodulation 4 [ occur. Specify thedirection inwhich Br (BreakPointLevel) l(lp ie [ [ “ Specify thedirection oftheeffect that Sl (SlopeTime) [ “ Specify thedirection oftheeffect that Dc (DecayTime) “ Specify thedirection oftheeffect that At (AttackTime) Specify thedepthanddirection oftheeffect that shorten thetime.With asettingof shorten thetime.With asettingof shorten thetime.With asettingof to decrease theEGlevel.With asettingof value (Break PointLevel). sity, sity, sity, lengthen thetime,andsettingitto For exampleif will have. lengthen thetime,andsettingit to lengthen thetime,andsettingitto the EGlevel,andsettingthisparameterto board Track settings(4 tive (+)values to belengthened,and parameters. With Setting) of thechangeisspeci in times tolengthenasyouplaymore strongly, and When strongly. With asettingof values Amp 1EGchanges(Level)(AMS=Velocity, Intensity=apositive(+)value) Amp 1EG Slope (SlopeTime). Decay (DecayTime). Attack (AttackTime). – “ Note-on 3c: TimeModulation Amp1 EG ” ” ” ” ). settingthisparameterto settingthisparameterto settingthisparameterto , settingthisparameterto “ willcauseEGtimestoshortenasyouplaymore AMS1 ” – willcauseEGtimestobeshortened.Thedirection 3a: Amp 1EG) Note-off ” (4 ” ” of (4 is “ – AMS1 3a). p.210 – Off “ Velocity positive (+)values 3a). Ramp (RampSetting)willcauseEGtimes ” ” , there willbenomodulation. If ﬁ are setto+ when St=0and At andBr Strongly playednote With ” negative ( ” “ ed by ” – With Note-on is “ AMS (AlternateModulationSource) With 2a) willcontrol theEG Intensity 0 , Amp KTrk +/+ , theEGtimeswillbeasspeci positive (+)values positive (+)values “ positive (+)values positive (+)values At, “ + + + + AMS Note-off willallow AMS1 to willallow AMS1 to willallow AMS1 to – willallow AMS toincrease ” ” ) values

0 0 0 “ issettoa – – – there willbenoeffect. there willbenoeffect. Dc, willallow AMS1 to willallow AMS1 to willallow AMS1 to there willbenoeffect. ” ofthisparameter, “ willchange “ “ “ Time AMS1 AMS1 AMS1 ”

“ are setto when St=0and At andBr Strongly playednote , the(Amp)Key- of Sl, 0 – , nochangewill ” willallow AMS Note-on ” “ parametersof positive (+) ” ” ” and willcauseEG Ramp (Ramp willhaveon willhaveon willhaveon of “ – negative ( Time of – “ of 99 “ AMS1 “ “ Inten- “ Rl. Break “ Inten- Note-off – – – – … ﬁ ” Inten- , 0,+] , 0,+] , 0,+] , 0,+] ed in

” +99] posi- ﬁ ” 19 ed

– )

P9 P8 P7 P5 P4 P3 P2 P1 P0 Program Rl (Release Time) [–, 0, +] Specify the direction of the effect that “AMS1” will have on Program P5: Edit-Common LFO “Release (Release Time).” With positive (+) values of “Inten- sity,” setting this parameter to + will allow AMS1 to Here you can make settings for the LFO that can be used to lengthen the time, and setting it to – will allow AMS1 to cyclically modulate the Pitch, Filter, and Amp of oscillators 1 shorten the time. With a setting of 0 there will be no effect. and 2. There are two LFO units for each oscillator. By setting the LFO1 or LFO2 Intensity to a negative (–) value for Pitch, Amp 1 EG changes (Time) (AMS=Amp KTrk +/+, Intensity = a positive (+) value) Filter, or Amp, you can invert the LFO waveform. (When Amp Keyboard Track (4–2a) Low Ramp= a positive (+) value, and High Ramp = a positive (+) value) Note-on Note-on Note-on Note-off Note-off Note-off 5–1: OSC1 LFO1 Make settings for the “OSC1 LFO1,” which is the ﬁrst LFO that can be used for oscillator 1. Settings of 4–3a: Amp 1 EG Low-pitched note played High-pitched note played with At, Dc, Sl, and Rl at + with At, Dc, Sl, and Rl at – 5–1 Amp 1 EG changes (Time) (AMS=Velocity, Intensity= a positive (+) value) Note-on Note-on Note-on 5–1a Note-off Note-off Note-off

5–1b

Softly played note with At, Strongly played note with At, Strongly played note with Dc, Sl and Rl at + (settings Dc, Sl and Rl at + At, Dc, Sl and Rl at – of 4–3a: Amp 1 EG) 5–1c

AMS2 (Alternate Modulation Source 2) [Off, (EXT, KT)] Intensity (AMS2 Intensity) [–99…+99] At (Attack Time) [–, 0, +] 5–1a: OSC1 LFO1 Dc (Decay Time) [–, 0, +] Sl (Slope Time) [–, 0, +] Waveform [Triangle 0…Random6 (Vector)] Rl (Release Time) [–, 0, +] Select the LFO waveform. These parameters specify how “AMS2” will control the amp The numbers that appear at the right of some of the LFO 1 EG “Time” parameters (“AMS1”–“Rl”). waveforms indicate the phase at which the waveform will begin.

4–3: Page Menu Command Triangle 0 Step Triangle – 4 Triangle 90 Triangle wave Step Triangle – 6

Phase will change 0–1A Triangle Step Saw – 4 Random randomly at each key-in 1–1A Saw 0 Step Saw – 6 1–1B Sawtooth down ↓ 4–3A Saw 180 Random1 (S/H):� Conventional sample & hold (S/H) in which the level changes randomly at fixed intervals of Square Square wave time Random2 (S/H): 4–3A: Sync Both EGs Sine Sine wave Both the levels and the time intervals will change randomly. When this is checked, the amp 1 EG and amp 2 EG can be Guitar Guitar vibrato Random3 (S/H): edited simultaneously. (Editing either one will also modify The maximum level and minimum level will alternate at random intervals of time (i.e., a the other.) Exponential square wave with random period). Triangle Exponential Random4 (Vector) Saw Down Random5 (Vector) Random6 (Vector) Exponential These types cause Random 1–3 to change 4–4: Amp2 Lvl/Pan (Amp1 Level/Pan) Saw Up smoothly. They can be used to simulate the instability of acoustic instruments etc. 4–5: Amp2 Mod. 4–6: Amp2 EG Frequency [00…99] Set the LFO frequency. A setting of 99 is the fastest. These are the parameters for amp 2 (used for oscillator 2). ( “4–1: Amp 1 Level / Pan”–“4–3: Amp 1 EG.”) Offset [–99…+99] These will appear when “Oscillator Mode” (1–1a) is Double. Specify 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. When “Waveform” is set to Guitar, the modulation will occur only in the positive (+) direction even if you set “Off- set” to 0.

20 List nest AS nest)[ Specify thedepthanddirection oftheeffect that Intensity (AMS1Intensity) [0 tor 1LFO1( Select thesource thatwilladjustthefrequency oftheoscilla- AMS1 (AlternateModulationSource1) speed oftheOSC1LFO1. You canusetwoalternatemodulationsources toadjustthe 5 the LFOis [00 When apply. Specify thetimefrom note-onuntiltheLFOeffect beginsto Delay How “Fade” affects theLFO(when “Key Sync.” is reaches themaximumamplitude.When Specify thetimefrom whentheLFObeginstoapplyuntilit Fade was startedbythe Unchecked: each note. you playanote,andanindependentLFOwilloperatefor Checked: Key Sync.(KeyboardSynchronize) Offset settingsandpitchchangeproducedby vibrato Fade willbeappliedonlytotheLFOwhenitis applied toeachnewly-playednote.(Inthiscase,Delayand For exampleif by 1/2,1/4,1/8,1/16,1/32,or1/64respectively). mum of2,4,8,16,32,or64timesrespectively (ordecreased 99 When thisparameterissettoavalueof will have. the fadewillapplyonlywhenLFOis as youplayhighernotes. of thisparameterwillcausetheoscillator1LFOtospeedup If change willbecentered ontheC4note. oscillator 1LFOtoslowdownasyouplayhighernotes.This stick ismovedawayfrom yourself.With asettingof will causetheoscillator1LFO1speedtoincrease asthejoy- increase theLFOspeedbyapproximately 64times. moving thejoystickallwayawayfrom yourselfwill Pitch atnote-on – “ , theLFOfrequency beingcanbeincreased byamaxi- 1b: FrequencyModulation AMS1 ” ). OSC1LFO1canbemodulatedbyLFO2. “ Key Sync. Pitch ” Key Sync.willbe issetto fi rst started. Key Sync.willbe p.210 “ offset = AMS1 ” JS+Y is fi [Off, (PEG,FEG,AEG,LFO2,KT,[Off, EXT)] oeo Note-off Note-on “ rst-played notewillcontinuetobe – AMS (AlternateModulationSource) Off 9ofe offset=+99 offset=0 99 Delay ” is , raisingthevalueofthisparameter , thedelaywillapplyonlywhen Fade Negative ( Note Number On Off . TheLFOwillstarteachtime , andtheLFOeffect that – ) values , 16 “ positive (+)values fi Key Sync. On , rst started. 33 ) willcausethe , 49 fi – “ rst started.) , 99 AMS1 66 ” … , +99 is 82 … … +99] Off , or ” , 99] 99]

ie [01...16] [ ( set anotelengthrelative to When Times Base Note quency (MIDI Clock).Inthiscase,thevaluesyouspeci Checked: MIDI/Tempo Sync.(MIDI/Tempo Synchronize) [ 5 ( will adjustthefrequency oftheoscillator1LFO1. Make settingsforasecondalternatemodulationsource that Intensity (AMS2Intensity) AMS2 (AlternateModulationSource2) ﬁ Here youcanmakesettingsfortheOSC2LFO1,whichis Double This canbeusedwhen 5 second LFOthatcanbeappliedtooscillator1.( Here youcanmakesettingsfortheOSC1LFO2,whichis 5 2 1 of OSC1willbeexchanged. from theOSC1LFO1orLFO2tab,and LFO1 and2settingshavebeenexchanged.Ifthisisselected of LFO1,thatsettingwillbecancelledforLFO2afterthe LFO2 hasbeenselectedasFrequency Modulation AMS1 or2 This commandexchangesthesettingsofLFO1and2.If 5 LFO1 “ determine thefrequency oftheOSC1LFO1.Forexampleif ignored. OSC1 LFO1 “ the every fourbeats. tor orsequencer, theLFOwillalways performonecycle Even ifyouchangethe will performonecycleeveryfourbeats. “ Base Note AMS1 rst LFOthatcanbeappliedtooscillator2( – – Times 5 – – 1A: SwapLFO1&2 “ 1c: Frequency MIDI/Tempo Sync. Press the Select thiscommandtoopenthedialogbox. LFO 3: OSC2LFO1 2: OSC1LFO2 AMS1, – ” 1: PageMenuCommand “ ). ” ” MIDI/Tempo Sync. . ” cannotbeselectedasamodulationsource in (5 or ) thatwillbeappliedtoit.Theseparameters TheLFOfrequency willsynchronize tothetempo ” – ” “ ”

1a) and is “ OK button AMS2. ) Howeverin Intensity (AMS1Intensity) (quarternote)and [Off, (PEG,FEG,AEG,LFO2,KT,[Off, EXT)] ” “ Frequency Modulation “ “ . Oscillator Mode (Tempo) “ ” “ Frequency Modulation ischecked,theseparameters , (Tempo) ” , “ settingofthearpeggia- Times ” 5 0 , andthemultiple – – ” ” 1A 1A ) (1 ” is , ” – (5 1a) issetto “ 04 ﬁ 5 , – ed for – – , theLFO 1b) willbe 1: OSC1 “ 99 5 ” , – (5 … 1: – “ +99] , 1b), Fre- 21 ]

P9 P8 P7 P5 P4 P3 P2 P1 P0 Program 5–4: OSC2 LFO2 Program P7: Edit-Arpeggiator This can be used when “Oscillator Mode” (1–1a) is set to Double. Here you can make settings for the arpeggiator used by the Here you can make settings for the OSC2 LFO2, which is the program. second LFO that can be applied to oscillator 2 ( “5–1: OSC1 These arpeggiator settings can be linked when you switch LFO1” and “5–2: OSC1 LFO2”). programs. To link, check the Program item in “Auto Arpeg- giator” (Global P0 : 0–1c). The arpeggiator can be switched on/off by the front panel ARPEGGIATOR [ON/OFF] key. When on, the key LED will light. The settings of the front panel ARPEGGIATOR [TEMPO] knob, [GATE] knob, [VELOCITY] knob, and [ON/OFF] key can be saved for each program. These settings will be valid when “Auto Arpeggiator” Program is checked. If Local Control (“Local Control On,” Global P1: 1–1a) is OFF, 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’s arpeggiator. 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.

7–1: Arpeg. Setup

7–1

7–1a

7–1b

7–1a: Arpeggiator Tempo

Arpeggiator Tempo [040...240, EXT] Set the tempo (Link: “ ” 0–1b). This can also be set by the front panel [ARPEGGIATOR TEMPO] knob. When “MIDI Clock” (Global P1: 1–1a) is either External MIDI or External PCI/F, this will indicate EXT, and the arpeggiator will synchronize to MIDI Clock messages received from an external MIDI device.

7–1b: Arpeggiator Setup

Refer to p.96 in the Basic Guide. Pattern (Pattern No.) [P00...P04, U00(A/B)...U231(D)] Select the arpeggio pattern.

P00: UP (Preset Arpeggio Pattern) P01: DOWN (Preset Arpeggio Pattern) P02: ALT1 (Preset Arpeggio Pattern) P03: ALT2 (Preset Arpeggio Pattern)

22 wn [ of thearpeggio. This parametershiftsthetimingofodd-numbered notes Swing [001...127,Key, Step] 001 Specify thevelocityofnotesinarpeggio. Velocity [000...100(%),Step] (A/B) Step: time. 000 Specify thelength(gatetime)ofeachnoteinarpeggio. [ Gate [1,2,3,4] the arpeggiowillbeplayedatintervalyouspecify: Specify thetimingresolution ofthearpeggio.Thenotes Resolution played (Link: Specify thenumberofoctavesinwhicharpeggiowillbe Octave P00 here. at the12o toward therightwillincrease the velocity. Whentheknobis toward theleftwilldecrease the velocity, androtating it ARPEGGIATOR [VELOCITY]knob.Rotatingtheknob The velocitycanalsobecontrolled bythefront panel (A/B) Step: it wasactuallyplayed. Key: value. selected, thegatetimespeci determined bythe created inGlobalP6. are userarpeggiopatterns.Userpatternscanbe o right willlengthenthegatetime.Whenknobisat12 the leftwillshortengatetime,androtating ittoward the ARPEGGIATOR [GATE] knob.Rotatingtheknobtoward The gatetimecanalsobecontrolled bythefront panel selected, thevelocityspeci tion U216 (D)...U231(D) U200 (C)...U215(C) U00 (A/B)...U199(A/B) P04: RANDOM ’ , Step When Resolution= clock position,thegatetimewillbeasspeci – – – ” 127: 100(%): using thenumerickeys[0] Arpeggio patterns arpeggio willdependonthe If auserarpeggiopatternisselected,therangeof P6: 6 Eachnotewillsoundwiththevelocityvalueatwhich P04 (Link: Thisisavailablewhenanuserarpeggiopattern – – , 123456789 This isavailablewhenanuserarpeggiopattern Swing U231 (D) U231 (D) – are preset arpeggiopatterns, Eachnotewillsoundwiththespeci , 50 – ’ 1b) setting. clock position,thevelocitywillbeasspeci “ ,or Each notewillbeplayedwiththespeci Reso “ Octave isselectedfor isselectedfor .Thespeedofthearpeggiopatternis ” “ 0 Arpeggiator Tempo – – 2a). ” 5+5+25 +25 25 0 U000 (A/B) (for EXB-PCM series, User Arpeggio Pattern)(for UserArpeggio EXB-PCM series, Pattern)(for UserArpeggio EXB-PCM series, (for Pattern) UserArpeggio Pattern) (Preset Arpeggio – 2a). fi fi ed foreachstepwillbeused. ed foreachstepwillbeused. “ “ – Pattern. Pattern. [9] andthe[ENTER]key. “ – Octave Motion U231 (D) , U00 (A/B) ” ” Whenthisis Whenthisis ” , andthe – 100...+100(%)] canbeselected fi fi ed velocity , ed here. – U231 (D) ” (Global “ , fi Resolu- ed gate fi U00 U00 ed ,

] press akey, orwhetheritwillalwaysfollowthe Specify whetherthearpeggiopatternwillbeginwhenyou Key Sync.(Keyboard Synchronize) 0 after youtakeyourhandoff ofthekeyboard (Link: Specify whetherornotthearpeggiowillcontinueplaying Latch arpeggiated (Link: This speci Sort 4 3 2 1 This commandcopiesarpeggiosettings. 7 part ofthearpeggio(Link: will besoundedasusualinadditiontobeing This speci Keyboard tor Tempo hand from thekeyboard. Unchecked: remove yourhandfrom thekeyboard. Checked: ing tothe Unchecked: beginning ofthemeasure. ing inrealtime andwantthearpeggio toplayfrom the keys are pressed. Thissettingissuitablewhenyouare play- beginning whenanote-onoccursfrom aconditionwhere no Checked: you pressed them. Unchecked: pitch, regardless oftheorder inwhichyoupressed them. Checked: Unchecked: arpeggiated notes. they willbesoundedasusualinadditiontobeingplayed example ifyousimultaneouslypress twoormore notes, in additiontobeingsoundedaspartofthearpeggio.For Checked: – – 7 2a). 1A: CopyArpeggiator (mode, bank,number). button To executetheCopy Arpeggio operation,press the mode, specifywhetheryouwishtocopyfrom If youare copyingfrom Combination,Song,orSongPlay In Select thiscommandtoopenthefollowingdialogbox. – 1: PageMenuCommand “ From Thearpeggiopatternwillstartplayingfrom the ﬁ ﬁ . To cancel,press the “ The notesyouplaywillbesoundedontheirown, The arpeggiowillcontinueplayingafteryou Notes willbearpeggiatedintheorder oftheir Arpeggiator Tempo es theorder inwhichthenotesyoupress willbe es whetherthenotesyouplayonkeyboard ” Thearpeggiowillstopwhenyouremove your ” Notes willbearpeggiatedintheorder inwhich (Link: The arpeggiopatternwillalwaysplayaccord- Only thearpeggiatednoteswillbeheard. specifythecopysource arpeggiosettings “ “ Sort Key Sync. ” 0 “ – Keyboard 2a). ” Cancel button 0 . ” – 2a). 7 0 ” – – 0 1A 1A – 2a). . “ Arpeggia- A or “ Latch OK B . 23 ”

P9 P8 P7 P5 P4 P3 P2 P1 P0 Program 7–2: Scan Zone Program P8: Edit-Insert Effect 7–1 7–2a For details on insertion effects, refer to p.146 “8. Effect Guide.”

7–2b 8–1: Routing These settings specify the bus on which the output of the oscillator will be sent, and adjust the send levels to the master effects. The following diagram shows the LCD screen when “Oscil- lator Mode” (1–1a) is set to Single or Double.

8–1 7–2a: Zone Map 8–1a This shows the “Scan Zone” setting.

8–1b 7–2b: Scan Zone 8–1c Top Key [C–1...G9] Bottom Key [C–1...G9] 8–1d 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. Top Velocity [001...127] 8–1a: Routing Map Bottom Velocity [001...127] This shows the status of the insert effects. The insert effect Specify the range of velocities for which the arpeggiator will routing, effect name, on/off status, and chain is shown. The function. “Top Velocity” is the upper limit, and “Bottom types of insert effect, on/off, and chain settings are made in Velocity” is the lower limit. the Insert FX tab (8–2). Note number and velocity can also be input by holding down the [ENTER] key and playing a note on the key- 8–1b: Use DKit Setting board. This will be available when “Oscillator Mode” (1–1a) is set to Drums. 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 instrument to one of the AUDIO OUTPUT (INDIVIDUAL) jacks. If the “Oscillator Mode” is Single or Double, this setting has no effect. Unchecked: The setting of the “BUS Select” (8–1c) parameter described below will be used. All drum instruments will be sent to the speciﬁed bus.

8–1c: BUS Select (IFX/Indiv.Out Assign)

All OSCs to (BUS Select) [L/R, IFX1...5, 1...4, 1/2, 3/4, Off] Specify 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 (Alternate Modulation Source), the sound will be output with the pan setting 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. 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–

24 3 2 1 nation, Song,Sampling,orSongPlaymode. This commandcopieseffect settingsfrom Program, Combi- 8 [000...127] [000...127] [000...127] valid when be senttomastereffects 1and2.Theseparameterswillbe Set thevolume(sendlevel)atwhichoutputofOSC2will Send2 (toMFX2) Send1 (toMFX1) OSC2: be senttomastereffect 2( [000...127] Set thevolume(sendlevel)atwhichoutputofOSC1will Send2 (toMFX2) be senttomastereffect 1.Thisisvalidwhen Set thevolume(sendlevel)atwhichoutputofOSC1will Send1 (toMFX1) OSC1: 8 “ If (8 send levelstomastereffect 1and2are setby “ Insert FXtabs. BUS Select Send 2 – – – 8 “ 1A: Copy Insert Effect 1A: CopyInsert 1d: OSCMFXSend(OscillatorMasterEffect 1c) issetto the effect parameters ofIFX1 will becopied(i.e.,thecontents of theInsertFXtaband from amastereffect. If Select theeffect thatyouwishtocopy. You canalsocopy ber. In Select thiscommandtoopenthefollowingdialogbox. BUS Select – IFX5 set the 1/2 level settingsofamastereffect. not beidentical,duetodifferences intherouting and If youare copyingfrom amastereffect, theresult may channel OSC 1and2.Theseare controlled ontheglobalMIDI and control change#91willcontrol theSend2levelfor CC#93 willcontrol theSend1levelforOSCand2, tor. these valueswiththesendlevelsettingofeachoscilla- The actualsendlevelisdeterminedbymultiplying 1: PageMenuCommand “ From Send) or ” (8 ), set 3/4 – “ ” “ ” 2a) afterpassingthrough IFX1/2/3/4/5ofthe BUS Select issetto Oscillator Mode “ selectthecopysource mode,bank,andnum- . ” MIDI Channel L/R “ issetto IFX1 or ” Off L/R (or ” IFX1 (8 . or IFX2 “ All – “ 2a) afterpassingthrough IFXto , Off ” Send 1(toMFX1) ” IFX2 (GlobalP1:1 ” (1 – is IFX5 . – – 5, butnot checked 1a) issetto , IFX3 8 8 0 ) to – – – 1B 1A 1A 000: NoEffect , IFX4 , alleffect settings – “ 1a). “ Ctrl Ch “ Double BUS Select or ” Send 1 ). IFX5 ” ” ). and , the and , and ”

(Wet) willdependontheeffect type( input andoutput.Theinput/outputoftheeffect sound The direct sound(Dry)ofaninserteffect isalwaysstereo off, andmakechainsettings. Here youcanselectthetypeofeachinserteffect, turniton/ 8 3 2 1 This commandswaps(exchanges)inserteffect settings. 8 5 4 XSlc IX,3 )[000...102: name] [000...089: name] For Select thetypeofeachinserteffect. FX Select(IFX2,3,4) FX Select(IFX1,5) 8 For not beused. 000: NoEffect of effect: When youpress thepopup button,a Select Category/IFX select aneffect from thatcategory. Press the list willappear. Press atabtoselectcategoryofeffects, and execute, orpress the – – – 1B: Swap Insert Effect 1B: SwapInsert 2a: IFX1, 2, 3, 4, 5 (Insert Effect1, 2,3,4,5) Effect1, 2a: IFX1,2,3,4,5(Insert OK button To executetheSwapInsertEffect command,press the In Select thiscommandtoopenthefollowingdialogbox. OK button To executetheCopyInsertEffect command,press the Select thecopydestinationinserteffect. Ifyou “ effects thatyouwishtoswap. Select, be copied. unchecked copy source inserteffect willalsobecopied.Ifthisis “ 2: Insert FX 2: Insert “ Post IFXMixerSetting, IFX2, IFX1 8 “ – Source 1 2a 000: NoEffect ” ” ”

and “

“ Send 1 IFX3 . To cancel,press the . To cancel,press the , onlytheeffect typeanditsparameters will – ” “ 089:Reverb-Gate and IFX5 ” and ” and Cancel button ” “ youcanselectfrom 90typesofeffect: Source 2, “ – IFX4 102:HoldDelay “ Send 2 ” the ” youcanselectfrom 103types ” “ selecteachoftheinsert ” Chain, settingsthatfollowthe . Double-sizeeffects can- Cancel button Cancel button tocancel. “ Category/IFX Select p.146). ”

. “ Pan#8, OK button check . . ”

“ BUS to

8 25 – 1 ”

P9 P8 P7 P5 P4 P3 P2 P1 P0 Program If you select a double-size effect, the insert effect that follows 8–3: IFX 1 will be unavailable. For example if you select a double-size effect for IFX2, IFX3 cannot be used. Up to two double-size 8–4: IFX 2 effects can be used. (You can use a normal size effect for 8–5: IFX 3 IFX1, and double-size effects for IFX2 and IFX4.) (p.146) 8–6: IFX 4 ON/OFF (Insert Effect On/Off) Switch the insert effect on/off. 8–7: IFX 5 When this is OFF, the input will be output without change. Here you can set the effect parameters for the IFX 1/2/3/4/ (For 000: No Effect, on/off will produce the same result.) 5 that were selected in the Insert FX tab (p.155). Each time you press this, the setting will alternate between on/off. Effect dynamic modulation (Dmod) is controlled on the global MIDI channel “MIDI Channel” (Global P1: 1-1a). Separately from this setting, you can use control change #92 to turn off all insert effects together. 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 Switch “chain” on/off for each insert effect. For example if the 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 Panpot CC#8) [L000...C064...R127] Set 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.149). CC#8 will control. BUS Sel. (BUS Select) [L/R, 1, 2, 3, 4, 1/2, 3/4, Off] Specify the bus to which the sound will be sent after passing through the insert effect. Normally you will set this to L/R. If you wish to output to AUDIO OUTPUT (INDIVIDUAL), 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 addition connect to the master effects in series. Send1 (MFX1) [000...127] Send2 (MFX2) [000...127] Set the send levels to the master effects 1 and 2 for the sound that has passed through the insert effect. These settings are valid when “BUS Select” (8–2a) has been set to L/R or Off. Control change #93 will control the Send 1 level, and control change #91 will control the Send 2 level. These messages are received on the global MIDI channel specified by “MIDI Channel” (Global P1: 1–1a).

26 muted. Thiswillalternateon/off eachtimeitispressed. Switch mastereffect 1on/off. Whenoff, the outputwillbe On/Off) ON/OFF (MasterEffect When youpress thepopupbutton,a [000...089: name] Select Category/MFX 90 typesofeffect: Select theeffect typeformastereffect 1. You canselectfrom Select MFX1 Effect return level( The mastereffects donotoutputthedirect sound(Dry).The 9 off, specifychaining,andsetthemasterEQ. Here youcan selectthemastereffect types,switchthemon/ 9 OK button category ofeffect, andselectaneffect from thelist.Press the Select selected, theoutputfrom themastereffect willbemuted. ble-size effects cannotbeselected.)If output from P8:Routingtab and Rbus,thisismixedwiththedirect sound(i.e.,the the insert effects ismixedtoamonauralsignalasadjustedby panned toL andRafterpassingthrough theoscillatorand The mastereffects are monauralinput.Thesoundthatis output from InsertFXtab effects. 9 – – Guide. For detailsonthemastereffects, refer top.150 – Program P9:Edit-MasterEffect 1a: MasterFX(MasterEffect) 1a “ 1: MasterFX monaural. a stereo-input typeeffect isselected,theinputwillbe The mastereffects are Send 1 9 ” – menuwillappear. Press atabtoselectthedesired 1c 9 – ” 1b toexecute,orpress the ” and “ Return “ 000: NoEffect Send 2 ” ) sendstheeffect sound( ” “ levels,andinputtothemaster mono-in stereo-out BUS Select “ BUS Select – 089: Reverb-Gate Cancel button “ 000: NoEffect ” Category/MFX ). ”

L/R , orthe . Evenwhen Wet “ tocancel. 8. Effect . (Dou- ) totheL is L/R 9 9 9 – – – 1d 1b 1 Select will beinputtothenextmastereffect. [LRMix,LOnly, ROnly] L Only, Ronly: be mixedbefore being inputtothenextmastereffect. L/R Mix: the input(mono)ofnextmastereffect. output signalofthe When chainisOn,thisparameterspeci Chain Signal MFX2 MFX1 [MFX1 MFX2 are chained. Specify thedirection oftheconnectionwhenMFX1and Chain Direction MFX1 andMFX2. Checked: Chain 9 [000...089: name] of Switch mastereffect 2on/off. Refertotheaboveexplanation ON/OFF Select theeffect typeformastereffect 2( Select MFX2 Effect ih[ [ [ The cutoff frequency for High Mid [000...127] Low [000...127] linked withthevarious OUTPUT (MAINOUT)L/MONOandRjacks.Thisis before thesoundofL/Rbusissentfrom the AUDIO Set thegainforthree-band EQlocatedimmediately 9 [000...127] bus (mainoutputL/MONO,R). Adjust thereturn levelsfrom themastereffects totheL/R 2 Return 1 Return 9 sent from the When chainisOn,thissetsthelevelatwhichsound Chain Level change #95. 4). “ settings are in Q – – – “ ” 1b: Chain 1d: MasterEQGain[dB] 1c: ReturnLevel ON/OFF. of on theglobalMIDIchannel of 1 switch thison/off. A valueof0willbeoff, andavalue Separately from thissetting,youcanuseCC#94to P1: 1 ” → → ). “ Mid – MFX1: MFX2: Thestereo outputL/Rofthe – 127 willbetheoriginalsetting.Thisiscontrolled Chain(seriesconnection)willbeturnedonfor 1a). ” ” canbeadjustedintheMasterEQ tab.These ﬁ “ MFX2canalsobeturnedon/off bycontrol Connectfrom MFX2toMFX1. Connectfrom MFX1toMFX2. rst mastereffect tothenextmastereffect. Onlytheleftorrightchannelofoutput dB ” units. ﬁ rst mastereffect willbeconnectedto “ “ Gain Low, ” ” parametersofMasterEQ(9

“ “ Mid → MIDI Channel MFX2, MFX2 ” ﬁ and ﬁ rst mastereffect will es howthestereo “ MFX1 Effect “ – – – High 18.0...+18.0] 18.0...+18.0] 18.0...+18.0] ” (Global ” → andthe MFX1] 27 –

P9 P8 P7 P5 P4 P3 P2 P1 P0 Program 9–1: Page Menu Command 9–4: Master EQ The master EQ is a three-band stereo EQ. It is used to adjust 0–1A the overall tonality of the sound immediately before the L/R 9–1A bus is output to the AUDIO OUTPUT (MAIN OUT) L/ 9–1B MONO and R jacks ( p.207).

0–1A 9–1A: Copy Master Effect This command lets you copy any desired effect settings from Program, Combination, Song, Sampling, or Song Play modes. 1 Select this command to open the following dialog box.

2 In “From,” select the copy source mode, bank, and number. 3 Select the effect that you wish to copy. If you select MFX 1 or 2, “Return” (return level) will be copied at the same time. If you select Master EQ,” only the master EQ settings will be copied. You can also copy from an insert effect. If you check “All,” all settings of the master effects and master EQ will be copied. If you copy from an insert effect the result may not be identical, due to differences in routing and level settings. 4 Select the copy destination master effect. 5 To 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. 1 Select this command to open the dialog box. 2 To execute the Swap Master Effect command, press the OK button. To cancel, press the Cancel button.

9–2: MFX 1 9–3: MFX 2 Make effect parameter settings for the MFX1 and 2 effects that were selected in the Master FX tab (p.155).

9–1

28 2. Combination mode

appear. Press the OK button to execute, or press the Cancel Combination P0: Play button to cancel your selection. The category for each combination can be speciﬁed in the In this display page you can select and play Combinations. “Write Combination” dialog box. Combination Number: name [0…127: name] This is the number and name of the combination. 0–1: Prog. Select (Program Select) Here you can select the desired combination. When this parameter is selected, you can select combinations using the 0–1 front panel numeric keys [0]–[9], [VALUE] dial, or [ ] [ ] 0–1b 0–1a keys. When you press the popup button, the “Bank/Combination 0–1c Select” menu will appear. This displays combinations by Combination 0–1d bank, and allows you to select a combination. For details on other ways to select combinations such as 0–1e using a foot switch or by using MIDI program change mes- P0 sages from an external MIDI device, refer to p.125, 114 in the

0–1f Basic Guide. P1 Bank/Combination Select menu: P2

0–1a: Bank, 10’s Hold, Category, Combination Number P3

Bank [Bank A…D] P4 This is the Combination bank display. Use the front panel BANK [A]–[D] keys to select the bank. On the TRITON, there are a total of 512 combination pro- P7 All combinations are grouped and displayed by their bank. grams in four rewritable banks (A, B, C, D), each containing When you use the tabs at left to select a bank, the combina- 128 combinations. tions in the selected bank will appear. Press the OK button P8 A, B for preset combinations to execute, or press the Cancel button to cancel your selec- C, D (for preset combinations, and EXB-PCM series combi- tion. P9 nations) 0–1b: (Arpeggiator Tempo) [040...240, EXT] If you have selected the “Bank/Program” edit cell for a timbre 1–8 in the Prog. Select tab, BANK [A]–[D] will This sets the tempo of the arpeggiator. The tempo can also switch the program banks for timbres 1–8. be adjusted by the front panel ARPEGGIATOR [TEMPO] 10’s Hold knob. A display of EXT indicates that the “MIDI Clock” setting (Global P1: 1–1a) has been set to External MIDI or When you press the front panel [./10’s HOLD] key, the dis- External PCI/F, and that the arpeggiator will synchronize to play will indicate , and the ten’s place of the combination MIDI Clock messages received from an external MIDI number will be ﬁxed. By pressing a numeric key [0]–[9], you device. can change the one’s place in one keystroke. Use the [ ] and [ ] keys to change the 10’s place. To exit, press the [./10’s HOLD] key once again. 0–1c: Selected Timbre Information

Category (Combination Category) [00...15: name] This shows information on the timbre (1–8) that is currently This is the combination category display. selected for editing. You can select combinations by category. Press the popup button, and the “Category/Combination Select” menu will T (Timbre) [No.: Bank No., Prog No. and name] appear. This shows the timbre number, and the program bank, number and name selected for that timbre. Category/Combination Select menu: Ch [01...16, Gch] This is the MIDI channel number speciﬁed for the timbre.

0–1d: Timbre Number (1, 2, 3, 4, 5, 6, 7, 8)

This is the timbre number.

The combinations of all banks can be organized using up to 16 categories. Use the tabs located at left and right to select a category, and the combinations in the speciﬁed category will

29 0–1e: Category, Bank/Program Program Name This displays part of the program name selected for the tim- Category (Category Name) [00...15: name] bre. In the case of the GM2 variation bank or the GM2 The program for each timbre can be selected by program drums bank, the variation bank (1)–(9) or drums bank (d) category. When you press the popup button, the Category/ will be indicated. Timbre Program Select menu will show programs arranged by category, and you can select a program from this list. This 0–1f: Status is useful when you wish to find programs in a specific category, or when you need to find a different program in the Status [INT, Off, EXT, EX2] same category (p.1 “Category/Program Select menu”). For each track, this specifies the status of MIDI and the inter- This parameter is linked with “Category” (1–1b). nal tone generator. This parameter is linked with “Status” Bank/Program (2–1a). The program for each timbre can be selected by program INT: When you play the TRITON, the internal tone genera- bank. tor will sound, and will also sound in respond to MIDI mes- When you press the popup button, the Bank/Timbre Pro- sages received from an external MIDI device. gram Select menu will show the programs arranged by Off: The program will not sound. Nor will MIDI data be bank, and you can select a program from this list (p.1 transmitted. “Bank/Program Select menu”). If one of these edit cells has EXT: Playing the TRITON will not cause it to sound, but will been selected, you can use the front panel [BANK] keys, transmit data via MIDI to control external MIDI devices. numeric keys [0]–[9], [VALUE] dial, [VALUE] slider, or [ ] EX2: Instead of the A–g(d) bank numbers that can be [ ] keys to make a selection. At this time, the [BANK] key selected on the TRITON, the bank numbers selected in LED will light to indicate the selected program bank. “Bank Select” (2–1a) will be transmitted via MIDI. “Bank This parameter is linked with “Bank/Program” (1–1b). Select” (2–1a) is valid when EX2 is selected. In other respects this is the same as EXT. Bank F can be selected if you have installed the sepa- INT rately sold EXB-MOSS option. When installed, the 128 MIDI IN special EXB-MOSS programs will be available.

Tone When you select a combination on the TRITON, a MIDI generator program change for the selected combination number will be transmitted on the global MIDI channel “MIDI EXT, EX2 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 speciﬁed for MIDI OUT each timbre that is set to “Status” (0–1f, 2–1a) of 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 0–1: Page Menu Command show the “Bank/Program” Bank as “–”, and will transmit the bank number that was speciﬁed in “Bank 0–1A Select” (2–1a). 0–1B MIDI messages transmitted when you operate the TRI- TON are transmitted on the global MIDI channel. At the same time, timbres whose “Status” is EXT or EX2 0–1A: Write Combination will transmit the same messages on their own MIDI This command writes an edited combination into the TRI- channel. TON’s internal memory. Be sure to write any combination If bank select and program change messages are that you wish to keep. If the power is turned off or a differ- received on a MIDI channel that matches the MIDI ent combination selected before you write an edited combi- channel of a timbre whose “Status” is INT, the program nation, your edits cannot be recovered. of that timbre will change. However if the MIDI chan- 1 Select this command to open the following dialog box. nel of the incoming message matches the global MIDI channel “MIDI Channel,” then the combination will change. 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). Alter- 2 The upper line shows the bank name and combination nately, you can uncheck “Enable Bank Change” (Global name. To edit the combination name, press the text edit P1: 1–1b) so that only the program number will change button to access the text edit dialog box, and input the and the bank will remain the same. desired combination name. If you wish to change a program without changing the 3 In “Category” you can assign a category to the combina- combination, you can also set “Enable Program tion you are writing. The category you specify here can Change” (3–1a) so that the program will change on cer- be used when you search for combinations in Combina- tain timbres but not on others. tion P0. With the factory settings, families of instruments are assigned as combination category names, but you can modify in Global P4–2: “Comb Cat.” (Combination Cate- gory).

30 a Pno)[RND, L001...C064...R127] This parameterislinkedwith Set thepanforeachtimbre 1 Pan (Panpot) 0 displayed here. Part oftheprogram categorynameforthetimbre program is 0 Here youcansetthepanandvolumeforeachtimbre 1 0 timbre. be muted.To soloanothertimbre, selectaparameterforthat currently selectedtimbre willsound. All othertimbres will If thisis select thiscommand. The Solofunctionwillbeswitchedon/off eachtimeyou 0 5 4 that wasmadefortheoscillatorinProgram mode. far right. A settingof L001...C064...R127: for individualtimbres. not availableintabsorpagesthatdocontainparameters Timbre [Solo] – – – – 1B: SoloSelectedTimbre OK button To executetheWrite Combinationcommandpress the In 2b: Pan(Panpot) 2a: ProgramCategory 2: Mixer “ When youpress thefront panel[REC/WRITE]key, the set toa If atimbre thatismutedbytheSolofunction hasbeen tion. also youcanwritetothecurrently selectedcombina- on/off messageswillnotbetransmittedbythattimbre. 0 0 0 0 0 “ Update Combination – – – – – . To canceltheSolofunction,select To Combination, ” 1a 1c 2c 2a 2b “ pagemenucommandonceagain.Thisis checked Selected Timbre Information “ Status . To cancel,press the , theSolofunctionwillbeon,andonly A settingof ” (0 C064 – ” 1f, 2 selectthewritingdestination. willreproduce the pansetting ” dialogboxwillappear. Here – – 1a) of 8. “ Pan L001 ” Cancel button EXT (1 isfarleftand ” (0 – 1c). or – 1c) willindicate EX2 “ Solo Selected , MIDInote- . R127 – is 0 8. – 1 on. RND: balance oftimbres 1 volume oftheothertimbres willchangeaswell.Thevolume Checked: Hold Balance [000...127] Adjust thevolumeofeachtimbre 1 Volume 0 sound aftertheinsertioneffect ( 2) parameterinInsertFXtabwilladjustthepanningof make here willbeignored. Inthiscase,the If amono-typeinsertioneffect isinserted,thesettingyou when youwishtoadjusttheoverallvolume. This parameterislinkedwith – OSC1 OSC1 Left Left Left Left 2c: Volume “ Pan canbecontrolled bymessagesreceived onthe sound atfarleft,64center, and127atfarright. control thesetting.CC#10values of0or1willplacethe trol change#10(panpot)messagescanbereceived to If and expression (CC#11). If ing thisvolumevaluewiththeMIDI(CC#7) The volumeofeachtimbre isdeterminedbymultiply- the global MIDIchannel.Thismessageistransmittedon by atimbre thatissettothesameMIDIchannel asthe tion ischanged.Howeverthiswillnotbetransmitted will betransmittedasMIDICC#7whenthecombina- If eter.) these messageswillnotaffect thesettingofthisparam- sages willcontrol thevolumeofatimbre. (However been setto MIDI channel Theoscillatorpanwillchangerandomlyateachnote- “ “ Status Status Center Center “ Center Center MIDI channel Whenanyoneofthevolumeslidersismoved, ” ” OSC2 Right Right OSC2 Right Right (0 is INT – EXT Pan (CC#10) R127 R096 L001 C064 OSC1: Amp1Pan=L001 L032 OSC2: Amp2Pan=R127 Pan (CC#10) R127 R096 L001 C064 OSC1: Amp1Pan=C064 L032 OSC2: Amp2Pan=C064 1f, 2 ” – , incomingMIDICC#7orCC#11 mes- (2 8 willbemaintained.Thisisuseful or – – ” 1a) hasbeensetto 1a). (2 EX2 – 1a) speci , thevalueofthisparameter “ Volume “ Left Left Status p.149 – 8. ﬁ Center Center ed foreachtimbre. ” ” “ (0 (1 3. Mixer – – INT “ 1f, 2 1d). Pan (CC#8) Right Right , MIDIcon- – R127 R096 L001 C064 L032 Pan (CC#10) OSC1: Amp1Pan=L032 OSC2: Amp2Pan=R096 1a) has ” ). ” 31 (8 –

P9 P8 P7 P4 P3 P2 P1 P0 Combination 0–3: Arpegg. A (Arpeggio Play A) Combination P1: Edit–Program/ 0–4: Arpegg. B (Arpeggio Play B) Mixer Here you can make arpeggiator settings for the combination. A combination can run two arpeggiators simultaneously. Arpeggiator parameters can be edited in P7: Edit- Arp., but certain major parameters can be edited in these 1–1: Program/Mixer pages as well. You can edit these parameters in realtime, for example by changing the arpeggio pattern while playing in For each timbre 1–8, set the bank, program, pan and volume. Combination P0: Play. These parameters are linked with the identically-named To save the edits you make, use “Write Combination.” The parameters in the P0: Program Select tab and Mixer tab. arpeggiator can also be edited in realtime by the front panel 0–1 ARPEGGIATOR [TEMPO] knob, [GATE] knob, and 1–1a [VELOCITY] knob.

0–1A 0–1b 0–1a 0–1b

1–1c 0–3a

1–1d 0–3b

1–1a: Bank No.: Prog No.: Prog Name

Bank No.: Prog No.: Prog Name 0–3a: Arpeggiator Run A, B, Timbre assign This shows the combination bank, number, and name selected in Combination P0: Play. Arpeggiator Run A, B Specify whether arpeggiator A and/or B will start up when 1–1b: Category, Bank/Program the ARPEGGIATOR [ON/OFF] key is pressed. Only the arpeggiator(s) you select here will run. When the arpeggia- Link: “Category” (0–1e), Link: “Bank/Program” (0–1e) tor is on, A and B can be switched on/off. This is linked with “Arpeggiator Run A, B” (7–1b). 1–1c: Pan Timbre assign This indicates the arpeggiator A and B assignment status for Link: “Pan” (0–2b) each timbre 1–8. These settings are made in “Arpeggiator Assign” (7–1b). 1–1d: Volume

0–3(4)b: Arpeggiator A (B) Link: “Volume” (0–2c)

Pat (Pattern No.) [P00...P04, U00(A/B)...U231(D)] Octave [1, 2, 3, 4] Reso (Resolution) [ , , , , , ] Sort Latch Key Sync. (Keyboard Synchronize) Keyboard Set the various parameters of the combination arpeggiator (“Program P7: Edit-arpeggiator”). These parameters are linked to the parameters of the identical name (and abbreviation) in “7–2(3): Arpegg. A (B).”

32 These settingsspecifyhoweachtimbre willbesounded. 2 tus Specify thebanknumberthatwillbetransmittedwhen [000:000...127:127] Bank Select (WhenStatus=EX2) [01...16,Gch] [INT, EXT, Off, EX2] Set theMIDItransmit/receive channelforeachtimbre 1 MIDI Channel Status 2 Here youcanmakeMIDIsettingsforeachtimbre. 2 mitted simultaneouslyontheglobalMIDIchannel.) MIDI channelspeci playing theTRITON willtransmitMIDImessages onthe as theglobalMIDIchannel Gch: has noeffect. according totheinternalsettings.Ifthisisset global MIDIchannel,theinternaltonegeneratorwillsound the channelyouspecifyhere. Ifthissettingisthesameas When 1a). Combination P2:Edit – – – Link: 1a: Status,MIDIChannel,BankSelect ” 2: OSC 1: MIDIChannel issetto 2 2 The timbre willusethechannelthathasbeenselected – – “ 2a 1a Status “ Status EX2 ” is ” (0 . If INT – fi 1f). “ ed here. (Messageswillalsobe trans- Status , MIDImessageswillbereceived on ” “ isnotsetto MIDI Channel (MIDI Ch) – Trk Param “ EX2 ” (GlobalP1:1 , ” EXT thissetting or LSB MSB EX2 “ 0 0 – Sta- – – 8. – 1 1 , Portamento [PRG, Off, 001...127] [PRG,Off, Make portamentosettingsforeachtimbre 1 Portamento [BTH,OS1,OS2] Specify the OSC Select [PRG,Poly, MN,LGT] program selectedforeachtimbre 1 Specify theVoice Assign Mode(Program P1:1 Force OSCMode 2 Here youcanmakepitch-related settingsforeachtimbre. 2 settings. time youspecifyhere, evenifitisturnedoff bytheprogram 001...127: tings speci Off: gram settings. PRG: each timbre 1 according tothe With settingsof single triggering(legato). LGT (Legato): less ofthesettingsprogram. MN (Mono): settings oftheprogram. Poly: PRG: program. or OS2: OS1: tings oftheprogram. BTH (Both): sound. is – – Double Drums 2a: ForceOSCMode,Select,Portamento 3: Pitch channel speci received.) Thesemessageswillbereceived ontheMIDI (2 the settingis will bereceived tocontrol andchangethissetting.(If mento time)and#65(portamentoswitch)messages If the Portamento willbeoff, eveniftheoriginalprogram set- OnlyOSC2willsound.(If OnlyOSC1willsound. 2 Thesettingsoftheprogram willbeused. The timbre willplaypolyphonically, regardless ofthe Portamento willbeappliedasspeci – – 3a 1a). Portamentowillbeappliedwiththeportamento , there willbenosound.) , youcanspecifythateitherorbothoscillators “ fi “ Status ed forittobeon. OSC1and2willsoundasspeci Oscillator Mode – The timbre willplaymonophonically, regard- Thetimbre willplaymonophonically, with 8. Ifthe MN “ ” Priority PRG fi (0 ed foreachtimbre by or – “ 1f, 2 , #05portamentotimewillnotbe Oscillator Mode LGT ” (Program P1:1 – 1a) issetto , thenoteprioritywillbe ” oftheprogram selectedfor “ Oscillator Mode – 8. ” INT (Program P1:1 “ fi – MIDI Channel ed bythepro- 1b) settingofthe , CC#05(porta- – fi 8. ed bytheset- – 1b) ofthe ” is Single 2 – 33 – 1a) ” 3

P9 P8 P7 P4 P3 P2 P1 P0 Combination 2–3a: Transpose, Detune, Bend Range apply to the selected timbre. When you execute the command, the selected “Detune” value will be set. Transpose [–24…+24] 1 Select this command to open the following dialog box. Adjust the pitch of each timbre in semitone steps. 12 units equal one octave. When “Status” (0–1f, 2–1a) is INT, this parameter will affect the pitches sounded by the TRITON. When “Sta- tus” is EXT, this parameter will affect the note numbers 2 In “From” specify the original BPM value. In “To” specify of the MIDI note messages that are transmitted. the desired BPM value. The appropriate “Detune” value For example if you make settings of +04 and +07 will be calculated automatically from these two values. respectively for two timbres that are set to EXT, playing For example if you set “From” to 60 bpm and “To” to 120 the C key will transmit a C note number on the global bpm, the “Detune” parameter will be set to +1200 (one MIDI channel, and at the same time will also transmit E octave up). and G note numbers on the MIDI channels of those tim- 3 To execute the Detune BPM Adjust command, press the bres. OK button. To cancel, press the Cancel button. Detune (Use BPM Adj. in Page Menu) [–1200...+1200] The detune value that is calculated when you execute this command will be added to “Detune” +0000. You Adjust the pitch of each timbre in one-cent units. must set the “From” BPM value to the value when 0: Normal pitch. “Detune” is +0000. For example if you execute “From” 60 BPM “To” 120 BPM, and then execute “From” 120 You can also use the “Detune BPM Adjust” page menu BPM “To” 60 BPM, will not return to the original result. command to automatically make a detune setting from (Rather, this will set Detune= –1200, which is one a calculation in BPM units. octave down.) “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. 2–4: Other When “Oscillator Mode” is Single or Double Here you can make various other settings for each timbre. MIDI RPN Coarse Tune can be received to control and change the setting of “Transpose,” and RPN Fine Tune 0–1 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 2–4a to control and change the setting of “Detune.” The con- trollable range is ±1 octave for coarse tune and fine tune 2–4b together. 2–4c Bend Range [PRG, –24...+24] Specify 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 2–4a: Delay [ms] the program. Delay [ms] (Delay Time) [0000…5000, KeyOff] The MIDI RPN Pitch Bend Change message can be For each timbre, this specifies a delay time from note-on received to control this and change the setting. (How- until the sound begins. ever it will not be received if this parameter is set to PRG.) This message is received on the MIDI channel for KeyOff: The note will begin sounding at note-off. In this each timbre set by “MIDI Channel” (2–1a). 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. 2–3: Page Menu Command Normally you will set this to 0.

0–1A 2–4b: Use Program’s Scale 0–1B 2–3A Use Program’s Scale Each timbre can use the scale that is specified by “Scale” 2–3A: Detune BPM Adjust (Program P1: 1–1c). This command can be used when you wish to modify the Checked: The scale specified by the program will be used. BPM of a phrase or rhythm that uses a phrase or rhythm Unchecked: The scale specified by “Scale” (2–4c) will be loop multisample or multisample that was created to match used. a specific BPM in Sampling mode, or that was loaded in Disk mode (Program P1: 1–2a, 1–2b, Global P5: 5–1b, 5– 1c). This command changes the BPM by modifying the pitch. When timbre “Detune” is selected, this command will

34 tion willbeaddedtothepitchateachnote-on( Program P1:1 adm[0 [C As this Random Select thetonickeyofselectedscale( Key (ScaleKey) [EqualTemperament...User OctaveScale15] Select thetypeofscale( Type Specify thescalethatcombinationwilluse. 2 P1: 1 – 4c: Scale – 1c). value isincreased – 1c) “ , anincreasingly randomdevia- Type ” Program P1:1 “ Key – ” 1c). “ Program Random … … 7] B] ”

that willbetransmittedandreceived byeachtimbre 1 enabled. When Checked: pedal willapplytoonebutnottheother. MIDI channel,youcanmakesettingssothatthedamper example eveniftwotimbres are beingplayedbythesame These settingsallowyoutoapply on/off messageswillbetransmittedandreceived. Specify whetherornotMIDIcontrol change#65portamento SW Enable Portamento (damper pedal)messageswillbetransmittedandreceived. Specify whetherornotMIDIcontrol change#64hold Enable Damper transmitted andreceived. Specify whetherornotMIDIaftertouchmessageswillbe Enable AfterTouch be transmittedandreceived. Specify whetherornotMIDIprogram changemessageswill Enable ProgramChange 3 3 affected bythissetting.)When ing timbre. (Theeffect dynamicmodulationfunctionisnot effect ofthecheckeditemtoprogram ofthecorrespond- the built-incontrollers orincomingMIDIdatawillapplythe settings fortheentire TRITON are madein the channelofthattimbre. MIDItransmissionandreception ations ofthebuilt-incontrollers willtransmitMIDIdataon abled. Unchecked: any oneofthemwillenablethatcontrol change. more controllers intheMIDI3and4tabs,checking ority. Also, ifthesame control changeisassignedtotwoor tabs, thesettingsinMIDI1and2tabswilltakepri- control changesthatare alsofound intheMIDI1or2 In thiscase,iftheassignablecontrollers havebeensetto tings willaffect thosecontrol changes. if theseare assignedtoMIDIcontrol changes,the able controllers (whosefunctioncanbesetbytheuser),and The MIDI3and4tabscontain (Global P1:1 – Combination P3:Edit-MIDIFilter – a EnableProgramChange,AfterTouch, 1a: 1: MIDI1 3 – 1a Enable Damper, SW EnablePortamento Transmission andreception ofMIDIdatais Transmission andreception ofMIDIdataisdis- – 1b). “ Status (MIDI Filter ” (0 – 1a, 2 “ – Status – 1a) is fi 1) lters totheMIDIdata ” INT is EXT fi , operationsof “ lters forassign- MIDI Filter or fi EX2 lter set- – , oper- 8. For 0 ” 35 –

P9 P8 P7 P4 P3 P2 P1 P0 Combination 3–2: MIDI 2 (MIDI Filter –2) 3–3a: Enable Realtime Control Knob –1...4

0–1 Enable Realtime Control Knob –1 Specify whether or not the “A” mode MIDI control message #74 (the TRITON’s low pass ﬁlter cutoff frequency) and the “B” mode MIDI control message assigned to knob [1] will be transmitted and received.

3–2a Enable Realtime Control Knob –2 Specify whether or not the “A” mode MIDI control message #71 (the TRITON’s low pass filter resonance or high pass filter cutoff frequency) and the “B” mode MIDI control message assigned to knob [2] will be transmitted and received. Enable Realtime Control Knob –3 3–2a: Enable JS X as AMS, Enable JS+Y, Enable JS– Specify whether or not the “A” mode MIDI control message Y, Enable Ribbon #79 (the TRITON’s filter EG intensity) and the “B” mode MIDI control message assigned to knob [3] will be transmit- Enable JS X as AMS ted and received. Specify whether or not MIDI pitch bend messages (the X Enable Realtime Control Knob –4 axis of the TRITON’s joystick) will be received to control the AMS (p.209 “Alternate Modulation Source (AMS)”) effect Specify whether or not the “A” mode MIDI control message assigned to JS X. (This is not a filter for MIDI pitch bend #72 (the EG release time for the TRITON’s filter and ampli- message reception.) fier) and the “B” mode MIDI control message assigned to knob [4] will be transmitted and received. Enable JS+Y Specify whether or not MIDI control change #1 (the +Y axis of the TRITON’s joystick, or specified as the “B” assignment 3–4: MIDI 4 (MIDI Filter –4) of a realtime control knob) will be transmitted or received. 0–1 Enable JS–Y Specify whether or not MIDI control change #2 (the –Y axis of the TRITON’s joystick, or specified as the “B” assignment of a realtime control knob) will be transmitted or received. Enable Ribbon 3–4a Specify whether or not MIDI control change #16 (the TRI- TON’s ribbon controller, or specified as the “B” assignment of a realtime control knob) will be transmitted or received.

(MIDI Filter –3) 3–3: MIDI 3 3–4a: Enable SW1, Enable SW2, Enable Other Con- Specify whether or not the effects of A and B modes for the trol Change REALTIME CONTROL knobs [1], [2], [3] and [4] will be transmitted and received. In “A” mode, the MIDI control Enable SW1, Enable SW2 message for each knob is ﬁxed. In “B” mode, the message for Specify whether or not the effect of the [SW1] and [SW2] each knob can be assigned in Controller tab (4–5). keys will be transmitted and received. The function of these

0–1 keys is specified in Controller tab (4–4). This filter setting is valid for settings of SW1 Mod.:CC#80, SW2 Mod.:CC#81, or Porta.SW:CC#65. Enable Foot Pedal/Switch Specify whether or not the effect of the ASSIGNABLE PEDAL/SWITCH will be transmitted and received. The 3–3a function is assigned in Global P2. This filter setting is valid when a MIDI control change is assigned. Enable Other Control Change Specify whether or not MIDI control messages not covered in the preceding items MIDI Filter 1–4 will be transmitted and received.

36 Cross-fade change according tothekeyboard location( sounds willoverlap,andtheproportion oftheoverlapwill If yousettheslopes(thegrayedportion)tooverlap, sounds withasinglenote( By settingtherangestooverlap,youcanplaytwoormore the keyboard ( overlap, youcanplaydifferent soundsindifferent rangesof By settingtimbres ofdifferent soundstorangesthatdonot ume willbereached. parameters specifytherangeoverwhichoriginalvol- o lp [00...72] [C the topkey. ward, andwillreach theoriginalvolumeoneoctavebelow 12: 0: volume willbereached startingfrom thetopkey. Specify therangeofkeys(12isoneoctave)overwhich Top Slope each timbre 1 Specify thetopkey(upperlimit)ofnotesthatwillsound Top Key 4 portion ingray. notes andvelocitiesthatwillsound,showtheslope The LCDscreen willdisplayalinetoindicatetherangeof each timbre willsound. This area indicatesthenoteandvelocityrangesinwhich 4 in which The top/bottomkeyparametersspecifytherangeofnotes timbre willsound. These settingsspecifythekeyboard rangeinwhicheach 4 C Timbre 8 display Key zone Timbre 1 – – – – Combination P4:Edit-Zone/Ctrl 1~G9 The volumewillbeattheoriginal levelfrom thetopkey. Thevolumewillincrease gradually asyouplaydown- 1b: Top Key, Top Slope 1a: ZoneMap 1: KeyZ bottom slopestooverlap. of thesametimbre. Norisitpossibleforthetopand It isnotpossibletosetthebottomkeyabovetop [ENTER] keyandplayinganote. You canalsosetthisparameterbyholding downthe 4 4 4 – – – 1b 1a 1c timbres 1 ). – Key Split 8. (Key Zone) – 8 will sound,andthetop/bottomslope ). Layer ). Timbre 1 Positional Timbre 8 – 1...G9] display zone Velocity 0 – 1 mine theproportion ofeachsound( be soundedtogether, and yourplayingdynamicswilldeter- If thesloperanges(grayline)overlap,different soundswill the soundswillbeheard together( If yousettwoormore timbres tovelocityzonesthatoverlap, [C How volume willchangeaccordingtokeyboard location sound eachtimbre 1 [00...72] Specify thebottomkey(lowerlimit)ofnotesthatwill Bottom Key top key. and willreach theoriginalvolume 60: key. and willreach theoriginalvolumeoneoctaveabovetop 12: 0: volume willbereached startingfrom thebottomkey. Specify therangeofkeys(12isoneoctave)overwhich Bottom Slope 4 different sounds( overlap, youcanusevariationsinplayingdynamicstoplay By settingtwoormore timbres tovelocity zonesthatdonot which thevolumewillchange. Top/Bottom Slope parameterstospecifytherangeover of velocitiesthatwillsoundeachtimbre 1 Set theTop/Bottom Velocity parameterstospecifytherange 4 ward, andwillreach theoriginalvolume 60: the topkey. – Thevolumewillbeattheoriginallevelfrom thetopkey. – Thevolumewillincrease graduallyasyouplayupward, 1c: BottomSlope,Key The volumewillincrease graduallyasyouplayupward, The volumewillincrease graduallyasyouplaydown- 2: Vel Z slope andthebottomoverlap. the topvelocityforsametimbre. Norcanthetop It isnotpossibletosetthebottomvelocitygreater than [ENTER] keyandplayinganote. You canalsosetthisparameterbyholdingdownthe 4 4 – – 2b 2a Volume Bottom Key (Vel Zone) Velocity Switch Bottom Slope – 8. ). Layer ﬁ Velocity Cross-fade ve octavesabovethe Top Slope ). Top Key ﬁ – ve octavesbelow 8, andsetthe Key – 1...G9] 0 ). 37 – 1

P9 P8 P7 P4 P3 P2 P1 P0 Combination 4–2a: Top Velocity, Top Slope 4–4: Controller (Control) Here you can set the Combination mode functions of the Top Velocity [1…127] [SW1] key, [SW2] key, and the B-mode functions of REAL- Specify the maximum velocity value that will sound each TIME CONTROL knobs [1]–[4]. timbre 1–8. 0–1A This value can also be entered by holding down the [ENTER] key and playing a note.

Top Slope [0…120] 4–4a Specify the number of velocity steps over which the original volume will be reached, starting from the Top Velocity. 0: The volume will be at the original value from the top 4–4b velocity. 120: The volume will decrease as the velocity approaches the top velocity.

4–2b: Bottom Slope, Bottom Velocity 4–4a: Panel Switch Assign Bottom Slope [0…120] These settings assign the function of the front panel [SW1] Specify the number of velocity steps over which the original and [SW2] keys (p.217 “SW1, SW2 Assign List”). volume will be reached, starting from the Bottom Velocity. Since the function assignments of the [SW1] and [SW2] keys 0: The volume will be at the original value from the bottom made for the program assigned to each timbre are not valid velocity. for the combination, they must be newly set by these param- 120: The volume will decrease as the velocity approaches the eters. bottom velocity. SW1 (SW1 Assign) [Off, ..., After Touch Lock] Bottom Velocity [1…127] SW1 Mode [Toggle, Momentary] Specify the minimum velocity value that will sound each SW2 (SW2 Assign) [Off, ..., After Touch Lock] timbre 1–8. SW2 Mode [Toggle, Momentary] This value can also be entered by holding down the “Panel Switch Assign” (Program P1: 1–4a). [ENTER] key and playing a note.

How volume will change according to keyboard location 4–4b: Realtime Control Knobs B-Assign Volume These settings assign functions (mainly various control changes) to the “B” mode of the front panel REALTIME CONTROL knobs [1]–[4] (p.218 “Realtime Control Knobs B–Assign List”). The functions you specify here will be controlled when you operate the front panel REALTIME CON- Velocity TROL knobs [1]–[4] in “B” mode. Bottom Slope Top Slope Since the REALTIME CONTROL knob [1]–[4] function Top Velocity Bottom Velocity assignments made for the program assigned to each timbre are not valid for the combination, they must be newly set by these parameters. 4–3: MOSS Setup (MOSS) Knob 1-B [Off, ..., MIDI CC#95] This page is displayed when the separately sold EXB-MOSS Knob 2-B [Off, ..., MIDI CC#95] option has been installed. For details refer to the owner’s Knob 3-B [Off, ..., MIDI CC#95] manual included with the EXB-MOSS. Knob 4-B [Off, ..., MIDI CC#95] “Realtime Control Knobs B-Assign” (Program P1: 1–4b).

38 Arpeggiator Assign [Off, A,B] [Off, giator speci front panel ARPEGGIATOR [ON/OFF]keyison,thearpeg- Assign arpeggiator A orBtoeach timbre 1 Arpeggiator Assign 7 7 7 between twoarpeggiopatterns. assigned asakeyboard split,orusingvelocitytoswitch rate arpeggiopatternstotwosoundsthathavebeen This offers avarietyofpossibilities,suchasapplyingsepa- simultaneously. within thecombination.Two arpeggiatorscanberunning These parametersspecifyhowthearpeggiatorwillfunction ters. giator Btabtoselectthearpeggiopatternandsetparame- B: ters. giator A tabtoselectthearpeggiopatternandsetparame- A: Off: “ Arpeggiator Run A, B – – – Arpeggiator Bwilloperate.Makesettingsinthe Arpeg- Arpeggiator A willoperate.Makesettingsinthe Arpeg- “ 1b: ArpeggiatorAssign,RunA,B [040...240,EXT] (ArpeggiatorTempo) 1a: 1: Setup (ArpeggiatorTempo) Thearpeggiatorwillnotoperate. If the each timbre 1 arpeggiator, regardless ofthe will besoundedbythenotedatagenerated MIDI notedatawillbetransmittedonthe setting ofthetimbre. Ifatimbre issetto ated) byallMIDIchannelsspeci In thiscase,arpeggiator A (orB)willbetriggered (oper- nel Channel If LocalControl ( to arpeggiator A orB. external sequencertotriggerthe TRITON on anexternalsequencer, andwishtoplaybackthe Control OFFif youhaverecorded onlythetriggernotes arpeggiator willbetriggered viaMIDIIN.Turn Local ON, thekeyboard willnottrigger thearpeggiator. The your externalsequencer. Control ON,andturnoff theechobackfunctionon to berecorded ontheexternalsequencer, turnLocal If youwantthenotedatagenerated bythearpeggiator 7 – 1b Combination P7:Edit-Arp ” ofeachtimbre. “ ﬁ Status ed foreachtimbre willoperateaccording to ” (2 – ” 1a) parameterofanytimbre 1 – (0 8 towhicharpeggiator A orBisassigned – “ 1f, 2 Local Control On, ” andthesesettings. ” – (0 1a) ofthetimbre is – 1b). “ MIDI Channel ﬁ ed forthe ” GlobalP1:1 – 8. Whenthe EXT ’ s arpeggiator. INT “ – MIDI Chan- “ 8 assigned or MIDI ” or (2 EX2 – – BTH 1a) 1a) is 7 7 – – , 1a 1 , = Gch,Ch3 Trigger = Gch,Ch2 Trigger = Gch Trigger = Gch Trigger Arpeggiator RunA,B Example 1) Example 2) • • • • 7 Link: Set the and set “ A totimbre 1andarpeggiatorBtotimbre 2,andcheck The and timbre2willbeplayedbyarpeggiatorB. turned on,timbre1willbeplayedbyarpeggiatorA, When thefrontpanelARPEGGIATOR[ON/OFF]keyis when youplaythekeyboard. off, timbres1and2willsoundsimultaneously(layered) When thefrontpanelARPEGGIATOR[ON/OFF]keyis sound sincetheir (Timbres 2and4arereceivingthe off, playingthekeyboardwillsoundonlytimbre1. When thefrontpanelARPEGGIATOR[ON/OFF]keyis B Run A, arpeggiator Btotimbres 4and5,check and tus set respectively to from the timbre, butinthisexampletheyarebeingtriggered receiving notedataonanyMIDIchannelofanassigned timbres 4and5.(ArpeggiatorsABaretriggeredby and 3,arpeggiatorBwilloperateindependentlyfor [ON/OFF] key,arpeggiatorAwilloperatefortimbres2 When youturnonthefrontpanelARPEGGIATOR when thearpeggiatorison. not soundwhenthearpeggiatorisoff, butsoundsonly In thisway, youcanmakesettingssothatatimbre does will sound. timbres 4and5,butonlytimbre 5whose INT for timbres 2and3,butonlytimbre 3whose When youplaythekeyboard, arpeggiator A willoperate Arpeggiator Run A, B – 1: PageMenuCommand ” Arpeggiator Arpeggiator (0 willsound.Similarly, arpeggiatorBwilloperatefor “ INT “ MIDI Channel Arpeggiator Arpeggiator Arpeggiator Run A, B B A – “ 1e, 2 “ B MIDI Channel . Assign arpeggiator A totimbres 2and3,assign A Status ” Gch (0-3a,7-1b). – Pattern -B Pattern -A 1a) issetrespectively to .) Pattern -B Pattern -A ” (0 “ Gch – Status 1e, 2 ” Assign Arpeggiator (2 B B A A Off Assign Arpeggiator ” , ” – (2 Gch (0 A B – 1a) oftimbres 1,2,3,4,and5are ” ibe5MD h3hStatus=INT MIDI Ch=3ch Timbre 5 ibe1MD hGhStatus=INT MIDI Ch=Gch Timbre 1 ibe4MD hGhStatus=Off MIDI Ch=Gch Timbre 4 ibe3MD h2hStatus=INT MIDI Ch=2ch Timbre 3 ibe2MD hGhStatus=Off MIDI Ch=Gch Timbre 2 1a) to is – – ibe2MD hGhStatus=INT Ch=Gch MIDI Timbre 2 ibe1MD hGhStatus=INT Ch=Gch MIDI Timbre 1 1a) oftimbres 1and2to 3a, 7 ” , Off (0 02 7 0 0 – – – INT – , 1A 1B 1A – .) 3a). Gch 1b). Gch . Assign arpeggiator . Assign , and INT , buttheywillnot “ , Status 03 Off “ Arpeggiator . Their “ Status , INT ” is Pattern -B Pattern -A keyboard playing Sounded bynormal Does notsound Does notsound , Pattern -B Pattern -A Gch “ ” INT Off Sta- is 39 , ,

P9 P8 P7 P4 P3 P2 P1 P0 Combination 7–1A: Copy Arpeggiator * These parameters are linked with the parameters of the This command copies arpeggiator settings. same name (and abbreviation) found in “0–3(4): Arpegg. A.” 1 Select this command to open the following dialog box.

7–2: Page Menu Command

“0–1A: Write Combination,” “7–1A: Copy Arpeggiator”

7–4: Scan Zone (Scan Zone A/B) 2 In “From” select the copy source (mode, bank, number) These settings specify the note and velocity ranges that will arpeggiator. operate arpeggiators A and B. If you are copying from Combination, Song, or Song Play mode, select either A or B to if you wish to copy settings 7–4 from only one arpeggiator, or select A&B if you wish to copy the settings of both arpeggiators. 3 If you are copying from a Program, or are copying either 7–4a A or B from Combination, Song, or Song Play mode, select either A or B as the “To” copy destination. 4 To execute the Copy Arpeggiator command, press the 7–4b OK button. To cancel, press the Cancel button.

7–2: Arpegg. A (Arpeggiator A) 7–3: Arpegg. B (Arpeggiator B) The Arpegg. A tablets you make settings for arpeggiator A. 7–4a: Zone Map The Arpegg. B tablets you make settings for arpeggiator B. This shows the “Scan Zone” for each arpeggiator, A and B. You can also use the “Copy Arpeggiator” page menu command to copy arpeggiator settings from Program mode or Velocity zone of Key zone of arpeggiator B arpeggiator A another mode. Velocity zone of Key zone of arpeggiator A arpeggiator B

7–2 C–1~G9

7–2a 7–4b: Scan Zone A/B

A: Top Key [C–1...G9] Bottom Key [C–1...G9] Specify the range of notes (keys) that will operate arpeggiator A. “Top Key” specifies the upper limit, and “Bottom Key” specifies the lower limit. 7–2(3)a: Arpeggiator-A(B) Setup Top Velocity [001...127] Pattern (Pattern No.)* [P00...P04, U00(A/B)...U231(D)] Bottom Velocity [001...127] Octave* [1, 2, 3, 4] Specify the range of velocities that will operate arpeggiator Resolution* [ , , , , , ] A. “Top Velocity” specifies the upper limit, and “Bottom Velocity” specifies the lower limit. Gate [000...100%, Step] Velocity [001...127, Key, Step] B: Swing [–100...+100%] Top Key [C–1...G9] Sort* Bottom Key [C–1...G9] Latch* Top Velocity [001...127] Key Sync. (Keyboard Sync.)* Bottom Velocity [001...127] Keyboard* Specify the range of notes (keys) and velocities that will These parameters are the arpeggiator A settings for the com- operate arpeggiator B (“A”). bination. “Program 7–1: Arpeg. Setup (Arpeggiator Setup)” The values of these parameters can also be entered by playing a note on the keyboard while you hold down the [ENTER] key.

40 7 “ tor 0 – – ” 4: PageMenuCommand 1A: Write Combination ” and “ 7 – 1A: Copy Arpeggia- 8 1 Specify thebustowhichprogram usedbyeachtimbre 8 For eachtimbre 1 IFX/Indiv.Out BUSSelect(BUSSelect) 8 on/off statusandchaincanbemodi effect, theon/off status,andchainstatus.Theeffect type, effect, thisindicatestherouting, thenameofselected This showsthestatusofinserteffects. Foreachinsert tings are beingmadeisadrum program ( DKit: tings canalsobeviewedinthe which theprogram oscillator(s)willbesent.Thecurrent set- FX tab(8 master effects. Drums 1 specify thebusrouting fortheprogram usedbyeachtimbre Here youcanmakeinsertioneffect settings. You canalso 5 For exampleifthe IFX2, settingthisparameterto have assignedSnare soundstoIFX1andKick modify theseroutings, usethepagemenucommand sounds toIFX1andKickIFX2.Ifyouwish Kit IFXPatch – – – – – – 8 willbesent.Here youcanalsosetthesendlevelsto 8. 2b) settingmadeforeachkeyofthedrumkitwillbeused. For detailsoninsertioneffects, refer top.146 Guide. 1a: RoutingMap b IFX/Indiv.Out BUSSelect(BUS Select),Send1 1b: Combination P8: Edit-Insert FX Combination P8:Edit-Insert 1: Routing If youwishtomovethepanofa soundingnoteinreal- time. R, thepanofasoundingnotewill notchangeinreal- L/R of note-on.Unlikethecasewhen thisparameterissetto put withthepansettingthatisineffect atthemoment (Alternate ModulationSource), thesoundwillbeout- controlled byMIDIcontrol change#10(pan)or AMS UAL) 1/2or3/4.Ifthepanofprogram oscillatoris will besentinstereo from AUDIO OUTPUT(INDIVID- If thisissetto 8 – This canbeselectedonlyiftheprogram forwhichset- ). With asettingof 1b (MFX1), Send2(MFX2) tooutputthesoundfrom (MAIN)L/MONO and – ” 2). ” (8 [DKit, L/R,IFX1...5,1...4,1/2,3/4,Off] – – 1C). 8, theseparametersspecifythebusto “ 1/2 BUS Select or 3/4 DKit , theprograms oftimbres 1 ” DKit , the “ settingsofthedrum kit Routing Map. “ willsendtheSnare BUS Select “ OSC Mode ﬁ ed intheInsert ” “ ” 8. Effect (GlobalP5: “ ” Drum = – 8 8 8 41 – – 1a 1

P9 P8 P7 P4 P3 P2 P1 P0 Combination time and output it from AUDIO OUTPUT (INDIVID- 2 In the Drum Kit “IFX” popup, select the insert effect to UAL) 1/2 or 3/4, you must set “BUS Select” to IFX1 (or which you want to patch. IFX2–IFX5), select 000: No Effect for “IFX1” (or IFX2– 3 To execute the Drum Kit Insert Effect Patch command, IFX5) (8–2), and for the sound that has passed through press the OK button. To cancel, press the Cancel button. the IFX, set “BUS Select” (8–2) to either 1/2 or 3/4. To restore the condition of the drum kit, execute IFX1→IFX1, IFX2→IFX2, IFX3→IFX3, IFX4→IFX4, and Send1 (MFX1) [000...127] IFX5→IFX5. Send2 (MFX2) [000...127] For each timbre 1–8, these parameters set the send level to master effects 1 and 2. These settings are valid when “BUS 8–2: Insert Fx 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 Here you can select the type of each insert effect, turn it on/ the “Send 1” and “Send 2” parameters of the Insert FX tab, off, and make chain settings etc. after the sound has passed through IFX1–5. These parameters are the same as in Program mode (Pro- If “BUS Select” is set to 1, 2, 3, 4, 1/2, or 3/4, these settings are gram mode “8–2: Insert Fx”). ignored. However, unlike the case in Program mode, “Pan (CC#8),” “Send 1 (MFX1)” and “Send 2 (MFX2)” will be controlled on Control change #93 can be used to control the Send 1 the MIDI channels that are set in the IFX1–5 tabs. The control level, and #91 to control the Send 2, and modify their changes used are the same as in Program mode. respective settings. These messages will be received on the MIDI channel speciﬁed for each timbre in the P2: 8–2 MIDI Channel tab. 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.

8–1: Page Menu Command

0–1A 0–1B 8–1A 8–1B 8–2: Page Menu Command 8–1C “0–1A: Write Combination,” “8–1A: Copy Insert Effect,” and “8–1B: Swap Insert Effect.” 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 tabs will not be copied. 8–3: IFX 1 8–1B: Swap Insert Effect 8–4: IFX 2 “Program P8: 8–1B: Swap Insert Effect.” 8–5: IFX 3 However, the MIDI control channel speciﬁed for “Ctrl Ch” 8–6: IFX 4 of the IFX1–5 tabs will not be copied. 8–7: IFX 5 8–1C: DrumKit IFX Patch These are the parameters for IFX1, 2, 3, 4, and 5 that were This command applies a patch to the “BUS Select” settings of each key of the drum kit, allowing you to temporarily selected in the Insert FX tab ( p.155). change the connections to the insert effects. This command 0–1A is available only if a drum program has been selected for the 8–3a 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. 1 Select this command to open the following dialog box.

42 8 will befollowedbya The channelnumberofthetimbre routed through thisIFX Gch: of thesechannelswillbeusedtocontrol theeffect. routed through thesameIFX,thisparameterspeci If twoortimbres withdifferent MIDIchannelsettingsare routed timbre willbeindicatedby effect canbeusedtocontrol theeffect. (Channelsofeach All Routed: you willsetthisto mode P1:1 – a tlC [Ch01...16,Gch,AllRouted] 3a: CtrlCh Send 2(CC#91). following theinserteffect (CC#8),Send1(CC#93),and used tocontrol effect dynamicmodulation(Dmod),pan This parameterspeci If the program isselectedsetto that timbre willbevalidifanyIFX1 2b) settingsortheof Routed page menucommand. TheglobalMIDIchannel “ – BUS Select Thechannelofanytimbre routed through this 1a) willbeusedtocontrol theeffect. Normally , regardless ofthe Gch “ ” * . (8 ” displayedattherightof ﬁ – es theMIDIchannelthatwillbe 1b) ofatimbre forwhichadrum “ “ BUS Select MIDI Channel DKit “ * ” “ .) , theMIDIchannelof DrumKit IFXPatch – 5 issetto ” (GlobalP5:5 ” (Global ﬁ Ch01 es which All – 16 – ” .

Ch However, theMIDIcontrol channelthatisspeci tings are thesameasinProgram mode( on/off, andmakechainmasterEQsettings.Theseset- Here youcanselectthetypeofeachmastereffect, turnit 9 that were selected intheMasterFXtab( Here youcansettheparametersforMFX1and2effects 9 9 9 9 Master FX Ch However, theMIDIcontrol channelthatisspeci – – Combination P9:Edit-MasterFX 9 – – – Guide. For detailsonmastereffects, refer top.150 “ “ 1B: SwapMasterEffect 1A: CopyMasterEffect ” ” Program P9:9 Program P9:9 1: MasterFX 3: MFX2 2: MFX1 oftheMFX1and2tabswillnotbeswapped. oftheMFX1and2tabswillnotbecopied. – 1: PageMenuCommand ” ” ). – – 1B: SwapMasterEffect. 1A: CopyMasterEffect. (Master Effect2) (Master Effect1) 9 9 0 – – – 1B 1A 1A p.155). “ ” ” Program 9 “ 8. Effect ﬁ ﬁ ed by ed by – “ “ 1: 9 0 9 Ctrl Ctrl 43 – – – 2a 1A 1

P9 P8 P7 P4 P3 P2 P1 P0 Combination 9–2a: Ctrl Ch [Ch01...16, Gch]

This parameter speciﬁes the MIDI channel that will control dynamic modulation (Dmod) for the master effect. With a setting of Gch, the global MIDI channel “MIDI Channel” (Global P1: 1–1a) will be used for control. Normally you will set this to Gch.

9–4: Master EQ The master EQ is a three-band stereo EQ. It is located immediately before the AUDIO OUTPUT (MAIN OUT) L/ MONO and R from the L/R bus, and adjusts the overall tonal character of the sound (p.207).

0–1A 9–4a

9–4a: Ctrl Ch [Ch01...16, Gch]

This parameter 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. Normally you will set this to Gch.

44 3. Sequencer mode

In Sequencer mode you can use the built-in 16-track record without changing the time signature. sequencer to play, record and edit songs. You can also record 1/4–16/4, 1/8–16/8, 1/16–16/16: This is the time signature at and play patterns, make settings for the RPPR (Realtime Pat- the current location of the song. After pressing the front tern Play Recording) function, play songs that use the arpeg- panel [REC/WRITE] key, specify the time signature here. giators, record patterns, and create Cue Lists to playback Then press the [START/STOP] key to begin recording, and multiple songs consecutively. the specified time signature will be recorded on the Master These settings and the song data you recorded are not Track and on previously-recorded tracks. Be aware that if backed up when the power is turned off. Before turning you press the [START/STOP] key during the pre-count to off the power, be sure to save important data on a stop recording, the time signature will not be recorded. floppy disk, external SCSI device, or a data filer. Imme- Normally, you will specify the time signature when you diately after the power is turned on, memory will not record the first track, and select **/** when recording subse- contain any song data, so in order to playback the quent tracks. sequencer, you will need to load data from the floppy disk, or receive a MIDI bulk data dump from an exter- Recording from measure 2 of track 2 nal MIDI sequencer (p.139, 120, refer to p.40 in the when Meter = **/** when Meter =7/8 Track 1 Basic Guide). Track 1 1 (4/4) 2 (3/4) 3 (4/4) 1 (4/4) 2 (3/4) 3 (4/4) 3 (4/4) Track 2 1 (4/4) Recording Track 2 1 (4/4) Recording

Track 1 1 (4/4) 2 (3/4) 3 (4/4) Track 1 1 (4/4) 2 (7/8) 3 (7/8) 4 (7/8)

Sequencer P0: Play/Rec Sequencer Track 2 1 (4/4) 2 (3/4) 3 (4/4) Track 2 1 (4/4) 2 (7/8) 3 (7/8) 4 (7/8)

Changing the time signature in the middle of a measure

0–1: Prog. 1–8 (Program T01–08) If you know beforehand the location at which you wish to P0 change time signatures in the middle of a measure, use 0–2: Prog. 9–16 (Program T09–16) “Insert Measure” (5–1H) to specify and insert the time signa-

ture for each measure of the same time signature, and then P1 Here you can make basic settings for playback and record- record your musical data. Alternatively, if you wish to ing of songs and select the program that will be used by change the time signature in the middle of a song which each track. P2 already contains musical data, use “Track Select” to specify 0–1b 0–1c the Master Track (or any Track01–16 which contains data), 0–1 and use “Event Edit” (5–1B) to modify the time signature of P3 0–1a the Bar event. 0–1d 0–1f If the number of beats in a measure increases when you

0–1e P4 0–1h 0–1g modify the time signature, rests will be inserted in the por- 0–1k tion that was added. Conversely if the number of beats 0–1i decreases, that portion will not be played. However if you P5 return to the original time signature, the data that had been hidden will once again be played.

0–1j P6

P7 Rest is inserted 0–1a: Location [001:01.000…999:15.191] P8 This is the current location of the song. From the left, the Not played numbers are the measure, beat, and clock. When you modify P9 these values, the current location will change. When “MIDI Clock” (Global P1: 1–1a) is Internal, 0–1c: Tempo changing the location will cause Song Position Pointer This sets the playback tempo of the song and the tempo of messages to be transmitted. If this parameter is set to the arpeggiator. External MIDI or External PC I/F, Song Position Pointer messages from the specified source will change (Tempo) [040…240, EXT] the location. 040...240: When the “Tempo Mode” is Manu, this tempo will The range in which the beat and clock can be modified be used for recording and playback. When “Tempo Mode” will depend on the currently specified time signature. 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 PCI/F. The tempo of the 0–1b: Meter [**/**, 1/4…16/16] internal sequencer will synchronize with the MIDI Clock messages received from an external sequencer etc. When This is the time signature at the current location of the song. “MIDI Clock” is Internal, the above tempo setting The time signature can be changed at each measure. (040...240) will be used. **/**: This will be displayed when you press the [REC/ If Tempo is selected as an alternate modulation source, WRITE] key. Specify this when you wish to use the time sig- = 120 will be the base value. nature that is already recorded for that measure, and wish to

45 Tempo Mode [Auto, Manu, REC] 0–1f: Reso (Realtime Quantize Resolution) Auto: The tempo will follow the tempo of the Master Track. [Hi, 3 … ] The tempo of the master track can be specified by using “Event Edit” (5–1B) with Master Track chosen in “Track This corrects the timing of data as it is recorded in realtime. Select,” or by the REC operation described below. When (It does not affect previously-recorded data.) Auto is selected, it will not be possible to modify the “ Hi (High Resolution): Timing will not be corrected. Data (Tempo)” setting while a song is playing or recording (or will be recorded at the maximum resolution (/192). during standby). 3 – : Data will be corrected to the nearest interval of the Manu (Manual): The “ (Tempo)” setting will be used. specified timing as it is recorded. For example if you select REC: Tempo changes will be recorded on the Master Track. 3 , data will be corrected to the nearest 32nd note triplet Select this after pressing the [REC/WRITE] key. When REC interval. If you select , data will be corrected to the nearest is selected and you are recording in realtime, modify the quarter note interval. “Tempo” value to change the tempo. This cannot be selected when the Preferences tab item “Recording Setup” is set to With a setting of Loop All Tracks. Tempo changes can also be created using “Event Edit” (5–1B) or “Create Control Data” (5–1L). If you wish to record only the tempo changes, set “Recording Setup” (0–7a) to OverDub, and the tempo will be recorded on the master track without being affected by the musical data of “Track Select.” Since all that musical data that is recorded will be corrected 0–1d: Song No. and name [000…199: name] to the specified timing resolution, coarse settings of this parameter will cause continuous controllers such as pitch Select the song that you wish to record or play. bend to be recorded in “stairstep” fashion. If you wish to create a new song, you can either select a In such cases, use a setting of Hi to record, and then use number from the popup menu for which the song name is “Quantize” (5–1N) to correct only the desired type of data blank, or use the numeric keys [0]–[9] to directly specify the (notes etc.). It is best to avoid recording at a stiff resolution song number, then press the [ENTER] key to access the dia- to begin with. log box, and finally press the OK button. If “MIDI Clock” (Global P1: 1–1a) is Internal, changing 0–1g: RPPR (Realtime Pattern Play/Recording) ON/ the song will cause Song Select and Song Position OFF Pointer messages to be transmitted. If “MIDI Clock” is External MIDI or External PCI/F, Song Select messages This turns the RPPR (Realtime Pattern Play/Recording) can be received from the specified source to change function on/off. RPPR lets you assign a pattern to each note songs. When the song changes, tracks whose track sta- of the keyboard, so that the pattern will playback (or be tus is EXT, EX2 or BOTH will transmit Bank Select, Pro- recorded) when you press the appropriate key. gram Change, Volume, Panpot, Poramento, Send1, 2, Checked: The RPPR function will be on. If a pattern has Post IFX Pan, and Post IFX send 1, 2 messages on the been assigned to each key in the P6: RPPR Setup tab, press- MIDI channel of the respective track. ing that key will perform the assigned pattern (P6–3: RPPR Setup). 0–1e: Track Select [Track01…Track16, Master Track] 0–1(2)h: Selected Track Information

Track01–Track16: Select the track(s) that will record or play This shows information on the track (1–16) that is currently song data. selected for editing. The track names speciﬁed in “Track Name” (5–2). T (Track) No.: Bank No.: Prog No. and name When you perform realtime recording on a single track, the musical data will be recorded on the track you select here. This displays the track number, and the bank, number, and When you perform realtime recording on two or more tracks name of the program selected for that track. simultaneously ( “Multi REC” 0–7a), the “PLAY/MUTE/ Ch [01...16] REC” (0–1j) will select the recording track, regardless of the setting you make here. This shows the MIDI channel number speciﬁed for the track. Master Track: Select the master track when you wish to use RPPR [No Assign, C#2...C8] the P5: Track Edit page menu commands to edit the tempo track. When using realtime recording or step recording, it is This shows the key number(s) that will start the RPPR pat- not possible to record the master track alone. tern assigned to the track. (If there are numerous keys, not all will be shown. To view all of the assignments, use the P6– When you play the keyboard of the TRITON and oper- 1: Pattern Edit tab.) ate 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 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 transmitted on the MIDI channels of these tracks (whose “Status” is EXT, EX2 or BOTH).

46 “ When youusemulti-trackrecording (thePreferences tab (normal recording). Itcannotbeselected. REC: MUTE: PLAY: REC button setting willalternateeachtimeyoupress the to record. recording, trackscanbesetto back tracks)otherthantherecording track.Formulti-track LYMT/E [PLAY, MUTE,REC] is possibleonlytoselect playback, orforsingle-trackrecording (normalrecording), it track(s) whenperformingmulti-trackrecording. During Here youcanmuteeachtrack,andselecttherecording PLAY/MUTE/REC 0 bank (1) bank ortheGMlevel2drums bank,thisshowsthevariation selected forthetrack.IncasesofaGMlevel2variation This displaysaportionofthenameprogram thatis Program Name menu ( [A Press thepopupbutton,andBank/Track Program Select Select theprogram thatwillbeusedbythetrack. Bank/Program [00...15:name] gram Selectmenu( gory. Press thepopupbutton,andCategory/Track Pro- The program tobeusedbythetrackcanselectedcate- name) (Category Category Select theprogram thatwillbeusedbyeachtrack. 0 0 point. data) isalready recorded, theprogram willchangeatthat during playback.Howeverifmusicaldata(program change ing playback. You canalsochangetheprogram manually recorded asmusicaldata,andtheprogram willchangedur- changed whilerecording, the program changewillbe played orrecorded from thebeginning.Ifprogram is The program youselecthere willbeusedwhenthesongis a program wasselected. ]keystoselectaprogram. At thistime,a [BANK] keyLEDwilllighttoindicatethebankfrom which ][ slider, and[ [BANK] keys,thenumeric[VALUE] dial,[VALUE] this parameterisselected,youcanusethefront panel nized bybank,allowingyoutomakeyourselection.When ci program. Thisisconvenientwhenyouwishto programs bycategory, allowingyoutoselectthedesired same category. Multi REC ﬁ – – – c typeofprogram, ortoselectadifferent program ofthe 1(2)j: PLAY/MUTE/REC, SOLOON/OFF 2i: Program Track09...16 1i: ProgramTrack01...08 If theP2:MIDIChanneltab Channel tab the banknumberthatwasselectedinP2:MIDI “ bank andprogram numbersviaMIDI.Tracks whose whose or whenthesongreturns tothebeginning,tracks gram changemessages. Also, whenthesongischanged BTH Thiswillbedisplayedduringsingle-track recording Status Thetrackwillplay. Thetrackwillbemuted(silent). – Program P0:0 (9) ordrums bank(d). , programs canbeselectedbyreceiving MIDIpro- “ ” ” . Status ison),select is EX2 “ Bank Select ” willshowBankas is Program P0:0 EXT – PLAY 1a) willdisplaytheprograms orga- … REC , EX2 F/0 ” PLAY or forthetracksthatyouwish setting. or … “ MUTE Status 127, G – BTH , 1a) willshowthe MUTE “–” ” willtransmitthe fortracks(play- iseither andwilltransmit … , or PLAY/MUTE/ g(d)/1 ﬁ REC nd aspe- INT . The … or 128] This displaysatracknumber. 0 [SOLOON,SOLOOFF] to This turnstheSolofunctionon/off. Onlythetrackthatisset SOLO ON/OFF 2 1 This commanddeletesthecurrently selectedsong. 0 teen characterscanbeinput. Here youcanrename theselectedsong. A nameofuptosix- 0 When this command. The Solofunctionwillalternateon/off eachtimeyouselect 0 This displaystheremaining amountofsequencermemory. 0 the desired track. will bemuted.To soloanothertrack,selectaparameterof only thecurrently selectedtrackwillsound.Othertracks individual tracks. selected intabsorpageswhichcontainnoparametersfor page menucommandonceagain.Thisfunctioncannotbe To defeattheSolo function,selectthe will indicate[Solo]. – – – – – 0 SOLO ON 1D: DeleteSong 1C: RenameSong 1B: SoloSelectedTrack Status 1A: Memory will befreed. be erased,andthememoryarea allocatedtothatsong data, andpatternsetc.ofthecurrently selectedsongwill you executethiscommand,themusical data,setting the If youwishtoexecutetheDelete Songcommand,press Select thiscommandtoaccessthedialogbox. 1(2)k: Track Number (1 – “ selected forthosetracks.(However, tracksselectedby messages willnotbetransmittedontheMIDIchannel are mutedbyMuteortheSolofunction,noteon/off When thepagemenucommand If trackswhose will besoloedandsoundwhenyoupress When thisSolofunctionison,onlytheselectedtrack ON). Whenyoupress (0 ON/OFF will sound. ter ofanothertrack,onlythattrackwillbesoloed,and or more transmitted. MIDI note-on/off messagesofthattrackwillnotbe have a If thetracksthathavebeenmutedbySolofunction Track Select 1: PageMenuCommand checked – OK button 1B) ison,itsSolostatuswillbegivenpriority(if 0 0 0 0 0 – – – – – 1E 1D 1C 1B 1A “ Status “ willsound.Othertracksbemuted. ” SOLO ON/OFF , theSolofunctionwillbeturnedon,and oraparameterofanothertrack ” . To cancel,press the “ (0 Selected Track Information ” (2 “ – Status 1e) are anexception.) – 1a) settingof “ ” SOLO ON/OFF (2 … ” – (0 1a, 2a)is 8, 9 – 1j) buttonsare turnedon. EXT “ “ … Cancel button Solo SelectedTrack Solo SelectedTrack 16) , BTH EX2 ” ortheparame- ” , , or (0 – EXT eveniftwo – BTH 1h, 2h) “ , or SOLO . When , the 0 0 0 0 0 EX2 47 – – – – – ” 1J 1I 1H 1G 1F ”

P9 P8 P7 P6 P5 P4 P3 P2 P1 P0 Sequencer 0–1E: Copy From Song 0–1H: Save Template Song (Save as User Template This command copies all setting data and musical data from Song) the speciﬁed song to the currently selected song. This command saves the program selections, track parame- 1 Select this command to open the following dialog box. ters, and effect settings etc. of the song as a user template song U00–15. The settings you save here can also be loaded in Song Play mode. 1 Select this command to open the following dialog box.

2 In “From,” specify the copy source song number. 3 Select the data that you wish to copy. “All” will copy all setting data and musical data (track events and patterns, 2 In “To,” specify the user template song (U00–15) in which etc.). “Without Track/Pattern Events” will copy only the the data will be saved. setting data of songs, except for Play Loop and RPPR 3 To save the template song, press the OK button. To can- data. cel, press the Cancel button. Be aware that when you 4 To execute the Copy Song operation, press the OK but- execute this command, all setting data of the save desti- ton. To cancel, press the Cancel button. Be aware that if nation User Template Song will be erased and rewritten. you execute “All,” all setting data and musical data of the currently selected song will be erased and rewritten by 0–1I: FF/REW Speed the data from the copy source song. If you execute “With- This allows you to set the speed at which fast-forward or out Track/Pattern Events,” song setting data other than rewind will occur when you press the [FF] key or [REW] Play Loop and RPPR will be rewritten. key. 0–1F: Copy From Combi (Copy from Combination) 1 Select this command to open the following dialog box. This command copies the parameters of the speciﬁed combination to the setting data of the currently selected song. 1 Select this command to open the following dialog box.

2 In “Speed,” specify the speed (relative to the playback tempo) at which fast-forward and rewind will occur. 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 2 In “Combination,” select the copy source destination. rewind speed may slow down. 3 If you check “with Effects,” the insertion effect, master 3 If “Ignore Tempo” is checked, the playback tempo and effect, and master EQ settings will also be copied. note length will be ignored, and fast-forward and rewind 4 In “To,” select the copy destination tracks (1–8 or 9–16). will be performed as fast as possible. The speed of fast- 5 To execute the Copy From Combination command, press forward and rewind will differ between sections where the OK button. To cancel, press the Cancel button. Be the playback data is dense and sections where it is sparse. aware that when you execute this command, the setting If this item is unchecked, fast-forward and rewind will data of the currently selected song will be erased, and be performed at the speed you specify for “Speed.” overwritten by the data of the selected combination. 4 To execute the settings, press the OK button. To cancel, 0–1G: Load Template Song press the Cancel button. This command loads a template song as a song. 0–1J: Set Location (Set Location for Locate Key) The built-in sequencer contains sixteen different preset tem- When you press the [LOCATE] key, you will move to the plate songs (P00–15) that contain preset settings for pro- location speciﬁed here. Even when this dialog box is not grams and effects appropriate for various musical styles. opened, you can set this value to the current location by You are also free to create your own favorite settings for pro- holding down the front panel [ENTER] key and pressing the grams, track parameters, and effects, and save them as one [LOCATE] key. of sixteen user template songs (U00–15) (“Save as User Template Song” 0–1H). 1 Select this command to open the following dialog box. 1 Select this command to open the following dialog box.

2 In “Location,” specify the location to which you will move when you press the [LOCATE] key. If you specify 2 In “From,” specify the template song that you wish to 001:01:000, you will move to the beginning of the song load. when you press the [LOCATE] key. 3 To load the template song, press the OK button. To can- 3 To execute the settings, press the OK button. To cancel, cel, press the Cancel button. When you execute the com- press the Cancel button. mand, song setting data other than PlayLoop and RPPR will be copied.

48 a Pno)[RND,L001...C064...R127] Set thepanoftracks1 Pan (Panpot) 0 gram usedbythetrack. This area showsaportionofthecategorynameforpro- 0 tings willchangeaccordingly. location where panorvolumedatawasrecorded, theset- settings duringplayback.Howeverwhenthesongreaches a ume willchangeduringplayback. You canalsochangethe changes willberecorded asmusicaldata,andpanvol- song. Ifyouchangethesettingsduringrecording, the when youplaybackorrecord from thebeginningof The panandvolumethatyouspecifyhere willbeused Here youcansetthepanandvolumeofeachtrack. 0 0 RND: the insertioneffect. (CC#8) ignored. Inthiscase,theP8:InsertEffect InsertFXtab If amono-typeinsertioneffect isinserted,thissettingwillbe the oscillatorinProgram mode. far right. A settingof L001...C064...R127: – – OSC1 – – OSC1 Left Left Left Left 3(4)b: Pan 3(4)a: ProgramCategory 4: Mixer9 3: Mixer1 0 0 0 0 0 . . . – – – – – The soundwillbepannedrandomly ateachnote-on. ” 3a 3c 3b 1a 1g settingwilladjustthepanof soundfollowing Center Center Center Center OSC2 Right Right OSC2 Right Right Pan (CC#10) R127 R096 L001 C064 OSC1: Amp1Pan=L001 L032 OSC2: Amp2Pan=R127 Pan (CC#10) R127 R096 L001 C064 OSC1: Amp1Pan=C064 L032 OSC2: Amp2Pan=C064 A settingof – – C064 – 16 8 16. (Mixer T01 willreproduce thepansettingof (Mixer T09 L001 Left Left isfarleft,and Center Center – 08) – 16) Right Right R127 R096 L001 C064 L032 Pan (CC#10) OSC1: Amp1Pan=L032 OSC2: Amp2Pan=R096 R127 “ Pan 0 is – 1 loop theplaybackoftracks1 When playing/recording asong,youcanindependently 0 [000...127] 0 Set thevolumeoftracks1 Volume 0 3 [001...999] 2 [001...999] 1 [Example] Specify thelastmeasure oftheloop. Loop EndMeasure Specify the Measure Loop Start Turn loopingon/off foreachtrack1 Track PlayLoop 0 Checked: “ End Measure. – – – – “ We willrecord backingguitarriffs ontrack3.Check track 1,andsetthe Record thebassontrack2.Turn four-measure phrase. Select adrum program fortrack1,andrealtime-record a Create abasicrhythm section. Measure drum part,record aeight-measure bassphraseon track2. will repeatedly playmeasures 1 001 3(4)c: Volume 5(6)a: PlayLoop Track PlayLoop 6: PlyLoop9 5: PlyLoop1 MIDI message(exceptfor EX2 When beginning ofthesong,trackswhose far right.Whenyouchangethesongorreturn tothe CC#10, avalueof0or1isfarleft,64center, and127is be received tocontrol thepanning.Whenreceiving If sage. the volumeyouspecifyhere asaMIDIVolume mes- tracks whose change thesongorreturn tothebeginningofsong, (CC#7) andExpression (CC#11) values.Whenyou track isdeterminedbymultiplyingtheMIDIVolume be received tocontrol thevolume.Thevolumeofa 0 0 . . . 0 – – – and “ 5a 1g 1a Status or Thattrackwillloopbetween “ “ ﬁ ” BTH Status End Measure to rst measure of theloop. ” ” (2 004 willtransmitthepanyouspecifyhere asa – “ ” 1a, 2a)is Status . Startrealtime recording, andtrack1 (2 ” fortrack3,andset – “ 1a) is Start Measure to – – 16 8 ” – ” is 16. to INT (PlayLoop T01 – INT EXT 16. 008 (PlayLoop T09 RND or or , . Whenyoustartrealtime EX2 – “ BTH 4. Whilelisteningtothe – BTH Track PlayLoop ). 16. or “ , CC#10Panpotcan Start Measure 001 , CC#7Volume can “ “ BTH Start Measure Status andthe – willtransmit 08) – ” 16) is ” EXT “ onfor End ” and 0 ” 49 , – to 1

P9 P8 P7 P6 P5 P4 P3 P2 P1 P0 Sequencer recording, track 1 will repeatedly play measures 1–4 and Auto Punch In track 2 will repeatedly play measures 1–8. While listen- Select this method when you wish to automatically re- ing to these tracks playback, record the backing guitar record selected portions of a previously-recorded track. riffs. Before you begin, use the “M-M (Start Measure - End Mea- In this way, you can use “Track Play Loop” to make the real- sure)” fields at the right to specify the range of measures time recording process more efficient (p.67 in the Basic that will be rewritten. Guide). Press the [REC/WRITE] key and then the [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 0–7: Preference newly recorded data. Here you can select the method of realtime recording, and M–M ( Start Measure–End Measure) [001…999] set the metronome. Specify the first and last measure that will be re-recorded. 0–7 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. Before you begin, use the “M-M (Start Measure - End Mea- 0–7a sure)” fields at the right to specify the range of measures that will be recorded. 0–7b Press the [REC/WRITE] key and then the [START/STOP] key, and playback will occur until the specified measure is reached. Then, recording will occur repeatedly over the specified area (“Start Measure”–“End Measure”). Previ- ously-recorded data will remain, and the new data will be 0–7a: Recording Setup added. While recording, you can check “Remove Data” to delete unwanted data. Select the method of realtime recording. If “Multi REC” is checked, this parameter will not be avail- Refer to p.64 in the Basic Guide for the realtime recording. able. Over Write M–M (Start Measure–End Measure) [001…999] When recording for the first time, you will normally select Specify the range of measures in which recording will be this method. repeated. To begin recording, press the [REC/WRITE] key and then the [START/STOP] key. To stop recording, press the Remove Data [START/STOP] key once again. This is available when Loop All Tracks is chosen in Be aware that when this method of recording is used to “Recording Setup.” record on a track that already contains data, any previously Checked: You can delete unwanted musical data while existing data will be erased from the measure at which you recording with Loop All Tracks. During recording, press the begin recording and from all subsequent measures. key (note number) that corresponds to the musical data you wish to delete. All occurrences of that note number will be Over Dub deleted for the interval that you continue holding down the Select this when you wish to add data to a previously- key. Controller data can also be erased in a similar way. For recorded track. example while you move and hold the joystick in the X (hor- To begin recording, press the [REC/WRITE] key and then izontal) direction, bender data will be erased. While you the [START/STOP] key. To stop recording, press the apply pressure to the keyboard, after touch data will be [START/STOP] key once again. erased. Previously-recorded data will remain in the track, and the Also, you can press and hold down the [REC/WRITE] key newly-recorded data will be added. to delete all musical data for as long as the key is held. Manual Punch In Multi REC Select this method when you wish to use the [REC/WRITE] Checked: Multi-track recording mode will be selected. This key or a foot switch to re-record selected portions of a previ- is not available if Loop All Tracks has been selected for ously-recorded track. “Recording Setup.” Use this mode when you wish to simul- Press the [START/STOP] key to playback the song. When taneously record multiple tracks. When you check this box, you reach the measure at which you wish to begin re-writ- the “PLAY/MUTE/REC” (0–1j, 2j) buttons of all tracks will ing the data, press the [REC/WRITE] key or the foot switch, simultaneously be set to REC. In this case, pressing a and recording will begin. When you are finished recording, “PLAY/MUTE/REC” button will cycle the setting through press the [REC/WRITE] key or the foot switch once again, REC→ PLAY → MUTE, allowing you to make the desired and recording will end. setting. Select REC for the tracks that you wish to record, The area between the points where you pressed the [REC/ and begin recording (p.73 in the Basic Guide). WRITE] key or the foot switch the first and second times This mode can also be used when you wish to playback a will be replaced by the newly recorded data. connected multi-track sequencer, and record all of the MIDI data it transmits in one pass into the TRITON’s sequencer. Multiple channels of MIDI data can be received and simultaneously recorded onto multiple tracks. In this case, tracks whose “PLAY/MUTE/REC” setting is

50 ee [000 [0 WRITE] key). the [START/STOP] key(after With asettingof begins. Specify thepre-count thatwilloccurbefore recording Precount [Measure] Set thevolumeofmetronome. Level 3, 4respectively. 1, 2,3,4,1/2,3/4: R. L/R, L,R: [L/R,L,R,1,2,3,4,1/2,3/4] Select theoutputdestinationofmetronome sound. BUS (Output)Select [OnlyREC,REC&Play, Off] This parameterislinkedto will soundbefore recording begins. Off: and playback. REC &Play: ing. Only REC: Sound Here youcanmakemetronome settings. 0 In thiscaseyouwillprobably wanttoset (0 own MIDIchannelsetting,regardless ofthe REC Recording willoccuronthetrackselectedby Unchecked: recorded. nal sequencer. However, changesintempowillnotbe (Global P1:1 – – 0 “ Not selected 1e) setting. 7b: MetronomeSetup Themetronome willnotsound.However, thepre-count – willrecord MIDIdatawhosechannelmatchestheir 0 7: PageMenuCommand – 1: PageMenuCommand Outputfrom OUTPUT(MAIN)L/Monoand/or The metronome willsoundonlyduringrecord- Singletrackrecording modewillbeselected. – Themetronome willsoundduringrecording 1a) to “ Outputfrom OUTPUT(INDIVIDUAL)1,2, Solo SelectedTrack 0 , recording willbegintheinstantyoupress External “ Metronome Sound , andsynchronize totheexter- ﬁ rst pressing the[REC/ ” ” (0 – 1B). “ MIDI Clock “ “ Track Select Track Select. ” (6 – 1b). … ” 127] …

” 2]

” Each unitinacuelistiscalled gle cuelistyoucanfreely connectupto99songs. The TRITON allowsyoutocreate twentycuelists.Inasin- sion. You canspecifyanumberofrepetitions foreachsong. The cuelistallowsyoutoplaybackmultiplesongsinsucces- 1 ee Tm intr)[1/4...16/16] played ( Specify thetempoatwhichsong inthecuelistwillbe song. This displaysthetimesignature ofthecurrently-playing Meter (TimeSignature) [0001:01.000 nature ofthecorresponding song. The rangeofthebeatandclockwilldependontimesig- and clock. list. From theleft,numbersindicatemeasure, beat, This displaysthecurrent locationwithintheselectedcue Location 1 tracks. the cuelisttoasong,andthenaddsolophrasesonunused example youcanuseacuelisttocreate thebacking,convert you convertthesongsinacuelistintosinglesong.For The pagemenucommand this CueListfunctioncanhelpyouworkmore ef cases whenyouwishtochangethestructure ofthesong, melody A fourtimes...etc.toproduce theentire song.In melody A fourtimes,melodyBthebreak twice, individual song,anduseacuelisttoplaytheintro twice, ody A, melodyB,break, solobacking,endingetc.)asan For exampleyoucouldcreate eachpartofasong(intro, mel- step. a songnumberandrepeat (numberofrepetitions) foreach (ep)[040...240] (Tempo) – – a oain ee, ,Tempo Mode 1a: Location,Meter, 1: CueList When sage canbereceived from thespeci Clock Position Pointermessagestobetransmitted.If changing thelocationwithinacuelistwillcauseSong ted. Song PositionPointermessage,itwillnotbetransmit- If thelocationexceedsallowabledatarangeofa change thelocationwithincuelist. 1 1 1 1 1 – – – – – 1a 1c 1b 1e 1d Sequencer P1:CueList “ ” “ 0 is MIDI Clock – 1c: Tempo External MIDI ” ” ). (GlobalP1:1 “ Convert toSong or “ External PCI/F step, ” – andyoucanspecify 1a) is ﬁ ed source to … ” 9999:15.191] (1 Internal , thismes- – 1D) lets ﬁ ciently. “ MIDI , 1 51 – 1

P9 P8 P7 P6 P5 P4 P3 P2 P1 P0 Sequencer Tempo Mode [Auto, Manu] Length: This shows the number of measures in the song for Auto: Playback will use the tempo specified by the currently the currently selected or playing step. playing song. During playback, the “ (Tempo)” setting can- Step [Measure] [01...100 (M0001...M9999)] not be modified. Manu (Manual): Tempo specified in the song will be This shows the step number and its beginning measure. ignored, and playback will use the tempo specified above When playback is stopped, the step currently selected by for “ (Tempo).” “Current Step” (1–1e) will be a black triangle. When you use the [START/STOP] key to begin playback, it will begin from this step. While a cue list is playing, the playing step will be 1–1b: Cue List No. and Name [C00...C19] a black triangle. “Measure” shows the beginning measure of each step. It Select the cue list that you wish to play. cannot be edited. When using a cue list to play songs, you must first load the necessary data into internal memory, either from floppy Song (Song Select) [S000...S199: name] disk, or by a MIDI data dump from an external sequencer This selects the song for the step. It cannot be selected dur- (p.40 in the Basic Guide). ing playback. You can also select whether playback will end with the last When “MIDI Clock” (Global P1: 1–1a) is Internal, step in the cue list, or whether playback will return to “Step” selecting a cue list in this page will cause a Song Select 01 and continue endlessly. message (corresponding to the cue list number) and Song Position Pointer message to be transmitted. When End: Playback will end. “MIDI Clock” is External MIDI or External PCI/F, a Continue to Step01: Playback will return to “Step” 01, and Song Select message from the specified source will the cue list will continue playing endlessly. To stop, press the switch cue lists. [START/STOP] key. Repeat [01...64, FS] 1–1c: Track Select, Selected Track Information Specify the number of times that the song of this step will be repeated. Track Select [Track01...Track16: name] FS: A foot switch connected to the rear panel can be used to Select the track that you wish to play manually from the specify the point at which the song will stop repeating. keyboard along with the playback. While a cue list is play- When you press the foot switch, that repetition of the song ing, you can play along using the track settings and musical will finish playing, and then playback will continue to the data of the song selected by the current “Step.” The track next step. Set “Foot Switch Assign” (Global P2: 2–1a) to Cue you select here will also follow the track settings and musi- Repeat Control. cal data of the currently playing song. If you wish to continue using the same program to play along from the Load FX? (Load Effect?) keyboard with consecutive songs, specify the same program Check this box if you wish to load effect settings as well for this track in the songs of each Step. when playback moves to the song of the next step. Selected Track Information Depending on the effect settings, a certain amount of This area shows the program bank number, program num- time may be required to switch effects. In this case, ber, and name of the track selected in “Track Select.” playback will not be smoothly connected from song to song. If you want to transition smoothly from song to song, 1–1d: Selected Step Information, Step, Song, check “FX Load?” in “Step” 01. For the remaining steps, Repeat, Load FX? do not check “FX Load?” With these settings, the effects will be set before playback begins, so there will be no This creates a cue list. Immediately after the power has been time lag to interrupt the smooth transition between turned on, two steps will be displayed by default: “Step” 01 songs. Although it is not possible to change the effect (S000: NEW SONG is selected) and “Step” 02 (End is types in the middle of a cue list, you can use the selected). In this condition, selecting a song for “Step” 01 dynamic modulation function or MIDI control changes will cause that song to playback once. If you set “Repeat” to (effect control) to apply reverb more deeply to certain 02, that song will playback twice. songs, or raise the LFO speed for other songs, etc. When With “Step” 01 selected, press the Insert button to insert a using a cue list to construct a song, we recommend this step. For example, you might set “Step” 01 to “Song” S001 method. When you execute the “Convert to Song” (1– and “Repeat” 02, and set “Step” 02 to “Song” S002 and 1D) page menu command, the effect settings of the “Repeat” 02. When you press the [START/STOP] key, song 1 “Step” 01 song will be specified at the beginning of the (S001) would play twice, and song 2 (S002) would play song that is created by the conversion. twice. In this way you can arrange multiple songs in a cue list and Even when “Load FX?” is not checked, there may be a specify the number of repetitions for each. time lag in the transition from one song to the next, depending on the musical data in the song. There may Selected Step Information also be cases in which the musical data at the transition This shows information on the currently selected or playing between songs does not play at the correct timing. To “Step.” fix this, you can edit the musical data of the song, or convert the cue list to a single song. If you use “Convert STEP: xx xx/yy The in is the currently-playing step number, to Song” (1–1D) to convert the cue list to a song, there yy and is the total number of steps (the last step is not will be no time lag at the transition, and the musical included). data will play at the correct timing. SONG: This shows the number and name of the song for the currently selected/playing step.

52 to asong,andthenrecord solos etc.ontoopentracks. Also, additional tracksintoacuelist,you canconvertthecuelist songs toasinglesong. Although itis notpossibletorecord This commandconvertsacuelist consistingofmultiple 1 3 2 1 be deleted,andrewritten bythecopysource data. this command,thedataofcurrently selectedcuelistwill currently selectedcuelist.Beaware thatwhenyouexecute This commandcopiesthesettingsofanothercuelistto 1 2 1 This commanddeletesthecurrently selectedcuelist. 1 to sixteencharacterscanbeinput. This commandrenames theselectedcuelist. A nameofup 1 [01...100] STOP] key. list, selectthedesired stephere, andpress the[START/ If youwishtoplaybackfrom astepinthemiddleofcue Select thestepthatwillbeinserted,cutorcopied. Current Step Step When youpress the Copy When youpress the Cut button When youpress the Insert 1 has notbeenexecuted,defaultdatawillbeinserted.) “ Press the temporarily savedinthebuffer bythe the stateinwhichitwasbefore youcut. you cut, anditsdatawillbesavedtemporarilyinthebuffer. If Current Step. – – – – – 1 1D: Convert to Song (Convert CueListtoSong) toSong(Convert 1D: Convert 1C: CopyCueList 1B: DeleteCueList 1A: RenameCueList 1e: Insert, Cut,Copy,1e: Insert, CurrentStep cue listwillbedeleted. execute thiscommand,thedataofcurrently selected button To executetheCopyCueListcommand,press the In Select thiscommandtoopenthefollowingdialogbox. button To executetheDelete CueListcommand,press the Select thiscommandtoopenthedialogbox. – ” Insert willbesavedtemporarilyinthebuffer. 1: PageMenuCommand “ From, willbeinsertedatthe Insert button . To cancel,press the . To cancel,press the immediatelyafteryoucut,thedatawillreturn ” specifythecopysource cuelist. ” 1 1 1 0 – – – – 1C 1B 1A 1A Copy button Cut button Insert button toinsertthecopiedstepinto “ Current Step. Cancel button Cancel button , the , thedataof , thestepdatathatwas “ Current Step Copy button ” (Ifcopyorcut . . Whenyou “ ” Current or willbe OK OK Cut 0 0 1 1 – – – – 1J 1I 1E 1D “ sion, thetrackandeffect settingsofthesongspeci to writeita it willbenecessarytoconvertacuelistsongifyouwish will usethesettingsofsongfor song, andalltrackeffect settingsofsubsequentsongs The Song/Track parameterswillusethesettingsof song asdescribedbelow. song. The followingtrackparameterswillnotbere Second andsubsequentrepeats ofthe Song/TrackConverting parametersintotrackevents cue list. you keepthesesettingsconsistentbetweenallsongsinthe conversion. As withtheMIDIchannels,werecommend that the settingsof If will beconverted. verted intotrackevents(musicaldata).Thefollowingdata If Patterns inthe patterns Converting Converting Converting PRG “ If conversion. the tracksof If there isasecondorsubsequentrepeat for the convertedsong. Example) the mastertrack. data). terns, theywillbeexpandedinto trackevents(musical atrTakTempo,Meter Bank/Program, Pan, Volume, Portamento, Detune, Master Track Track1–16 Use Programs Scale, MIDIFilter, Key Zone, Velocity Zone Select(When Status=EX2),Force OSCMode, OSCSelect,Delay, PLAY/MUTE, SOLOON/OFF, Status, MIDIChannel,Bank Step Loop End “ “ “ M005 If beginning ofthetrackas contains 10measures, thedatawillbeexpanded from the Pan Portamento Track PlayLoop “ settings ofthe The MIDIchannelofeachtrackwillbeaccording tothe as partofaplaylistthatwillbeconvertedintosong. ments consistentbetweensongsthatyouintendtouse As faraspossible,trytokeeptheMIDIchannelassign- to converttheplaybackresult ofthecuelistintoasong. ing songshavedifferent settings,itmaynotbepossible song. not bereproduced whenthecuelistisconvertedintoa grams, theplaybackresult produced byacuelistmay this reason withsomeprograms suchasdrum pro- change thenotesthatare playedback(Transpose). For modify theplaybackpitch(Detune).CoarseTuning will will be00andCoarseTuning willbe6.FineTuning will example ifthe ing andCoarseTuning, andconvertedintoevents.For “ ora “ Convert toSong ” Detune Track PlayLoop

” 01 (0 , willbecopiedtothebeginningofresulting negative value 6 – ” . “ 3b, 4b)is willbeexpandedasfarthelastmeasure in Track Play Loop “ ” Step (2 “ ﬂ ” “ Step oppy diskasSMFdata.Duringtheconver- (2 Step Bend Range – 5a, 6a)willbedividedintoRPNFineTun- ” – “ “

” 3a, 4a)is 02 ” Step ” Detune ison,thearea from Random

02 ” 01 andsubsequentsongscontainpat- ” commandconvertsacuelistto is andfollowingsongswillallbecon- songwillbecopiedaspatternsof ” , thesewillnotbere

M005 01 ” ” M005 song.If (P0:PlyLoop1 PRG settingof , itwillbeconvertedto – M008 , orif , 6 “ , Step “ 7 “ Step , andthemastertrack , Step +600 “ 8 Bend Range , “ ” M005 Loop Start

01 ” – ”

“ , FineTuning 02 8, 9

. fl fl Step 01 ected inthe ected inthe andfollow- , song,and – 6 “ ” 16 tab) , fi Step

7 ed for 01 , ” ” 8 C064 , orif to is , ” 01 53 .

P9 P8 P7 P6 P5 P4 P3 P2 P1 P0 Sequencer “Transpose” settings 4 In “To Song,” specify the song into which the data will be If the “Transpose” (2–5a, 6a) of the tracks in “Step” 02 and converted. If you select a new song, a dialog box will ask subsequent songs differ from the settings of the “Step” 01 you for confirmation. Press the OK button to create a song, the note numbers of the note data will be shifted. new song and copy the data to that song. If you select an Example) existing song that already contains settings and/or musi- If “Step” 01 “Transpose” = +1 and “Step” 02 “Transpose” cal data, executing this command will erase the data of –1, the actual note numbers of the “Step” 02 track note that song and rewrite it with the data from the copy data will be shifted downward by 2. source. Before you execute, be sure that you will not be losing important data. If “Repeat” is set to FS (Foot Switch), it will be converted as 5 If you check “Replace to original Song in Cue List” and “Repeat” 1. execute this command, the “Current Step” song will be When you execute “Convert to Song” to convert a cue replaced by the newly created song. If you execute with- list to a song, the repeat settings within the cue list and out checking this box, the newly created song can be the pattern and track play loop settings of the songs selected later for the desired step of the cue list. 6 used by the cue list will all be converted into events To execute the Copy Song operation, press the OK but- such as note data. For this reason, the amount of data ton. To cancel, press the Cancel button. will increase significantly, and in some cases there may not be enough internal memory to perform the conversion. In particular if the cue list uses long songs, or if numerous repeats have been specified, or if many patterns 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. A cue list that is longer than 999 measures cannot be converted into a song. 1 Select the cue list (C00–C19) that you wish to convert into a song. 2 Select this command to open the following dialog box.

3 In “To Song,” specify the song into which the cue list 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 convert the cue list to that song. If you select an existing song that already contains settings and/or musical data, executing this command will erase the data of that song and rewrite it with the data that was converted from the cue list. Before you execute, be sure that you will not be losing important data. 4 To execute the conversion, press the OK button. To cancel, press the Cancel button. After executing this command, you can press the [COM- PARE] key to return to the state before execution. 1–1E: Copy Song This command creates a song from a speciﬁed portion of a song in a cue list. For example if you have an eight-measure song and want to repeat measures 5–8, you can use this command to create a four-measure song out of that portion. Then you can assign the resulting song to a step in a cue list, and repeat it. 1 In “Current Step,” select the desired step. 2 Select this command to open the following dialog box.

3 In “From Measure,” specify the ﬁrst measure in the copy source song. In “To End of Measure,” specify the last measure.

54 tts[INT, BTH,EXT, Off, EX2] back, orwhenyouuse INT: for eachtrack. This setsthestatusofMIDIandinternaltonegenerator Status 2 Here youcanmakeMIDI-related settingsforeachtrack. 2 2 EX2: pan, andpostIFXsend1,2MIDImessages. change, volume,panpot,portamento,send1,2,postIFX song, tracksthatare setto When youswitchsongsorreset tothebeginningof erator oftheTRITON willnotsound. transmitted toanexternaldevice,buttheinternaltonegen- the keyboard andoperatethecontrollers, MIDIdatawillbe back, orwhenyouselectatrackthatissetto EXT: device. same timeMIDIdatawillalsobetransmittedtoanexternal nal tonegeneratoroftheTRITON willsound,andatthe and playthekeyboard andoperatethecontrollers, theinter- played back,orwhenyouselectatrackthatissetto formed. Whenthemusicaldatarecorded inthetrackis BTH: transmitted. Off: device. sound, andMIDIdatawillnotbetransmittedtoanexternal controllers, theinternaltonegeneratorofTRITON will that issetto respects thisisthesameas number youspecifyhere willbetransmitted.Inother bank numbersthatcanbeselectedontheTRITON, thebank – – – 1(2)a: Status, MIDI Channel,BankSelect 2: MIDICh9 1: MIDICh1

Whenthemusicaldatarecorded inthetrackisplayed “ channel thatisspeci MIDI dataistransmittedandreceived ontheMIDI The program willnotsound,nor willMIDIdatabe Whenthemusicaldatarecorded inthetrackisplayed 2 0 0 . . . “ Theoperationofboth MIDI Channel. – – – Bank Select 1a 1a 1g Sequencer P2:Trk Param INT andplaythekeyboard andoperatethe ” willbeenabled.Insteadofthe A ” “ – – Track Select ﬁ 16 8 ed separatelyforeachtrackby EXT EXT (MIDI ChT01 INT (MIDI ChT09 willtransmitprogram . and ” (0 EXT – 1e) toselectatrack willbeper- – EXT 08) – 16) andplay – BTH g(d) LSB MSB 0 –

1 program selectedforeachtrack1 nation P2:2 akSlc [000:000...127:127] 2 2 setting hasnoeffect. [01 will betransmitted.When When Bank Select sequencer tracks. identically whentheyreceive MIDIdataorfrom the have thesameMIDIchannelwillsoundandbecontrolled transmit channelwhenitis here willbethereceive channelwhen and receive musicaldata.TheMIDIchannelyouspecify Specify theMIDIchannelthattrackwillusetotransmit MIDI Channel Portamento [PRG, Off, 001...127] [PRG,Off, [BTH,OS1,OS2] Specify theportamentoeffect foreachtrack1 Portamento [PRG,Poly, MN,LGT] Specify the OSC Select Select the Force OSCMode 2 These parametersspecifyhoweachtrackwillbesounded. 2a). transmit channelwhenitis each track1 sound ( use thissettingtomakeonlyoneortheotheroscillator INT Status Internal Internal Status EXT, EX2 BTH – – – 3(4)a: ForceOSCMode,Select,Portamento 4: OSC9 3: OSC1 come toanyPortamentoOn/Off dataorPortamento change thissettingduringplayback. Howeverifyou you setthisto be recorded aspartofthemusical data.(Howeverif ning. Ifyouchangethesettingwhile recording, itwill when thesongisplayedorrecorded from thebegin- The portamentosettingyoumakehere willbeused 2 0 . . . 0 – – – “ 3a 1g 1a Status Combination P2:2 “ prtosReceived data ator tone gener- operations Keyboard andcontroller Recorded data VoiceMode Assign “ – – Oscillator Mode 2a). 16. Ifthe ” issetto × – – PRG 16 8 “ (OSC T01 Oscillator Mode MIDI OUT Internal Internal MIDI OUT EX2 , itwillnotberecorded.) You can (OSC T09 “ , thissetsthebanknumberthat BTH EXT Status – × ” 2a). oftheprogram selectedfor ” (Program P1:1 or . Tracks setto – ” – 16 ( isotherthan EX2 08) ator tone gener- – 16) “ Status ” , andthereceive/ Combination P2:2 isDouble,youcan × – ” 16 ( is INT – 1b) ofthe MIDI OUT EX2 INT which Combi- , this — — — , the … 0 55 16] – 1 –

P9 P8 P7 P6 P5 P4 P3 P2 P1 P0 Sequencer Time data that was recorded, the settings will change Bend Range [PRG, –24...+24] accordingly. Specify the range of pitch change that will occur when the When the track whose “Status” (2–1a) is INT or BTH, pitch bender is operated. MIDI control change (CC) #5 (Portamento Time) and CC#65 (Portamento Switch) can be received to control PRG: The pitch range speciﬁed by the program will be used. this and change the setting. (If the setting is PRG, –24–+24: Regardless of the setting of the program, pitch CC#05 Portamento Time will not be received.) bending will use the range you specify here. When you switch songs or return to the beginning of This setting can be controlled and changed by received the song, tracks whose “Status” is BTH, EXT, or EX2 MIDI RPN Pitch Bend Range messages. (These mes- will transmit this setting via MIDI. If this is Off, CC#65 sages will not be received if the setting is PRG.) with a value of 0 will be transmitted. If this is 000–127, a CC#65 of 127 and CC#05 of 1–127 will be transmitted. If this is set to PRG, nothing will be transmitted. 2–5: Page Menu Command This data is transmitted on the MIDI channel speciﬁed for each track by “MIDI Channel” (2–1a). 0–1A 0–1G 0–1B 0–1H 0–1C 0–1I 2–5: Pitch 1–8 (Pitch T01–08) 0–1D 0–1J 2–6: Pitch 9–16 (Pitch T09–16) 0–1E 2–5A 0–1F Here you can make pitch-related settings for each track.

2–5 2–5A: Detune BPM Adjust When the program selected for a track uses a phrase or 0 –.1a . rhythm loop multisample or sample that you created to 0–1g match a speciﬁc BPM in Sampling mode or loaded from disk in Disk mode (Program P1: 1–2a, Global P5: 5–1b, 5–1c), you can use this command to change the BPM of the phrase 2–5a or rhythm. The BPM can be adjusted by modifying the pitch. This command is available for a track 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).

2–5(6)a: Transpose, Detune, Bend Range

Transpose [–24...+24] 2–7: Other 1–8 (Other T01–08) Adjust the pitch of each track in semitone steps. 2–8: Other 9–16 (Other T09–16) 12 steps are one octave. Here you can make additional settings for each track. Detune (BPM Adj. in Page Menu) [–1200... +1200] 0–1 Adjust the pitch of each track in one-cent steps from the normal pitch. 0 –.1a . 0: Normal pitch. 0–1g You can use the “Detune BPM Adjust” (2–5A) page menu command to make a calculation in BPM units and set 2–7a Detune automatically. 2–7b “Transpose” and “Detune” settings do not affect the note data that is transmitted via MIDI. “Transpose” and 2–7c “Detune” are controlled by received MIDI RPN messages. The “Oscillator Mode” (Program P1:1–1a) of the programs selected for tracks 1–16 will be controlled as follows. 2–7(8)a: Delay [ms] (Delay Time) • If “Oscillator Mode” is Single or Double, MIDI RPN [0000...5000, KeyOff] Coarse Tune messages can be received to control and change the “Transpose” setting, and Fine Tune Specify a delay time from when a track receives a note-on messages to control and change the “Detune” setting. until it actually sounds. • If “Oscillator Mode” is Drums, MIDI RPN Coarse KeyOff: The sound will begin when note-off occurs. In this Tune and Fine Tune messages can be received to case, the sound will continue indeﬁnitely unless the amp EG control and change the “Detune” setting. The range of Sustain Level of the program is other than 0. This setting is control will be ±1 octave when Coarse Tune and Fine useful for simulating harpsichord sounds. Tune are added. These messages will be received on Normally you will leave this at 0. the MIDI channel that is specified for each track by “MIDI Channel” (2–1a).

56 tion willbeaddedtothepitchateachnote-on( by Program P1:1 adm[0 [C As this Random Select thetonickeyofselectedscale( Key (ScaleKey) [EqualTemperament...User OctaveScale15] Select thetypeofscale( Type Specify thescalethatwillbeusedforsong. 2 Each trackcanusethescalethatisspeci 2 P1: 1 Unchecked: Checked: used. – – 7c: Scale 7(8)b: UseProgram “ Scale – 1c). value isincreased ” Thescaleoftheprogram willbeused. (Program P1:1 Thescalespeci – 1c). ’ – “ , anincreasingly randomdevia- s Scale 1c). Type ﬁ ed by ” Program P1:1 “ Scale ﬁ ed fortheprogram ” (2 “ Key – 7c) willbe – ” 1c). “ Program Random … … 7] B] ”

Unchecked: change. tabs, checkinganyoneofthesewillenablethatcontrol trollers forwhichthere are more, ifthesamecontrol changeisassignedtomultiplecon- the MIDI1and2tabswillbegivenpriority. Further- TON itselfare madein tings thatregulate MIDItransmission/reception oftheTRI- modulation functionisnotaffected bythesesettings.)Set- ated orwhenMIDIdataisreceived. (Theeffect dynamic gram ofeachtrackwhentheTRITON types ofeffect thatare checkedwillbeappliedtothepro- whose channelmatchesandtypesare checked.The “ Checked: case, anycontrol change tering willbeperformedforthesecontrol changes.Inthis MIDI 3and4tabsare settoMIDIcontrol changes, If theuser-assignable controllers thatcanbe MIDI datareceived bytracks1 Here youcanselectwhetherornottoapply be received. Specify whetherornotMIDIprogram changemessageswill Enable ProgramChange 3 3 3 does not. made torespond todamperpedalactivitywhiletheother tracks are receiving thesameMIDIchannels,onecanbe Status – – – ():EnableProgramChange,After 1(2)a: 2: MIDI19 1: MIDI1 “ mento andsend1/2parametersofatrackwhose mitted whenyouadjustprogram, pan,volume,porta- These settingsaffect theMIDImessagesthatare trans- of MIDImessagesthathavealready been recorded. These MIDI messages thathavealready beenrecorded. These MIDI 3 0 0 0 Status – – – – 1a 1g 1e 1c ” Sequencer P3:MIDIFilter (2 Reception ofMIDIdataisenabled.Tracks whose – SW Touch, EnableDamper, EnablePortamento ” 1a) is ReceptionofMIDIdataisdisabled. (2 – 1a, 2a)issetto fi fi INT lter settingsdonotaffect thetransmission lter settingshavenoeffect ontheMIDI – – or 16 8 “ MIDI Filter fi BTH (MIDI Filter ltering thatisbeingperformedin fi lter settingsintheMIDI3and4 (MIDI Filter willreceive MIDImessages – BTH 16. Forexampleeveniftwo ” , (GlobalP1:1 ’ EXT s controllers are oper- – 1 T01 – , or 1 T09 fi fi ltering tothe ltered inthe EX2 – 08) . – – 1b). 16) 0 57 – fi 1 l-

P9 P8 P7 P6 P5 P4 P3 P2 P1 P0 Sequencer Enable After Touch 3–5: MIDI 3 1–8 (MIDI Filter –3 T01–08) Specify whether or not MIDI after touch messages will be received. 3–6: MIDI 3 9–16 (MIDI Filter –3 T09–16) Here you can specify whether the A and B-mode effects of Enable Damper the REALTIME CONTROL knobs [1]–[4] will be transmitted Specify whether or not MIDI control message #64 Hold and received. The A-mode MIDI controller messages for (damper pedal) will be received. each knob are ﬁxed. The B-mode messages can be set in Sequencer 4–7: Controller tab. Enable Portamento SW 0–1 Specify whether or not MIDI control message #65 Porta- 0–1c 0–1e mento On/Off will be received. 0–1g

3–3: MIDI 2 1–8 (MIDI Filter –2 T01–08) 3–4: MIDI 2 9–16 (MIDI Filter –2 T09–16) 3–5a

0–1 0–1c 0–1e 0–1g

3–5(6)a: Enable Realtime Control Knob 1...4 3–3a Enable Realtime Control Knob 1 Specify whether or not the A-mode MIDI control message #74 (the TRITON’s low pass filter cutoff frequency) and the B-mode MIDI control message will be received. Enable Realtime Control Knob 2 3–3(4)a: Enable JS X as AMS, Enable JS+Y, Enable Specify whether or not the A-mode MIDI control message JS–Y, Enable Ribbon #71 (the TRITON’s low pass filter resonance or high pass filter cutoff frequency) and the B-mode MIDI control message Enable JS X as AMS will be received. Allow incoming MIDI pitch bend messages (the X-axis of Enable Realtime Control Knob 3 the TRITON’s joystick) to control the AMS (“Alternate Specify whether or not the A-mode MIDI control message Modulation Source”) that is specified for JS X. (This is not a #79 (the TRITON’s filter EG intensity) and the B-mode MIDI reception filter for MIDI pitch bend messages.) control message will be received. Enable JS+Y Enable Realtime Control Knob 4 Specify whether or not MIDI control message #1 (the +Y Specify whether or not the A-mode MIDI control message axis of the TRITON’s joystick, or assigned to B-mode of the #72 (the release time of the TRITON’s filter and amplifier REALTIME CONTROL knobs [1]–[4]) will be received. EG’s) and the B-mode MIDI control message will be Enable JS–Y received. Specify whether or not MIDI control message #2 (the –Y axis of the TRITON’s joystick, or assigned to B-mode of the REALTIME CONTROL knobs [1]–[4]) will be received. 3–7: MIDI 4 1–08 (MIDI Filter –4 T01–08) Enable Ribbon 3–8: MIDI 4 9–16 (MIDI Filter –4 T09–16) Specify whether or not MIDI control message #16 (the TRI- 0–1 TON’s ribbon controller, or assigned to B-mode of the 0–1c 0–1e REALTIME CONTROL knobs [1]–[4]) will be received. 0–1g

3–7a

58 those includedinMIDIFilter1 Specify whetherornotMIDIcontroller messagesotherthan Enable OtherControlChange to aMIDIcontrol change. switch issetinGlobalP2.Thisvalidwhenthe PEDAL/SWITCH willbereceived. The functionofthis Specify whetherornottheeffect ofthe ASSIGNABLE Enable FootPedal/Switch Porta.SW:CC#65 in Sequencer4 keys willbereceived. Thefunctionofthesekeyscanbeset Specify whetherornottheeffect ofthe[SW1]and[SW2] Enable SW1,SW2 3 switches are setto – ():EnableSW1,SW2,Foot 7(8)a: Change Pedal/Switch, EnableOtherControl – 7: Controller tab.Thisisvalidwhenthe . SW1 Mod.:CC#80 – 4 willbereceived. , SW2 Mod.:CC#81 or volume isreached. specify therangefrom thetop/bottomkeyuntiloriginal be soundedby Top/Bottom Keysettingsspecifytherangeofnotesthatwill by eachtrack. Here youcan specifytherangeofkeysthatwillbesounded 4 4 otmKy[C [00...72] [00...72] each track1 Specify thebottomkey(lowerlimit) thatwillbesoundedby Bottom Key [C until theoriginalvolumeisreached. Specify thekeyrange(12isoneoctave)from thebottomkey Bottom Slope 4 until theoriginalvolumeisreached. Specify thekeyrange(12isoneoctave)from thetopkey Top Slope each track1 Specify thetopkey(upperlimit)thatwillbesoundedby Top Key 4 slope area withintherangeisshowningray. The noteandvelocityrangesare shownaslines,andthe sounded byeachtrack1 This showstherangeofnotesandvelocitiesthatwillbe 4 diagram, refer to Track 16 display Key zone Track 1 – – – – – 1(2)c: BottomSlope,Key 1(2)b: Top Key, Top Slope 1a: ZoneMap 2: KeyZ9 1: KeyZ1 nal sequencerorfrom thekeyboard willbetransmitted. the internalsequencer, andallnotedatafrom theinter- tion. All notedatathatisreceived willberecorded into These settingsdonotaffect MIDItransmission/recep- ing anotewhileyouholddown the [ENTER]key. You canalsoenteravaluefor theseparametersbyplay- 4 4 4 0 0 0 – – – – – – 1a 1c 1b 1g 1e 1c Sequencer P4:Zone/Ctrl – – 16. Fordetailsontheseparameters andonthe 16. tracks 1 “ Combination P4 – – 16 8 – – 16 (Key ZoneT01 16. , andTop/Bottom Slopesettings (Key ZoneT09 – 1: KeyZ(KeyZone). Velocity zonedisplay Track 1 – 08) – 16) Track 16 – – 1...G9] 1...G9] 0 59 ” – 1

P9 P8 P7 P6 P5 P4 P3 P2 P1 P0 Sequencer 4–3: Vel Z 1–8 (Vel Zone T01–08) 4–7: Controller (Controller Setup) 4–4: Vel Z 9–16 (Vel Zone T09–16) Here you can set the functions that the [SW1] key, [SW2] key, and the B-mode functions that the REALTIME CONTROL Top/Bottom Velocity specify the range of velocities that will knobs [1]–[4] will have in Sequencer mode. 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 These settings do not affect MIDI transmission/recep- be recorded. tion. All note data that is received will be recorded into the internal sequencer, and all note data from the inter- 0–1 0–1c nal sequencer or from the keyboard will be transmitted. 0–1e 0–1g 0–1 4–7a

0–1c 0–1e 0–1g 4–7b

4–3a

4–3b

4–7a: Panel Switch Assign

Assign functions to the front panel [SW1] and [SW2] keys 4–3(4)a: Top Velocity, Top Slope (p.217 “SW1, SW2 Assign List”). Since the functions assigned to these switches and knobs by Top Velocity [1…127] the program of each track will not be valid, you can make Specify the maximum velocity that will be sounded by each new assignments here. track 1–16. SW1 (SW1 Assign) [Off, ..., After Touch Lock] Top Slope [0…120] SW1 Mode [Toggle, Momentary] Specify the range of values over which the volume will be SW2 (SW2 Assign) [Off, ..., After Touch Lock] adjusted from the top velocity until the original volume is reached. SW2 Mode [Toggle, Momentary] “Panel Switch Assign” (Program P1: 1–4a). 4–3(4)b: Bottom Slope, Bottom Velocity 4–7b: Realtime Control Knobs B-Assign Bottom Slope [0…120] Specify the range of values over which the volume will be Here you can set the B-mode functions (mainly various con- adjusted from the bottom velocity until the original volume trol changes) that the front panel REALTIME CONTROL is reached. knobs [1]–[4] will have in Sequencer mode ( p.218 “Real- time Control Knobs B–Assign List”). The functions you Bottom Velocity [1…127] specify here will operate when you rotate the front panel Specify the minimum velocity that will be sounded by each REALTIME CONTROL knobs [1]–[4] in B-mode. track 1–16. Since the functions assigned to these knobs by the program For details on these parameters and on the diagram, refer to of each track will not be valid, you can make new assign- “Combination P4–2: Vel Z (Velocity Zone).” ments here. You can also enter a value for these parameters by play- Knob 1-B [Off, ..., MIDI CC#95] ing a note while you hold down the [ENTER] key. Knob 2-B [Off, ..., MIDI CC#95] Knob 3-B [Off, ..., MIDI CC#95] Knob 4-B [Off, ..., MIDI CC#95] 4–5: MOSS 1–8 (MOSS T01–08) “Realtime Control Knobs B-Assign” (Program P1: 1–4b). 4–6: MOSS 9–16 (MOSS T09–16) This page is displayed when the separately sold EXB-MOSS option has been installed. For details refer to the owner’s manual included with the EXB-MOSS.

60 Master Track highlighted) (selected trackis musical data Display of track. Master Track: box ofthepagemenucommand.) input arest ortie. keyboard. You canusethe of eachnotenumerically, andtoinputthepitchesfrom the Step recording allowsyoutospecifythelengthandvelocity 5 [001 [001 Specify thelastmeasure. To EndofMeasure Specify the From Measure from) orstep-record. Specify therangeofmeasures thatyouwishtoedit(orcopy 5 them here. (Checkthe If youwishtoselectalltracks,itisnotnecessaryspecify record. Select thetrackthatyouwishtoedit(orcopyfrom) or 5 menu command. specify thedesired area. Thenselecttheappropriate page ing, When youwishtoeditmusicaldataorperformsteprecord- as performsteprecording. and themusicaldatathathasalready beenrecorded, aswell Here youcaneditthesettingsofcurrently selectedtrack 5 From Measure 5 0 5 5 5 5 5 – – – – – – – – – – 5 – 1A 1B 1C 1D 1E 1F 1A 1A: StepRecording 1b: FromMeasure/To EndofMeasure 1a: Track Select To Endof 1: Track Edit Track1 – ﬁ Measure 1: PageMenuCommand rst usethetabpagewindowtoselecttrackand 5 0 0 – – – 1a 1a 1g ... Sequencer P5:Track Edit ﬁ rst measure. Edit thetempoortimesignature ofthemaster uia aaeit omscldt :apatternisused :nomusicaldata : musicaldataexists [Track01 “ All Tracks Rest button … ” 5 5 Track16, MasterTrack] – – itemwithinthedialog 1M 1L and Tie button 5 5 5 5 5 – – – – – 1K 1J 1I 1H 1G … … 0 0 5 5 5 – – – – – to 1P 1O 1N 1I 1J 999] 999] 5 5 – – 1b 1 • 3 2 1 7 6 5 4 pitch bend,itisbesttouse To inputdatawithacontinuously-changingvaluesuchas “ input individualdataeventssuchasprogram changes,use Event Edit tracks willchangetothetimesignature youspeci ture dataofthemeasures yourecord willchange,andall If youchangethetimesignature setting,thetimesigna- set forthemeasure. This willshowthetimesignature thathasalready been of clocksineachnotevalueisshownbelow. you wishtoinput,intermsofanotevalue.Thenumber In will appear. When youselectthiscommand,thefollowingdialogbox to inputdata,anduseTrack Edittabitem Use 4 will beinputasanoteofthelengthspeci When youpress akey onthekeyboard, thatnotenumber Inputting notes part ofthedialogbox. on thekeyboard orbypressing thebuttonsinlower Input thenoteeventsdescribedbelowbyplayingnotes ity value. key andplayanoteonthekeyboard tospecifytheveloc- [PAUSE] keypressed, youcanholddownthe[ENTER] board playingstrength) ofthenotedata.With the Use staccato. In In played atdifferent times. the noteswillbeinputasachord evenifthey are actually releasing allofthekeys willbeinputatthesamelocation, numbers willbeinputaschords ofthelengthspeci When youpress achord onthekeyboard, thosenote 100% actually beheld,relative tothe sure input. measure (beat,clock) Location withinthe subsequent measures. from themeasure speci already containssequencedata,alldatawillbeerased Be aware thatifyoustep-record ontoatrackwhich . Sinceeachofthenotenumbers youpress before “ “ “ (0:16) (0:36) (0:24) Meter, Note Duration, Step Time, ” “ “

333333 tospecifythemeasure atwhichyouwishtobegin willbetenuto, Track Select Note Velocity ” (5 ” setthetimesignature. (0:32) (0:72) (0:48) – 1B). ” specifythelengthofbasicstepthat ” toselectthetrackintowhichyouwish ” ” (0:144) specifythelengththatnotewill tospecifythevelocityvalue(key- (0:64) (0:96) 85% Note number “ fi willbenormal,and Create CtrlData ed in (0:128) (1:96) (1:00) “ “ Step Time. From Measure Velocity (1:64) (3:00) (2:00) fi ” “ ed in (5 ” Time signature (beats, clocks) Length From Mea- Ingeneral, – (2:128) 50% (6:00) (4:00) 1L). To ” 4 andall fi willbe . fi ed. ed in 61

P9 P8 P7 P6 P5 P4 P3 P2 P1 P0 Sequencer Each time you press and release the keyboard, the loca- 3 Press the OK button to open the Event Edit dialog box. tion will advance by the length specified in 4. • Inputting rests Press the Rest button to input a rest of the length specified in 4. • Inputting a tie If you press the Tie button without pressing the keyboard, the previously-input note will be tied, and lengthened by the amount specified in 4. Measure 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- Index no. Location within the Event data measure (beat, clock) gram. 4 In 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 = 5 Select the event that you wish to edit, and use the Tie [VALUE] dial etc. to modify its value(s). • By modifying the value of the “BT” (Beat. Tick) location

On Off ON within the measure, you can move the event within the Press E and C Release E (continue holding C) Press G measure. • You can edit each event by modifying its data value(s). • Deleting a note or rest When you select a note event, it will sound. 6 To delete a note or rest, press the StepBack button. The You can press the buttons located at the bottom of the location will move backward by the amount specified in dialog box to edit events as follows. 4, and the data in that interval will be deleted. • Inserting an event • Auditioning the next note before input Select the location “BT” at which you wish to insert an If you wish to make sure of the next note before you actu- event, and press the Insert button to insert an event. ally input it, press the [PAUSE] key (the LED will light). • Deleting an event Now when you press a key, you will hear sound but the Select the event that you wish to delete, and press the note will not be input. Press the [PAUSE] key once again Cut button to delete the event. (the LED will go dark) to cancel the pause mode and • Moving an event resume input. You can use the Cut button and Insert button to move an 8 When you are finished with step recording, press the event (by “cut and paste”). Done button. If you press the [COMPARE] key, you will Use the Cut button to delete the event that you wish to return to the condition of before you began step record- move, then use the Insert button to insert it at the ing. desired location. 5–1B: Event Edit You can also move an event by modifying its “BT” value. Here you can edit individual events of music data that were • Copying an event input. Select the event that you wish to copy, and press the Copy button. Then select the copy destination and press 1 Use “Track Select” to select the track that you wish to the Insert button to insert the event at that location. edit, and use the Track Edit tab “From Measure” field to 7 When you are finished event editing, press the Done but- specify the measure at which you wish to begin editing. ton. If you press the [COMPARE] key you will return the 2 If you selected Track01–16 in “Track Select,” selecting data to the condition in which it was before you began this command will open the Set Event Filters dialog box. event editing. In the Set Event Filters dialog box you can select the types of events (musical data) that will appear and can be The following table shows the types of musical data that can edited in the event edit window. be edited by “Event Edit” and the range of their values. For “Note” you can set “Bottom” and “Top” to specify BAR (displayed only) Meter: 1/4...16/16 *1 the range of notes. These settings can also be entered by (Measure line) (Time signature) holding down the [ENTER] key and pressing a key. Nor- C–1...G9 *2 V: 1...127 *2 L: 000.000...15984.000 mally you will leave these set at C–1 and G9. (Note data) (Velocity) (Length: beats, clocks) “Control Change” lets you specify the control change PAFT C–1...G9 0...127 number. Normally you will leave this set at ALL. (Polyphonic after (Note number) (Value) touch) CTRL C: 0...101 0...127 (Control change) (Control change num- (Value) ber) PROG Bank: A...F, 000...127, P: 0...127, 1...128 (G, G, g(1)..g(9) g(d), - - - g(1)...g(d)) (Program change) (Program bank) (Program number) AFTT 0...127 (After Touch) (value) If you selected Master Track in “Track Select,” this dialog BEND –8192...+8191 box will not appear. (Pitch bend) (value)

62 pattern hasbeen Pattern numberswillbedisplayedinlocationswhicha 2 1 occurs, use the playbackafterbouncecommandisexecuted.Ifthis bounce destinationtrack,unexpectedresults mayoccurin If MIDIcontrol dataexistedinthebounce source track and bounce source willbeerased. bined datainthebounddestination. All musicaldatainthe source andbouncedestination tracks, andplacesthecom- This commandcombinesthemusicaldataofbounce 5 3 2 1 erased. any trackdatathatwasinthecopydestinationwillbe Be aware thatwhenyouexecutetheCopyTrack command, track tothespeci This commandcopiesmusicaldatafrom thecopysource 5 3 2 1 However, itisnotpossibletoerasethemastertrackbyitself. This commanderasesthedatafrom thespeci 5 will beanindicationof you useBounceTrack. 1M) toedittheMIDIcontrol dataofthetwotracksbefore – – – 1E: BounceTrack 1D: CopyTrack 1C: EraseTrack In Select thiscommandtoopenthefollowingdialogbox. ton To executetheCopy Track command,press the In Select thiscommandtoopenthefollowingdialogbox. ton To executetheEraseTrack command,press the will beerased. If youcheck Select thiscommandtoopenthefollowingdialogbox. In ify thebouncedestinationtrack. (By default, you selectedin copy destination.(Bydefault, be thetrackyouselectedin * Notedataandvelocityvaluescanalsobeentered by *2 Beaware that sincethetimesignature isrecorded in *1 “ “ “ . To cancel,press the . To cancel,press the From, From, Track Select, on thekeyboard. holding downthe[ENTER]keyandplayinganote to beplayedinthattimesignature. affect thesamemeasure ofalltracks,causingthem the mastertrack,modifyingitfrom anytrackwill “ Event Edit ” ” selectthecopysource track.In specifythebouncesource track.In “ “ fi All Tracks, put ed track. “ ” Track Select. selectthetrackthatyouwishtoerase. ” (placed). At theendoftrackthere ” End ofTrack (5 – Cancel button Cancel button ” 1B) or themusicaldataofalltracks “ Track Select. ” “ ) From “ Erase Control Data . ” willbethetrack . . ” “ fi ) To, ed track. “ From ” “ selectthe OK but- OK but- To ” ” spec- ” will (5 – 4 3 2 1 from thespeci This commanderasesthespeci 5 3 1 ward inunitsofameasure. cal datafollowingthedeletedmeasures willbe movedfor- When theDeleteMeasure commandisexecuted,themusi- This commanddeletesthespeci 5 6 5 measures ofmusicaldatatobemovedforward. Erase Measure commanddoesnotcause thesubsequent data. UnliketheDeleteMeasure command,executingthe command canalsobeusedtodeleteonlyaspeci – – 1F: EraseMeasure 1G: DeleteMeasure program changedata. erase pitchbenddata,and sure andpolyphonickeypressure data, change data, erase notedata, All erased. (Bydefault, and in In In Select thiscommandtoopenthefollowingdialogbox. Use button To executetheBounceTrack command,press the Use button To executetheEraseMeasure command,press the be erasedfrom alltracks. If youcheck Measure Track Edittab.) Example: Ifmeasures2 Note datacanalsobeerasedusing sures aswell. sures willdeletethatnotedatafrom thefollowingmea- more measures, deletinganyoftheinterveningmea- erased. Howeverifnotedataextendsacross twoor only thedatawithinrangebeingerasedwillbe that were erasedandmeasures thatwere noterased, If control dataextendsacross alinebetweenmeasures speci (5 Control Changedatacanalsobeerased using “ change datafrom aspeci a speci Control Data After Erase Before Erase “ “ Beat.Tick. willerasealltypesofdatafrom thetrack, – Kind, From Measure “ “ 1O). Usethiscommandwhenyouwishtoerasea Track Select Track Select fi . To cancel,press the . To cancel,press the “ c rangeofnotes,ortoerasenotesfrom aspeci To EndofMeasure fi ” ” c typeofcontrol change,ortoerasecontrol willbesettotherangethatyouspeci specifythetypeofdatathatwillbeerased. fi ” ed rangeofmeasures. TheEraseMeasure “ After Touch All Tracks, ” – 1 1 3 areerased,measures2 (5 Control Change ” ” – ” toselectatrack. toselectthetrack. 1M). Usethiswhenyouwishtoerase selectthe “ From Measure 2 2 No data ” willerasebothchannelpres- thespeci fi ” Program Change c fi Cancel button Cancel button selectthelastmeasure tobe fi ed type(s)ofmusicaldata “ fi ed measures. Beat.Tick 3 3 rst measure tobeerased, – 3 willbeblank. willerasecontrol fi ” ed typeofdatawill and “ Shift/Erase Note 4 4 ” Pitch range. “ . . To Endof willerase

fi Note Bend 5 5 c typeof fi “ ed inthe Erase OK OK will will 63 fi ” c

P9 P8 P7 P6 P5 P4 P3 P2 P1 P0 Sequencer 2 Select this command to open the following dialog box. 2 Select this command to open the following dialog box.

3 In “From Measure” select the first measure that you wish 3 In “At Measure,” specify the measure location at which to delete, and in “To End of Measure” select the last mea- the data will be inserted. (The measure you specified in sure that you wish to delete. (By default, “From Mea- Track Edit tab “From Measure” will be set as a default.) sure” and “To End of Measure” will be the range that you 4 In “Length,” specify the number of measures that will be specified in the Track Edit tab.) inserted. 4 If you wish to delete musical data from all tracks includ- 5 In “Meter,” specify the time signature of the measures ing the master track, check “All Tracks.” that will be inserted. If this is not checked, data will be deleted only from the If you want the inserted measures to match the existing track that was selected by “Track Select.” time signature, specify **/**. With any setting other than 5 To execute the Delete Measure command, press the OK **/**, the time signature of the inserted measures will button. To cancel, press the Cancel button. change, and the specified time signature will apply to all tracks for those measures. Example: When measures 3–5 are deleted, measures 6–8 are moved forward. 6 If you wish to insert measures into all tracks including the master track, check “All Tracks.” The musical data Before 1 2 3 4 5 6 7 8 Delete 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 After 1 2 3 4 5 Delete inserted into the specified track. At this time, the musical data following the inserted location will be moved backward by the number of measures that were inserted. If in 4 you uncheck “All Tracks” and execute this oper- However, the time signature and tempo will not move. ation, the measures will not be deleted from the master 7 To execute the Insert Measure command, press the OK track. Time signature and tempo data will remain button. To cancel, press the Cancel button. unchanged, and the time signature and tempo of the measures that were moved forward as a result of the Time signature = **/** Delete operation will change. Track 1 1 (4/4) 2 (4/4) 3 (3/4) 4 (5/4) 5 (2/4) Example: When measures 2 and 3 (3/4 time) of track 2 are deleted, the measures that were Before Insert at 4 and 5 are moved forward, and their time signature will change to 3/4. Track 2 1 (4/4) 2 (4/4) 3 (3/4) 4 (5/4) 5 (2/4)

Track 1 1 (4/4) 2 (3/4) 3 (3/4) 4 (4/4) 5 (4/4) Before Delete Insert two measures Track 2 1 (4/4) 2 (3/4) 3 (3/4) 4 (4/4) 5 (4/4) Track 2 1 (4/4) 2 (4/4) 3 (3/4) 4 (5/4) 5 (2/4) After Insert Track 1 1 (4/4) 2 (4/4) 3 (3/4) 4 (5/4) 5 (2/4) Track 2 1 (4/4) 2 (3/4) 3 (3/4) After Delete Measures 4 and 5 will use the previously specified time signature. Track 1 1 (4/4) 2 (3/4) 3 (3/4) 4 (4/4) 5 (4/4) Time signature = 7/8

If in 4 you check “All Tracks” and execute this opera- Track 1 1 (4/4) 2 (4/4) 3 (3/4) 4 (5/4) 5 (2/4) Before Insert tion, the specified measures of musical data will be Track 2 1 (4/4) 2 (4/4) 3 (3/4) 4 (5/4) 5 (2/4) deleted from all tracks including the master track, and the time signature and tempo will also move forward Insert two measures by the number of measures that were deleted. If control data extends across a line between measures Track 2 1 (4/4) 2 (7/8) 3 (7/8) 4 (5/4) 5 (2/4) that were deleted and measures that were not deleted, After Insert Track 1 1 (4/4) 2 (7/8) 3 (7/8) 4 (5/4) 5 (2/4) only the data within the range being deleted will be Measures 2 and 3 will be 7/8, and measures 4 and 5 erased. However if note data extends across two or will be the previously specified time signature. more measures, deleting any of the intervening measures will delete that note data from the following measures as well. 5–1I: Repeat Measure 5–1H: Insert Measure This command repeatedly inserts the specified measures for the specified number of times. When you execute the Repeat This command inserts the specified number of measures Measure command, the measures will be inserted following into the specified track. When you execute the Insert Mea- the measure specified by “To End of Measure,” and musical sure command, the musical data following the insert loca- data following the inserted data will be moved backward. It tion will be moved backward. is convenient to use this command when you have a song If musical data is inserted into an area across which note that you playback with “Track Play Loop” (0–5a, 6a) turned data has been tied, a note-off will be created immediately on, and wish to expand it into musical data. before the inserted measure, and the subsequent portion of the note will be deleted. 1 Use “Track Select” to select the track whose measures you wish to repeat. 1 In “Track Select,” specify the track into which you wish to insert.

64 6 5 4 3 2 1 data atthecopydestinationwillberewritten. When youexecutetheCopyMeasure command,thetrack copy source tothespeci This commandcopiesmeasures ofmusicaldatafrom the 5 6 5 4 3 2 – Example: Whenyoucopymeasures5 (destination) Track 2 (source) Track 1 Measure Repeat After Measure Repeat Before 1J: CopyMeasure button To executetheCopyMeasure operation,press the “ In In If you Select. default, thiswillbethetrackyouselectedin In Select thiscommandtoopenthefollowingdialogbox. Select thecopysource song. button To executetheRepeatMeasure command,press the ing themastertrack, If youwishtorepeat themusicaldataofalltracksinclud- ple ifyouset In In Select thiscommandtoopenthefollowingdialogbox. including themastertrackwillbecopied. sure of copysource measures. (Bydefault, of measures thatwillberepeated. (Bydefault, measures 1 Measure and copy destinationtrack.In result willbethatmeasures 1 the Track Edittab.) measure where thecopied measures willbeinserted. speci measures 1 If youexecutetheRepeatMeasureoperationonmeasures1 Track “ “ “ “ “ To: Song, From Measure From: Track, Times, From Measure ” “ ﬁ measures 3 to To Measure Track 1 Track 1 ” ed intheTrack Edittab.) check ” . To cancel,press the . To cancel,press the ) (when – 004 ” 1 (4/4) 44 5(3/4) 1 (4/4) 4 willbeinsertedintomeasures5 and ” – specifythenumberofrepetitions. Forexam- , and 4 willbeinsertedintomeasures 5

” “ 1 1 – “ specifythecopydestinationsong.In All Tracks, 5 oftrack2willberewritten. From Measure “ “ 2 (4/4) 2 (4/4) To Measure ” All Tracks ” “ selectthecopysource track.(By 2 2 willbetherangethatyouspeci ” ” Times and and ﬁ check 3 3 ed measure location. 3 (4/4) 44 34 7(4/4) 6(3/4) 3 (4/4) – “ “ ” ” 7 oftrack1tothethirdmeasure2, To Measure, To Measure, to themusicaldataofalltracks “ 4 4 ”

Measure, ” “ is Cancel button Cancel button willbesettotherangeyou All Tracks. 2 4 (3/4) 4 (3/4) ” – , themusicaldataof to 4 willbeplayedtwice. unchecked 1 5 – 8. 001 2 6 5 (3/4) ” , specifythe ” ” “ “ specifytherange specifytherange From Measure To EndofMea- 3 ” – ) specifythe 4 with 6 (3/4) . . 4 “ – Track “ “ 8. The Time From 5 7 (4/4) ﬁ ﬁ OK ” rst =2, ed in OK 6 ”

5 4 3 2 1 will bemovedbackward correspondingly. moved, andmusicaldatafollowingthemovedestination moved forward according tothenumber ofmeasures mand, musicaldatafollowingthemovesource willbe ﬁ This commandmovesmeasures ofmusicaldatatoaspeci- 5 5 4 3 2 1 ﬁ control change,aftertouch,pitch bend,tempo)inthespeci- This commandgraduallyvariescontinuous-typedata(e.g., 5 ed destination.WhenyouexecutetheMoveMeasure com- ed area. – – 1K: MoveMeasure 1L: CreateCtrlData(Create ControlData) change number( For Pitch If you Select. default, thiswillbethetrackyouselectedin data. In you wishtocreate: to create tempodata,select perform theCreate Control Datacommand.Ifyouwish button To executetheMoveMeasure command,press the In In In Select thiscommandtoopenthefollowingdialogbox. In In inserted. In Specify therangeintowhichcontrol datawillbe Select thiscommandtoopenthefollowingdialogbox. this case,thestep In trol data. Bydefault,the move destinationtrack.In starting location,youcanleavethe to create control datathatchangessmoothly from the value oftheexistingdataatstartlocation.Ifyouwish and clock. specify themeasures, andin including themastertrackwillbemoved. Measure range ofmeasures thatwillbemoved.(Bydefault, unchanged, andsetonlythe measure ofthemovedestination. Track Edittab.) Measure you speci “ “ “ “ “ “ From Measure To: Track From: Track, Start Value, Kind, Track Select, Control Change

Bend ” check . To cancel,press the ) “ ” ” End Value, ” ﬁ and willbesettotherangeyouspeci selectthetypeofmusicaldata(events)that “ ed intheTrack Edittab.) . (Bydefault, “

” “ From Measure (if All Tracks, “ ” To EndofMeasure ” ” selectthestartingvalueofcontrol “ selectthetrackonwhichyouwishto selectthemovesource track.(By 4 ” All Tracks p.223). and Control Change item ” , youcanalsoselectthecontrol selecttheendingvalueofcon- “ “ “ ” To EndofMeasure, From Measure “ Start Value musicaldataofalltracks “ Kind ” Master Track Cancel button Measure, ” and “ “ is End Value. Beat.Tick ” unchecked willbesetto “ ” To EndofMeasure willbetherangethat “ , Start Value ” After Touch ” willbesettothe specifythe ” ” specifythebeat ” asthetrack.In and . ﬁ ), specifythe ” ed inthe “ specifythe Track “ “ To Endof ” Tempo.

, or ﬁ “ OK From rst 65 ”

”

P9 P8 P7 P6 P5 P4 P3 P2 P1 P0 Sequencer 6 To execute the Create Control Data command, press the • If the Quantize resolution is set to Hi, the timing will be OK button. To cancel, press the Cancel button. adjusted to units of the base resolution (/192), so note data will not be affected. However, continuous 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 controller data such as joystick or after touch which changing from 3:48, and reach a value of 100 at 4:24. occupies a large amount of memory will be processed so After touch Start location End location that two or more data events of an identical type 127 existing at a single interval of the timing resolution will 100 End Value be combined into a single event, thus conserving memory. Similarly, two or more data events of an identical type Previous data Start Value existing at the identical timing will be combined into one, default value also conserving memory. 0 Location 1 In “Track Select,” specify the track. 3:00 3:24 3:48 3:72 4:00 4:24 4:48 2 Select this command to open the following dialog box. 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. 3 Specify the range that will be quantized. In “From Mea- 5–1M: Erase Ctrl Data (Erase Control Data) sure” and “To End of Measure,” specify the measures. In This command erases data such as control changes, after “Beat.Tick” specify the beat and clock. (By default, “From touch, pitch bend, or tempo in the specified range. Measure” and “To End of Measure” will be the range that you specified in the Track Edit tab.) 1 In “Track Select,” select the track from which you wish to 4 In “Kind,” select the type of musical data (events) that erase control data. If you wish to erase tempo data, select you wish to quantize: All, Note, Control Change, After Master Track. In this case, the “Kind” item in step 4 will Touch, Pitch Bend, or Program Change. If you select be “Tempo.” Note, you can set “Bottom” and “Top” to specify the 2 Select this command to open the following dialog box. range of notes. This is convenient when you wish to quantize only a specific note (for example, only the snare in the drum track). “Bottom” sets the lower limit of the Note range. If you wish to quantize all notes, set this to C–1. “Top” sets the upper limit of the Note range. If you wish to quantize all notes, set this to G9. Note settings can also be entered by holding down the [ENTER] key while you press a key. If you select Control Change, you can also limit the type 3 Specify the range from which you wish to erase control of control change data that will be quantized by specify- data. In “From Measure” to “To End of Measure” specify ing the control change number. If you wish to quantize the measures, and in “Beat.Tick” specify the beat and all control change data, select All. clock. (By default, “From Measure” and “To End of Mea- If you select After Touch, both channel pressure and sure” will be the range that was specified in the Track polyphonic key pressure will be quantized. Edit tab.) 5 In “Resolution,” specify the timing resolution to which 4 In “Kind,” select the type of musical data (events) you the data will be corrected. wish to erase: Control Change, After Touch, or Pitch By setting a lower resolution you can save more memory, Bend. but the timing of the playback may not be acceptable. For Control Change you can also select the control 6 In “Offset,” specify the number of clock by which the change number ( p.223). data will be moved forward or backward relative to the 5 To execute the Erase Control Data command, press the standard timing. A setting of 96 will be , and 48 will be OK button. To cancel, press the Cancel button. . Positive (+) settings will adjust the data forward, and If you wish to erase all control change data from speci- negative (–) settings will adjust the data backward. This fied measures, you can also use “Erase Measure” (5–1F) allows you to simulate “pushing” or “dragging” the beat. 7 and set “Kind” to Control Change. However, this Erase In “Intensity,” specify the degree of sensitivity to which Control Data command allows you to specify the range the timing will be corrected; i.e., how close to the loca- 5 6 using “Beat.Tick,” and also to erase only specific types tions specified by and the data will be moved. of control change data. 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 5–1N: Quantize timing intervals specified by 5 and 6. This command corrects the timing of musical data that has 8 To execute the Quantize command, press the OK button. already been input. To cancel, press the Cancel button. When you execute the Quantize operation, the musical data will be affected as follows. • 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.

66 Erasing notes numbers inaspeci 5 7 6 5 4 3 2 1 This commandshifts(moves)orerasesthespeci 5 ByvaryingtheOffset andIntensitysettingsyoucancre- * Shifting notes – ate quantizeeffects suchasthefollowing. Quantize Resolution= Offset =0,Intensity100% Quantize Resolution= Offset = Quantize Resolution= Offset =+48,Intensity75% Quantize Resolution= Offset =+48,Intensity100% Quantize Resolution= Offset =0,Intensity50% 1O: Shift/EraseNote measures, youcanalso usethe If youwishtoeraseallnotedata inthespeci Check ton To executetheShiftNotecommand,press the Select either In “ “ Specify therangeofnotesthatyouwishtoshiftorerase. numbers. In Specify therangeinwhichyouwishtoshiftorerasenote Select thiscommandtoopenthefollowingdialogbox. execute theShift/EraseNotecommand. In notes, set mand (5 “ specify themeasures. In of The amountofshiftissetinsemitonestepsoverarange move thenote. sound foradifferent snare sound,oruse program, youcanuse For exampleifyouare editingatrackthatusesdrum clock. (Bydefault, key asyouplayanote. tings canalsobemadebyholdingdownthe[ENTER] guitar phrase,etc. use a soundeffect tothesnare sound. Alternatively, youcan “ Shift/Erase Notecommandlets you specifythe sure Edit tab.) Top Note Range:Bottom Create Beat.Tick – “ “ Original – . To cancel,press the 127 Shift Note, Track Select, 24, Intensity=100% “ ” ” Create willbetherangethatyouspeci speci

– “ ” +127 Erase Note. – togenerateadditionalnotes. 1F) andset “ ” Bottom range,andtoeraseonlyspeci ” fi “ “ toaddanoctavedoublingexisting . es theupperlimit.Ifyouwishtoeditall From Measure Replace +1 ” – 24 specifytheamountbywhichyouwishto fi ” 100% 100% willshiftthenoteasemitoneupward. ed trackandrangeofmeasures. 50% selectthetrackonwhichyouwishto +48 +48 ” “ 75% 100% to From Measure ” “ ” ” Kind “ C speci tomovethenotenumbers,or Replace – Cancel button “ 1 Beat.Tick, and ” to fi ” and es thelowerlimit,and 50% 100% “ Note ” “ 100% Erase Measure toexchangeasnare 100% 75% Top – 24 ” “ ” +48 and To EndofMeasure, +48 . However, this specifythebeatand ” fi to ed intheTrack . “ G9 “ To EndofMea- fi 100% Create – c notedata. 24 . Theseset- fi +48 75% fi ed rangeof 100% +48 OK but- ed note ” com- ” toadd ”

4 3 2 1 to aselectedcurve. speci This commandmodi 5 6 Thesixcurvesare asfollows. * 8 7 6 5 For aStartVelocityof1andEnd127 – Velocity Velocity 1P: ModifyVelocity “ measure, and Modify Velocity command.NoteRange Specify therangeofnotesthatwillbeaffected bythe Specify therangeinwhichnotevelocitywillbemodi Select thiscommandtoopenthefollowingdialogbox. modi In ton To executetheEraseNotecommand,press the button To executetheModifyVelocity operation,press the how thevelocitywillchangeovertime. “ data willbeadjustedtoward thecurveyouspecifyin In note onthekeyboard. made byholdingdownthe[ENTER]keyasyouplaya ify the velocity datawillstart,andin In described bythecurve. a settingof With asettingof default, lower limit,and edit allnotes,set be settotherangethatyouspeci tab.) [ENTER] keyasyouplayanoteonthekeyboard. These settingscanalsobemadebyholdingdownthe From Measure Curve fi 127 127 “ “ “ ed area sothattheywillchangeovertimeaccording . To cancel,press the 1 1 Track Select, Intensity, Velocity StartValue Measure Start Measure Start fi ed. . To cancel,press the fi ” Curve 1 Curve 4 “ nal velocityvalue.Thesesettingscanalsobe * letsyouselectfrom sixtypesofcurvetospecify From Measure 100 ” Measure End Measure End “ specifythedegree towhichthevelocity [%],thevelocitywillbeexactlyas Beat.Tick ” ” “ and 0 specifythetrackwhosevelocitywillbe “ fi Top [%],thevelocitywillnotchange.With Bottom Velocity Velocity es thevelocityvaluesofnotesin 127 127 ” “ istheupperlimit.Ifyouwishto 1 1 To EndofMeasure ” Measure Start Measure Start ” ” Cancel button specifythevalueatwhich and specifythebeatandclock.(By ” to Curve 2 Curve 5 Cancel button C “ “ To EndofMeasure Velocity EndValue – Measure End Measure End 1 fi and ed intheTrack Edit Velocity Velocity “ . 127 127 Top “ 1 1 Bottom ” Measure Start Measure Start . specifythe ” RANDOM to Curve 3 Random OK but- G9 ” isthe ” ” Measure End Measure End . will spec- OK fi 67 ed. 7 .

P9 P8 P7 P6 P5 P4 P3 P2 P1 P0 Sequencer 5–2: Track Name Sequencer P6: Pattern/RPPR Here you can assign a name to each track. use preset patterns P000–149 5–1 On the TRITON you can , and 0 –.1a . user patterns U00–99. One song can contain up to one hun- 0–1g dred user patterns. Preset patterns suitable for use in a drum 5–1a track are provided in memory, and can be selected from any song. 5–2a Preset patterns cannot be edited, but you may copy a preset pattern to a user pattern, and edit. User patterns can be created by realtime recording (including 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) (p.68 in the Basic Guide). These patterns can be assigned to each key by the RPPR (Realtime Pattern Play/Recording) function and played by 5–2a: Track Name pressing a single key, and the resulting performance can be recorded on the sequencer (RPPR Setup). Rename the selected track. A name of up to sixteen characters can be input. 6–1: Pattern Edit Here you can record a pattern, edit it, and assign it to a track in a song.

6–1 6–1a 0–1d 0–1e 6–1b

6–1c

6–1a: Location

Location This shows the current location of the selected pattern, in measure units.

6–1b: Pattern Edit

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 signature. Then you can perform realtime recording in the Pattern Edit tab, 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. Pattern (Pattern Type) [Preset, User] Select 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. Pattern Select [P00...P99, U00...U99] Select a pattern. User patterns can be renamed in the “Pat- tern Name” tab.

68 1c). lution) 2 1 This isavailablewhenauserpatternselected. Here youcanperformsteprecording into apattern. 6 used. Theassignedkeyandthespeci This area indicatestheRPPRinwhichselectedpatternis USED INRPPR tern isused. This area indicatesthesongtracksinwhichselectedpat- USED INSONGTRACK 6 down thekey. delete allmusicaldataforaslongyoucontinueholding Alternatively, youcanholddownthe[REC/WRITE] keyto pressure tothekeyboard, aftertouchdatawillberemoved. direction, pitchbenddatawillberemoved. Whileyouapply example whileyoumovethejoystickinX(horizontal) the key. Controller datacanalsoberemoved inthisway. For bers willberemoved aslongyoucontinueholdingdown you wishtoremove, andonlythedataforthosenotenum- key(s) (notenumber)corresponding tothemusicaldatathat data whileyourecord. Duringrecording, holddownthe Checked: Remove Data [Hi, pattern willbecorrected. Specify howthetimingofdatabeingrecorded intothe Reso (RealtimeQuantize Resolution) [OnlyREC,REC&Play, Off] ing orplayback.Thissettingislinkedwith Specify whetherthemetronome willsoundduringrecord- Metronome Sound Specify theplaybacktempoofpattern. ( Level, andPre-count are setin Other metronome-related parameterssuchasBusSelect, (ep)[040...240] (Tempo) – – 6 1A: StepRecording(LoopType) “ 1c: USEDINSONGTRACK,RPPR on atrack.Refertosteps The remaining stepsare thesameaswhensteprecording In more data. and continuerecording, inthisway continuing toadd the endofpattern,youwillreturn tothebeginning differs from steprecording atrackinthatwhenyoureach Recording “ change thenumberofmeasures inthepattern,set default, thepatternlengthisonemeasure. Ifyouwishto Metronome Setup Pattern Parameter – 1: PageMenuCommand “ ” 0 6 6 6 6 6 Pattern (0 – – – – – – 1A 1A 1B 1C 1D 1E Thisallowsyoutoremove unwantedmusical – 1f). ” ” (5 and – 1A). However, steprecording apattern “ Pattern Select, ” ” 0 (6 – 7b) – 1C). “ 2 Reso (RealtimeQuantizeReso- andfollowingin “ Metronome Setup ” specifythepattern.By ﬁ ed trackare shown. “ Sound “ (Tempo) “ Step ” ” (0 3 (0 –

– 7b). … ” 7b). 6 6 6 6 0 (0 – – – – –

1F 1G 1H 1I 1H ] – pattern. This commanderasesthemusicaldatafrom theselected 6 5 4 3 2 1 time signature oftheselectedpattern. This commandspeci 6 pattern. Use Here youcaneditindividualeventsofthemusicaldataina 6 4 3 2 1 copy destinationwillbeerased. tern operation,thepatternsettingsandmusicaldataof user pattern.Beaware that when youexecutetheCopyPat- preset patterntoauserandtheneditsaveitas Also, whilepreset patternscannotbeedited,youcancopy a the CopyPatterncommandtouseapatterninanothersong. User patternsbelongtoaparticularsong,butyoucanuse selected patterntoanotherpattern. This commandcopiesthesettingsandmusicaldataof 6 4 3 2 1 track. The remaining stepsare thesameaswhenEventEditinga pattern, andthenselectthiscommand. – – – – 1D: ErasePattern 1C: PatternParameter 1B: EventEdit 1E: CopyPattern when you However, thistimesignature isonlytemporary, and button To executethePatternParametersettings,press the In In Select thiscommandtoopenthefollowingdialogbox. Use button To executetheCopyPatterncommand, press the In To: In From: Select thiscommandtoopenthefollowingdialogbox. button To executetheErasePatterncommand,press the If you Select thiscommandtoopenthefollowingdialogbox. Use sure. tern willplayaccording tothetimesignature ofthatmea- tern. selected inthetabpage.) default, thiswillbethesongandpatternthatwas song andpattern.For If will beerased. U99 ﬁ ed in “ “ “ All Patterns Meter, Length, canbespeci “ “ “ Pattern Pattern “ Event Edit check . To cancel,press the . To cancel,press the . To cancel,press the 1 Song “ willbeerased. “ ” Pattern, “ Pattern specifythetimesignature ofthepattern. ” put ”

specifythenumberofmeasures inthepat- ” ” “ and and and All Pattern, ” ” is thepatterninatrackofsong,pat- ﬁ ” ﬁ (5 ed. ” ” “ es thenumberofmeasures andthe “ “ not checked and specifythecopysource pattern.(By Pattern, Pattern Select Pattern Select – 1B). “ Pattern, “ Pattern Select ” alluserpatternsinthesong ” Cancel button Cancel button Cancel button specifythecopydestination ” , onlythepatternspeci- onlyuserpatterns ” ” tospecifythepattern. tospecifythepattern. ” tospecifythe . . . OK OK U00 OK 69 –

P9 P8 P7 P6 P5 P4 P3 P2 P1 P0 Sequencer 6–1F: Bounce Pattern • The pattern that you “put” will playback according to This command combines the musical data of the bounce the time signature that is specified by the measures of source pattern and bounce destination pattern, and places the “put” destination. the combined musical data in the bounce destination. The • Control data such as pitch bend etc. (but not including time signature and length of the pattern following execution volume data) previously existing in the track will be will be according to the settings of the bounce destination. reset immediately before the measure at which the Unlike the Track Bounce operation, the musical data of the pattern was “put.” bounce source will not be erased. If you wish to use control data such as pitch bend in the If MIDI control data exists in the selected pattern and in the measures in which a pattern is “put,” you must ﬁrst bounce destination pattern, the resulting playback following write the control data into the pattern ( p.69 in the Basic the bounce operation may produce unexpected results. We Guide). recommend that you use “Event Edit” (6–1B) to prepare the To delete a pattern that has been placed in a track you can MIDI control data of the two patterns before executing the use “Erase Measure” (5–1F), specifying the area in which the Bounce Pattern command. pattern was “put,” and setting “Kind” to All.

1 Use “Pattern” and “Pattern Select” to specify the bounce Example: Pattern 20 has been Put at measures 2, 4, and 6 of track 10. When those measures source pattern. are reached, pattern 20 is called and its data is played. Track 10 1 2 3 4 5 6 2 Select this command to open the following dialog box. (Drums)

Pattern 20

1 Select this command to open the following dialog box. 3 In From “Pattern,” select the bounce source pattern. (By default, the song and pattern that are selected in the tab page will be chosen.) 4 In “To: Song” and “Pattern,” select the bounce destination song and pattern. For “Pattern,” only user patterns U00–U99 can be specified. 5 To execute the Bounce Pattern command, press the OK button. To cancel, press the Cancel button. 2 In “Pattern” and “Pattern Select,” select the “put” source 6–1G: Get From Track pattern. (By default, this will be the pattern selected in tab) This command loads musical data from a track into the 3 In “To Track,” select the “put” destination track. specified pattern. 4 In “Measure,” specify the first measure of the “put” des- 1 Use “Pattern” and “Pattern Select” to specify the pattern. tination. 2 In “Pattern Parameter” (6–1C), specify the pattern length 5 To execute the Put to Track command, press the OK but- of the “get” destination. ton. When you execute the command, “Measure” will 3 Select this command to open the following dialog box. automatically count up. If you wish to, you can continue “putting” the pattern. To exit the command, press the Exit button. 6–1I : Copy To Track This command copies the specified area of musical data 4 In “Song,” select the “get” source song. from the specified pattern to a track as musical data. 5 In “Track,” select the “get” source track. Unlike the Put To Track command, this command actually 6 In “Measure,” specify the first measure of the “get” writes the musical data of the pattern into the track, so that source. you can edit the copied data in the track. Even if you later 7 To execute the Get From Track command, press the OK edit the copy source pattern, the musical data of the song button. To cancel, press the Cancel button. will not be affected. When you execute the Copy to Track command, the musical 6–1H: Put To Track data will be affected as follows. This command places a pattern into a track. • Musical data previously existing in the copy destination Unlike the Copy to Track command, this command only measures will be erased. places the pattern number in the song, so that when play- • The musical data that is copied will playback according back reaches that point, the pattern will be recalled. The to the time signature specified at the beginning of the musical data of the pattern will not actually exist in the copy destination measures. track. The procedure is the same as for the Put to Track command. By creating patterns that contain frequently-used phrases or “Put To Track” (6–1H). drum patterns, and then placing them on the tracks, you can conserve memory. 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 1 2 3 4

When you execute the Put to Track command, the musical Pattern 41 data will be affected as follows. After Copy 1 2 3 4 • Musical data previously existing at the “put” destination will be erased.

70 number, andhowthepatternwillbe played. C#2 user patterntoeachoftheseventytwokeysinrange For eachsong,youcanassigneitherapreset patternora can alsoberecorded. by pressing individualnotesonthekeyboard. Theresults from asongtoeachkey, andthenplaybackpatternssimply Play/Recording) function.RPPRletsyouassignapattern Here youcanmakesettingsfortheRPPR(RealtimePattern 6 sixteen characterscanbeinput. Here youcanrename apatternU00 6 6 – – – a atr ae[U00...U99:name] 2a: Patternname – 3: RPPRSetup Name 2: Pattern When LocalControl isOFF( ated bythearpeggiator. turned on.RPPRwillnotbetriggered bynotesgener- if eitherarpeggiator A orBisselectedforthattrackand “ pattern isassignedwillsoundthetrackselectedby back byRPPR.WhenRPPRison,keysforwhichno The arpeggiatorisnotoperatedbypatternsplayed P1: 1 the trackcurrently selectedby playback. Notesreceived atMIDIINonthechannelof check boxineachpageischecked. cally. Thiswillbethesameresult aswhentheRPPR In theRPPRSetuppage,isturnedonautomati- sequencer. ON, andturnoff theechobackfunctionofexternal recorded ontheexternalsequencer, setLocal Control If youwantthenotedatageneratedbyRPPRtobe TON, setLocalControl OFF. external sequencertotriggerRPPRpatternsontheTRI- on anexternalsequencerandwishtoplaybackthe ger patterns.Ifyouhaverecorded onlythetriggernotes 6 6 6 C8. Foreachkey, youcanspecifythepattern,track 6 6 6 Track Select. – – – – – – 3b 3a 3c 2a 1b 1a – 1a), thekeyboard willnottriggerRPPRpattern ” At thistime,thearpeggiatorwilloperate “ Local Control On “ – Track Select U99. A nameofupto ” willtrig- ” Global 0 0 6 0 – – – – 1A 1d 1 1e the recording procedure, refer top.73inthe rc [Track No.andname] the datawillberecorded onthetrackyouselecthere. ( you record inrealtime with theRPPNfunctionturnedon, P2: Trk Param,P3:MIDIFilter, andP4:Zone/Ctrl.When select here. Track settingsare madeinP0:SongPlay/REC, will beplayedaccording tothesettingsof trackyou selected forthe [P000...149, U00...99] [Preset, User] Select thetrackthatwillbeusedforRPPRpattern Track no soundwhenyoupress thatkey. selected userpatterncontainsnomusicaldata,there willbe Select theRPPRpatternforkeyselectedin Pattern Select Pattern (PatternType) [C#2...C8] Checked: Assign and playinganoteonthekeyboard. This canalsobeselectedbyholdingdownthe[ENTER]key ters willapplytothekeythatyouselecthere. Select thekeythatyouwishtoedit.Thefollowingparame- KEY (KeySelect) 6 not possibleforthekeysdisplayedingray.) has beenassignedbytheRPPRfunction.(Assignmentsare This showstheselectedkey, andthekeystowhichapattern 6 hf [ Beat,Measure,SEQ] [Off, when youpress thespeci Specify howthepatternplayback willbesynchronized Sync Adjust theplaybackpitchofpatternforspeci Shift [Once,Manual,Endless] Specify howthepatternofspeci Mode “ pattern selectedin below C2,orpress thesamekeyonceagain. release thekey. To stopthepatternplayback,press anynote Endless: key. continue holdingthekey, andwillstopwhenyourelease the Manual: only oncetotheend. Once: played. setting of mode. at thecorresponding pitch,justasinnormalSequencer Unchecked: Endless Manual Once KEY – – 3b: RPPRSetup 3a: Keyboard&Assigneddrawing ” Whenyoupress thekey, thepatternwillplayback Key-on insemitonestepsoverarangeof TR STOP START STOP STOP START START Thepatternwillcontinuerepeating evenafter you Thepatternwillcontinuerepeating aslongyou Whenyouplaythekeyspeci 0 , thepatternwillbeplayedatits originalpitch. Thatkeywillsoundthecurrently selectedtrack “ KEY. Key-off “ Pattern ” Whenyouplaythekey, thepattern fi ed ” willbetriggered. “ KEY. ” fi ed fi “ ed by ± KEY 1 octave.With a Basic Guide ” “ “ willbe KEY, KEY. Key-off Same key,orC2 – 12...+12] ” fi ” the Ifthe ed ) For 71

P9 P8 P7 P6 P5 P4 P3 P2 P1 P0 Sequencer Off: The pattern will begin playing at the moment you press 6–3c: Selected Track Information (Track No.: Bank the note. Beat: The pattern will synchronize to the beats of the pattern No., program No., name and Ch) that was started by the first key (i.e., the first note-on that This shows the program bank, number, program name, and occurs from a condition where no notes of the keyboard are MIDI channel of the track selected in the RPPR Setup tab. 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.

Sync settings Key 1 on Key 2 on Key 1 off

Song

Patterns 1 and 2 are set to Mode=Manual, and have identical Sync settings Sync: OFF Pattern 1

Pattern 2

Sync: Beat Pattern 1

Pattern 2

Sync: Measure Pattern 1

Pattern 2

Sync: SEQ Pattern 1

Pattern 2

• 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. Stopping playback of a RPPR pattern By pressing C2 or any lower note, 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 Off can be stopped immediately by rapidly pressing C2 or any lower note twice in succession.

72 7 7 When knob and[VELOCITY]etc. arpeggio patternandparameters,adjustthe[GATE] can berecorded. Whileyourecord, youcanmodifythe arpeggiator duringsongtrackorpatternrealtime-recording In Sequencermode,themusicaldatageneratedby between twodifferent arpeggiopatterns,etc. been splitacross thekeyboard, orusevelocitytoswitch apply different arpeggiopatternstotwosoundsthathave the twoarpeggiatorssimultaneously. Thisallowsyouto In Sequencermode(asinCombinationmode),youcanrun Sequencer mode.Thesesettingscanbemadeforeachsong. Here youcanspecifyhowthearpeggiatorwilloperatein • • sequencer. giator canbesynchronized tothestarttimingofinternal – – [ON/OFF] key. stop onlythearpeggiator,pressARPEGGIATOR arpeggiator andsequencerwillbothstop.Ifyouwishto When youpressthe[START/STOP]key, the timingofsequencer. [START/STOP] key,thearpeggiatorwillsynchronizeto When youturnonthearpeggiatorandpress 2: Setup9 1: Setup1 the sequencerindependently. It isnotpossibletosetthetempoofarpeggiatorand When STOP] keyoftheTRITON Even inthiscase,youcanstart/stopusingthe[START/ trol. TO HOSTconnectorcanperformthesametypeofcon- the externalMIDIdeviceconnectedtoINor F 7 0 0 . . . , theMIDIrealtime clockmessagestransmittedfrom Sequencer P7:Arpeggiator – – – “ 1a 1a 1g MIDI Clock “ MIDI Clock ” – – (GlobalP1:1 16 8 (SetupT01 ” is (SetupT09 ExternalMIDI ’ s sequencer. – 1a) is – 08) – 16) Internal or External PCI/ , thearpeg- 7 – 1 Arpeggiator Assign [Off, A,B] [Off, turned on,thearpeggiatorspeci 16. Whenthefront panel ARPEGGIATOR [ON/OFF]keyis This assignsarpeggiator A orarpeggiatorBtoeachtrack1 Arpeggiator Assign 7 the notedatathatisgeneratedfrom thetwoarpeggiators. multi-track recording ( nal MIDIdeviceconnectedtoIN. You canalsouse control onefrom thekeyboard andtheotherfrom anexter- You canset specify. more tracks, thearpeggiatorwillplayeachoftracksyou subject tothe arpeggiator For tracksthatyouwishtorealtime-record, selecteither select thearpeggiopatternandsetparameters. B: select thearpeggiopatternandsetparameters. A: Off: here. Example 1) = Ch1 Trigger = Ch1 Trigger – Arpeggiator Bwilloperate.Usethe Arpeggiator Btabto Arpeggiator A willoperate.Usethe Arpeggiator A tabto 1(2)a: Arpeggiator Assign,RunA,B On tracks1and2,set and arpeggiatorBtotrack2,check “ Run A, B Run A, track 2. operate fortrack1andarpeggiatorBwill OFF] keyandplaythekeyboard, arpeggiator A will When youturnonthefront panel ARPEGGIATOR [ON/ simultaneously. OFF, playthekeyboard andtracks12willsound With thefront panel ARPEGGIATOR [ON/OFF]key Thearpeggiatorwillnotoperate. Status a If thetracks1 played bythesequencer. The arpeggiatorcannotbetriggered bythenotes mitted onthe tus the notedatageneratedbyarpeggiator. Ifthe “ In thiscase,arpeggiator A orBwillbetriggered bythe If the( corresponding arpeggiatorisassigned. external sequencer. Control ON,andturnoff theechobackfunctionof to berecorded ontheexternalsequencer, turnLocal If youwantthenotedatageneratedbyarpeggiator TON ger notesonanexternalsequencerandrun theTRI- received atMIDIIN.Ifyouwishtorecord justthetrig- from thekeyboard. Itwillbetriggered bynotedata OFF, thearpeggiatorwillnotbetriggered bynotedata MIDI Channel “ Status ” is Arpeggiator Arpeggiator ’ s arpeggiatorinthisway, turnLocalControl OFF. ” “ B (2 A BTH A ” A Local Control On (7 and ” “ or – (2 Arpeggiator Run A, B 1a) to – , 1a). In B – EXT – Pattern -B Pattern -A 1a) of B . Ifyouspecifyanarpeggiatorfortwoor “ 16 assignedtoarpeggiators A andBhave MIDI Channel totwodifferent MIDIchannels,and ” INT (2 , or MultiREC “ – INT Track Select, 1a) ofanytrack1 “ . Assign arpeggiator A totrack1 Assign Arpeggiator EX2 MIDI Channel A B or ” , MIDInotedatawillbetrans- rc1MD h1hStatus=INT MIDICh=1ch Track1 rc2MD h1hStatus=INT MIDICh=1ch Track2 GlobalP1:1 BTH ﬁ ) tosimultaneouslyrecord ed foreachtrackwillrun, ” ofeachtrack. , theywillbeplayedby ” ” settingsandsetting choose ” (2 – “ 16 towhichthe – Arpeggiator – 1a) isturned 1a) to Track01 01 and “ . Pattern -B Pattern -A Sta- 73 –

P9 P8 P7 P6 P5 P4 P3 P2 P1 P0 Sequencer Example 2) 7–3: Arpegg. A (Arpeggiator A) 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. 7–4: Arpegg. B (Arpeggiator B) Assign arpeggiator A to tracks 1 and 2, and arpeggiator B In the Arpegg. A tab you can make settings for arpeggiator to track 3. Check the “Arpeggiator Run A, B” (7–1a) set- A, and in the Arpegg. B tab you can make settings for arpeg- ting. giator B. The “Copy Arpeggiator” (7–1A) page menu com- • In “Track Select,” choose Track01. mand can also be used to copy arpeggiator settings from Playing the keyboard when the front panel ARPEGGIA- another mode such as Program mode. TOR [ON/OFF] key is off will play the sound assigned to track 1. 7–1 Playing the keyboard when the front panel ARPEGGIA- TOR [ON/OFF] key is on will cause arpeggiator A to 0 –.1a . operate for tracks 1 and 2, and produce sound for both 0–1g tracks. • In “Track Select,” choose Track02. 7–3a Playing the keyboard when the front panel ARPEGGIA- TOR [ON/OFF] key is off will play the sound assigned to track 2. Playing the keyboard when the front panel ARPEGGIA- TOR [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. Playing the keyboard when the front panel ARPEGGIA- 7–3(4)a: Arpeggiator–A(B) Setup TOR [ON/OFF] key is off will play the sound assigned to Pattern (Pattern No.) track 3. Playing the keyboard when the front panel ARPEGGIA- [P000...P004, U000(A/B)...U231(D)] TOR [ON/OFF] key is on will cause arpeggiator B to Octave [1, 2, 3, 4] operate for track 3, and play the sound assigned to track Resolution [ , , , , , ] 3. Gate [000...100(%), Step] • Alternatively, you could choose Track01 in “Track Select” to run arpeggiator A for tracks 1 and 2, and use Velocity [001...127, Key, Step] an external MIDI device connected to the TRITON’s Swing [–100...+100(%)] MIDI IN to send note data to MIDI channel 3 to play Sort arpeggiator B. Latch Arpeggiator Assign Arpeggiator Pattern - A Trigger A Track1 MIDI Ch=1ch Status=INT Pattern - A Key Sync. (Keyboard Synchronize) = Ch1, Ch2 A A Track2 MIDI Ch=2ch Status=INT Pattern - A Keyboard Arpeggiator Pattern - B Trigger B Track3 MIDI Ch=3ch Status=INT Pattern - B = Ch3 B These are the arpeggiator parameters for the song. (“Pro- gram 7–1: Arpegg. Setup (Arpeggiator Setup)”) Arpeggiator Run A, B When the ARPEGGIATOR [ON/OFF] key is on, the arpeggiator(s) that are checked here will function for the track(s) 7–5: Scan Zone (Scan Zone A/B) to which they are assigned by “Arpeggiator Assign.” When the arpeggiator is on, A and B can be turned on/off indepen- Specify the range of notes and velocities that will trigger dently. each arpeggiator A and B.

7–1 7–1: Page Menu Command 0 –.1a . 0–1g 0–1A 0–1F 0–1B 7–1A 7–5a 0–1C 0–1I 0–1D 0–1J 7–5b 0–1E

7–1A: Copy Arpeggiator This command copies arpeggiator settings. “Combination 7–1A: Copy Arpeggiator.” 7–5a: Zone Map

This shows the “Scan Zone” settings for arpeggiators A and B (Combination “Zone Map” 7–4a).

74 o e [C ger arpeggiatorB( Specify therangeofnotes(keys)andvelocitiesthatwilltrig- [001...127] [001...127] [C Top Key B: A. Specify therangeofvelocitiesthatwilltriggerarpeggiator Bottom Velocity Top Velocity tor A. Specify therangeofnotes(keys)thatwilltriggerarpeggia- Top Key A: 7 is thelowerlimit. lower limit. otmKy[C Bottom Key [C Bottom Key o eoiy[001...127] [001...127] Bottom Velocity Top Velocity – “ 5b: ScanZone A/B Top Velocity the keyboard. holding downthe[ENTER]keyandplayinganoteon The valueoftheseparameterscanalsobeinputby “ Top Key ” ” istheupperlimit,and istheupperlimit,and “ A ” ). “ “ Bottom Key Bottom Velocity – – – – 1...G9] 1...G9] 1...G9] 1...G9] ” isthe ”

etc. fortheprogram usedbyeachtrack1 Here youcanmakeinserteffect settings,andspecifythebus track 1 Specify thebustowhichprogram oscillator(s)ofeach 8 8 tings canalsobeviewedinthe tor(s) ofeachtrack1 These settingsspecifythebustowhichprogram oscilla- IFX/Indiv.Out BUSSelect(BUSSelect) 8 be madeintheInsertFXtab. and chaining.Theeffect type,on/off, andchainsettingscan routing, thenamesofselectedeffects, theon/off status, This showsthestatusofinserteffects: theinserteffect 8 that willbesenttothemastereffects. ( – – – – Guide. For detailsoninserteffects, refer top.146 Combination P8 ():IFX/Indiv.Out BUSSelect(BUSSelect), 1(2)b: 1a: RoutingMap 2: Routing9 1: Routing1 (INDIVIDUAL) 1and2or34,set time, andoutputtheresult from AUDIO OUTPUT If youwishtovarythepanofasoundingnoteinreal- sounding notecannotbevariedinrealtime. sound from (MAIN)L/MONOandR,thepanofa Unlike thecasewhenyouselect the newpansettingwillbeappliedatnextnote-on. Source) tocontrol thepanningofprogram oscillator, you useCC#10(pan)or AMS (AlternateModulation AUDIO OUTPUT(INDIVIDUAL)1and2or34.If sponding track1 When IFX1 “ (or 8 0 0 0 8 BUS Select – – – – – Sequencer P8: Insert Effect Sequencer P8:Insert – 1b 1g 1e 1c 1a 16 willbesent. You canalsosettheamountofsignal IFX2 ” (or Send1 (MFX1),Send2(MFX2) 1/2 – IFX2 IFX5 or [DKit, L/R,IFX1...5,1...4,1/2,3/4,Off] ” 3/4 (8 – ) (8 – IFX5 – 1: Routing). – are selected,theprogram ofthecorre- 3) afterthesignalpassesthrough IFX. 16 willbesent.Thestatusoftheset- – – 16 willbeoutputinstereo from – – 3), andselecteither ), select 16 8 (Routing T01 (RoutingT09 “ 000: NoEffect Routing Map L/R – tooutputthe 16. – 1/2 “ “ 08) BUS Select – 8. Effect ” 16) or

for 3/4 “ IFX1 for ” 8 to ” 75 –

P9 P8 P7 P6 P5 P4 P3 P2 P1 P0 Sequencer Send1 (MFX1) [000...127] 8–3: Insert FX Send2 (MFX2) [000...127] Here you can select the type of the insert effects, turn them Here you can adjust the send levels from tracks 1–16 to mas- on/off, and make chain settings. ter effects 1 and 2. This is valid when “BUS Select” is set These functions are the same as in Program mode. Please either to L/R or Off. If IFX 1, 2, 3, 4, or 5 is selected, the send refer to Program mode “8–2: Insert FX.” level to the master effects 1 and 2 is set by the “Send 1” and However, unlike the case in Program mode, “Pan (CC#8), “Send 2” parameters located in the Insert FX tab, after the “Send 1(MFX1)” and “Send 2 (MFX2)” will be controlled by signal passes through IFX 1–5. the MIDI channels speciﬁed in each of the IFX 1–5 tabs. The These settings have no effect if “BUS Select” is set to 1, 2, 3, control changes used are the same as in Program mode. 4, 1/2 or 3/4. The pan (CC#8), send 1 and 2 settings you make here will be The send 1 and 2 settings you make here will be used when used when the song is played or recorded from the begin- the song is played or recorded from the beginning. If you ning. If you change the settings while recording, the changes change the settings while recording, the change will be will be recorded as part of the musical data, and the settings recorded as part of the musical data, and the send amount will change when the data is played back. You can also will change when the data is played back. You can also change these settings during playback. However if pan change these settings during playback. However if send 1 (CC#8), send 1, or 2 data has been recorded, the settings will and 2 data has been recorded, the settings will change change accordingly. accordingly. If “Status” (2–1a, 2a) is either INT or BTH, CC#8, #93, If “Status” (2–1a) is either INT or BTH, CC#93 and #91 and #91 can be received to control the pan following the can be received to control send 1 and 2 respectively and insert effect, send 1, or send 2 respectively, and change change their settings. When you switch songs or return their settings. When you switch songs or return to the to the beginning of a song, tracks whose “Status” is beginning of the song, tracks whose “Status” is BTH, EXT, EX2 or BTH will transmit these settings via MIDI. EXT, or EX2 will transmit these settings via MIDI. This This data will be transmitted on the MIDI channel of data will be transmitted on the MIDI channels speciﬁed each track as set by “MIDI Channel” (2–1a). The actual in the IFX 1–5 tabs (8–4 – 8–8). send level is determined by multiplying the value of 8–1 these parameters with the send level settings of the 0–1e oscillator(s) of the program used by the track (“Send1” and “Send2,” Program P8: 8–1d).

8–1: Page Menu Command

0–1A 0–1B 8–1A 8–1B 8–1C 0–1I 0–1J 8–4: IFX 1 8–5: IFX 2 8–1A: Copy Insert Effect 8–6: IFX 3 “Program P8: 8–1A: Copy Insert Effect.” However, the MIDI control channel speciﬁed in “Ctrl Ch” of 8–7: IFX 4 the IFX 1–5 tab will not be copied. 8–8: IFX 5 8–1B: Swap Insert Effect Set the parameters for the effects selected for IFX 1–5 in the “Program P8: 8–1B: Swap Insert Effect.” Insert FX tab (p.155). However, the MIDI control channel speciﬁed in “Ctrl Ch” of the IFX 1–5 tab will not be swapped. 0–1A 8–4a 8–1C: DrumKit IFX Patch “Combination P8: 8–1C: DrumKit IFX Patch.”

76 8 An asterisk channels ofthetracksthatare routed. All Routed: nels willbeusedtocontrol theeffect. channel settings,youcanspecifyhere whichofthesechan- you haverouted multipletracksthathavediffering MIDI ber – 4( Ch01 (CC#8), Send1(CC#93),and2(CC#91). modulation (Dmod),panfollowingtheinserteffect Select theMIDIchannelthatwillcontrol effect dynamic If youhaveselected channel ofthattimbre willbevalidif a trackforwhichdrum program isselected,theMIDI the settingof Select selected foranyoneofIFX1 command. – ):Cr h[Ch01...16,AllRouted] 8)a: CtrlCh – 16 ” (GlobalP5:5 Control canbeperformedfrom anyoftheMIDI “ fortracksthatare routed through theseIFX.If * ” willappearattherightofchannelnum- “ DrumKit IFXPatch – DKit 2b) settingofthedrumkit,or asthe – 5, regardless ofthe “ BUS Select All Routed ” pagemenu ” (8 – “ is 1b) of BUS ter FX(MasterEffects) However, theMIDIcontrol channelspeci ters are thesameasinProgram mode. off, andmakechainmasterEQsettings.Theseparame- Here youcanselectthetypeofmastereffects, turnthemon/ 9 that were selected intheMasterFXtab( Here youcansettheparametersofMFX1and2effects 9 9 9 9 However, theMIDIcontrol channelspeci the MFX1and2tabswillnotbeswapped. the MFX1and2tabswillnotbecopied. – – 9 – – – Guide. For detailsonthemastereffects, refer top.150 “ “ 1B: SwapMasterEffect 1A: CopyMasterEffect Program P9:9 Program P9:9 1: MasterFX 3: MFX2 2: MFX1 – Sequencer P9:MasterEffect 1: PageMenuCommand ” – – 1B: SwapMasterEffect. 1A: CopyMasterEffect. ” 0 0 9 9 0 – – – – – 1J 1I 1B 1A 1A “ ﬁ ﬁ Program 9 p.155). ed in ed in ” ” “ “ Ctrl Ch Ctrl Ch “ 8. Effect – 1: Mas- 9 0 9 ” ” 77 – – – of of 2a 1A 1

P9 P8 P7 P6 P5 P4 P3 P2 P1 P0 Sequencer 9–2(3)a: Ctrl Ch [Ch01...16, Gch]

Specify 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 perform 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.207).

0–1A 9–4a

9–4a: Ctrl Ch [Ch01...16, Gch]

Specify 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.

78 4. Sampling mode

In Sampling mode you can record 48 kHz 16 bit samples. multisamples or samples, so you will first need to load On the TRITON, “sampling” refers to a process in which previously-saved data from a floppy disk or external analog audio signals from a mic or audio device connected SCSI device before you can playback or edit it. to the AUDIO INPUT jack are converted into digital form There is no Compare function that allows you to restore and recorded into internal memory. The sound that is con- edited data to the state before it was edited. If you wish verted into digital form can be processed by an insert effect to preserve the unedited state of the data, use “Copy is being sampled. MS” (0–1E) or “Copy Sample” (0–1B) etc. to make a The TRITON comes with 16 Mbytes of sample memory copy of the multisample or sample before you begin (waveform memory). This allows approximately 2 minutes editing. and 54 seconds of monaural sampling, or approximately 1 In some of the page menu commands in P1 or P2, you minute and 27 seconds of stereo sampling. By installing one can uncheck the “Overwrite” item in the dialog box so or two 72-pin SIMM boards you can expand the memory to that the unedited sample data will be preserved even a maximum of 64 Mbytes (two 32 Mbyte SIMM boards). In after you execute the command (1–1: Page Menu this case, you will be able to record up to four monaural Command “About Overwrite”). samples that are each 2 minutes and 54 seconds long, for a total of 11 minutes 39 seconds (or four stereo samples that When executing a sample edit operation or when you are each approximately 1 minute and 27 seconds long, for a finish recording a stereo sample, you may hear a slight total of 5 minutes 49 seconds). (For details on the 72-pin noise. This does not affect the audio data that has been SIMM boards that can be used and on the installation proce- edited or sampled. dure, p.237) Cautions regarding sample data In Sampling mode, samples that have been sampled or • The sample data memory areas Bank 1, 2, 3, and 4 each loaded from storage media can be assigned to an index contain 16 MB. Of this 16 MB (8,388,608 samples), (zone) to create a multisample. One multisample can contain sixteen samples (the first and last eight samples) are many indexes used as internal work area. A multisample you create can easily be converted into a pro- • The first and last samples of each sample are used as gram (“Convert MS To Program” 0–1G). When a multi- internal work area. These two samples are added Sampling sample is converted, filter, amp, and effect settings etc. will automatically when a sample is recorded or when an be made, and it can be played as a program. This program .AIFF or .WAVE file is loaded. This means that if you can also be used in Combination mode or Sequencer mode. record a sample of one second, this will result in

Samples can also be used as drum samples in a drum kit. 48,000 samples of data, but four samples will be added P0 to this, so that sampling memory will actually contain

Multisample 48,004 samples of data. P1 Index001 Index002 Index003 Index004 Top Key Top Key Top Key Top Key

Sampling P0: Recording P2

Here you can set the input level and make other basic settings for sampling (sample recording), and make basic set- P3 Index 001 Index 002 Index 003 Index 004 tings for multisamples and samples. Normally you will record samples in this page. 0000: 0001: 0002: 0003: P4 Sample A Sample B Sample C Sample D

Multisample Program OSC (Single/Double) 0–1: Recording P8

Sample Drum Kit Program OSC (Drums) 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. Sampling (sample recording) can be performed in any page P0–P8 of Sampling mode by using the [REC/ 0–1 WRITE] and [START/STOP] keys (For the sampling procedure, refer to p.78 in the Basic Guide). 0–1a Recording settings such as the input level can be made in P0: Recording, and these settings are also valid in the 0–1b other pages. The selected multisample or sample can be played from 0–1c the keyboard in any page, allowing you to hear the 0–1d results of your editing. When you turn off the power, all multisample and sample data in Sampling mode will be lost. Before you turn off the power, be sure to save important data to ﬂoppy disk or external SCSI device (p.40 in the Basic Guide). If a separately sold EXB-SCSI option is installed, data can be saved on an external SCSI device. Immediately after the power is turned on, memory will contain no

79 0–1a: MS (Multisample), Index, Keyboard & Index Keyboard & Index Original Key (currently selected Original Key is reversed) MS (Multisample) [000...999] Index zone (currently selected Index is reversed) Index01 Index02 Index03 Index04 Index05 Select the multisample. Each multisample consists of the samples for one or more indexes (an “index” is a range or zone of keys). C4 key This parameter is linked with the identically-named Keyboard range Lowest note of the Highest note of the parameters in P1–P3. displayed keyboard displayed keyboard By holding down the [ENTER] key and playing a note, you can select the corresponding To create a new multisample, index, and the specified key will be the base key and will be shown in gray. 1 In the popup menu, either select a number whose multi- This displays the zones and original keys of the selected sample name is blank, or use the numeric keys [0]–[9] to multisample. The black triangle shows the keyboard range, specify a new multisample and press the [ENTER] key to and the white triangle shows the C4 key. The note numbers access the “Create New Multisample” dialog box. at left and right show the keyboard note range that is displayed. The base key (displayed in gray) • When you press the [START/STOP] key in P1: Sample Edit, the sample of the selected index will playback (in 2 If you wish to create a stereo multisample, check “Ste- one-shot mode) between the “Edit Range Start” and reo.” “Edit Range End.” At this time, the playback pitch will 3 To create the multisample, press the OK button. To canbe according to the pitch of the key specified here. cel, press the Cancel button. • Playback in the grid display of P1 and P2 will be A multisample will be created as follows (example). according to the playback pitch of the key selected here, Mono type 001: NewMS______001 and the specified tempo BPM/resolution (set in P1 and Stereo type 001: NewMS______001-L, P2). 001: NewMS______001-R • The “Pitch BPM Adjust” (3–1A) function is based on the Index [xxx (001...128)/yyy (001...128)] playback pitch of the key you specify here. Select the index for which you wish to sample. You can use the “Keyboard Display” (0–1J) page menu com- Each zone in a multisample is called an “index.” For exam- mand to change the displayed range of the keyboard. ple on the TRITON (61 note keyboard), a multisample could be divided into six zones of one octave (12 keys) each. Each 0–1b:Sample, Original Key, Top Key, Range, Cre- of these zones is referred to as an “index.” You will assign a sample to each of these indexes. ate xxx: The selected index. Choose the desired index. Here you can set the sample, original key, and range of the yyy: The total number of indexes in the multisample. selected index. You can also select an index by holding down the Sample [----: ---No Assign----, 0000...3999] [ENTER] key and playing a note on the keyboard. The Select a sample that you sampled or loaded in Disk mode, index that includes that note will be selected. The key and play a note within the index range to sound that sam- you specify will be the base key, and will be displayed ple. in gray in “Keyboard & Index” (“Keyboard Index”). This parameter is linked with the identically-named This parameter is linked with the same parameter of P1: parameters in P1–P3 (Multisample tab). Sampling and Sample Edit, P2: Loop Edit, and P3: Multisample. The editing that you perform in these pages will apply to sampling and editing that you perform in each page the sample you select here. will apply to the index you select here. ----: ---No Assign----: No sample is assigned to the index. Immediately after the power is turned on, this will be 001/ There will be no sound when you play the keyboard. 001. This indicates that only one index exists. To increase the To record a sample, select a vacant sample such as 0000:. number of indexes, use “Create” in this page. When you When you record a sample, data will be loaded into the press the Create button, indexes will automatically be selected sample. The sample name (such as added from the left-most zone, as 002/002, 003/003, ... (The NewSample_0000) will be shown beside the number. This position, zone width, and original key location of the index sample name can be modiﬁed using the “Rename Sample” that is created when you press the Create button can be set (0–1C) page menu command. in Create Zone Preference (0–3a, 3–2a). You are also free to You can also record a sample even when ----:---No Assign---- modify the zone width and original key location later.) 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.

80 erence (0 new indexwillbecreated according totheCreate ZonePref- ple toamultisample.Whenyoupress the This creates anindex.Usethis when youwishtoaddasam- Create The sampleselectedby [C “ This indicatesthezone(area) thatwasdetermined bythe Range de Specify thehighestkeyinzoneofindex.Theis TopKey (Top Key) [C “ For example,supposethatyourecorded asamplewith change insemitonestepsrelative totheoriginalkey. (i.e., thepitchatwhichitwasrecorded). Thepitchwill Specify thekeythatwillplaysampleatitsoriginalpitch OrigKey (Original Key) The originalkeylocationcanalsobeviewedin in semitonestepsbetweenC2andB2,centered atF2. semitone lower. Thepitchofthissampledsoundwillchange tone higher. Pressing E2wouldplaybackthesamplea nal pitch.Pressing F#2wouldplaybackthesampleasemi- pressing theF2keywouldplaybacksampleatitsorigi- Index. The zoneforeachindexcanalsobeviewedin set a Index. B3. will beB2andlower, andthe zoneofindex002willbeC3 B3 and or exchangeindexes,useP3:Multisample. Top Key OrigKey • • ﬁ forindex002/002.Thismeansthatthezoneof001 ned bythis “ If be soundedatitsoriginalpitchbyallnotesinthezone. If whenyouexecute (3 Set Top Key: new index,performthefollowingprocedure. lowing dialogboxeswillappear. Ifyouwishtocreate a to yourCreate ZonePreference settings,oneofthefol- 3 Key can becreatedattheleftofindex1,re-set or Set ZoneRange: “ appear. Thisdialogboxwillalsoappearifyouexecute Zone Preferencesettings,thefollowingdialogboxwill possible tocreateanewindexaccordingtheCreate with thecontentsof the button “ Original KeyPosition. – Insert Top Key ” ” – “ 2a) to “ 1c) itisnotpossibletocreate anewindexaccording Constant Pitch “ Insert ” – ” Zone Range ” setting,andpressthe 3a, 3 setting. of ” . whenitisnotpossibletocreateanewindex Left (toSelectedIndex) F2 ” ” – toopenthedialogbox.Sothatanewindex “ of 2a) parameters . WhenthezoneofindexisC2 Top Key. Select B2 forindex001/002,anda Ifyouexecute ” ” (0 (3 “ “ Sample – ” “ Index – 3a, 3 Forexample,supposethatyou Create 1b) is ” “ Ifyouwishtodeleteanindex Cut – “ ” 2a), andpressthe OK button Position, ”

” 001 checked willsoundinthisarea. ” (0 or , set “ – , andexecute Create 1b, 3 “ Copy ” “ , thesamplewill

Create button Position – “ . 1c) or Zone Range, ” ” whenitisnot (3 “ “ “ Keyboard & Keyboard & Top Key – 1c). Re-set “ OK “ ” – “ Insert – – Top (0 B2, Create 1...G9] 1...G9] – 3a, ” , a ” ” of

–

”

Mbyte SIMMboards) ( expand thememorytoamaximum of64Mbytes(two32 By installingseparatelysold72-pinSIMMboards youcan tions willbecreated automatically. In thiscase,astereo samplethatmeetsthefollowingcondi- • • ples willbehandledasastereo sample. Stereo samples: 2. 1. A Stereo possible toselect [RAM1,RAM2,RAM3,RAM4] always beselectedasthememorybank,anditwillnot (SIMM) installedasstandard. Inthiscase, 16 Mbytes.TheTRITON comeswith16Mbytesofmemory sample datamemoryisorganized intofourbanks,eachwith Select thememorybankintowhichyouwillsample.The RAM Bank stereo sampling. sample, specifythesamplingtime,andselecteithermonoor Here youcanselectthememorybankintowhichwill 0 2. 1. • multisamples willbehandledasastereo multisample. Stereo multisamples: About stereomultisamplesandsamples with stereo multisampleorsample,ifyourecorded asample conditions willbecreated automatically. In thesecases,astereo multisamplethatmeetsthefollowing • • – “ indexes, andtheirzonesettingsare identical. The twomultisampleswillhavethesamenumberof the namesare identical. will be-L and-Rrespectively, andtheearlierportionof The lasttwocharactersofthemultisamplenames samples are selected. Two samplesthatsatisfycondition1. forstereo multi- identical. -R respectively, andtheearlierportionofnamesare The lasttwocharactersofthesamplenamewillbe-L and page menucommand If youexecutedthe Mode When thesampleswererecordedwitha If youchecked multisample (i.e.,selectedanewin 0 If yousampledwith menu command If youexecutedthe 1c: RECSampleSetup(RecordingSetup) Stereo – If youuse internally bytheirmultisamplenameorsamplename. Stereo multisamplesandsamplesare distinguished sample byusingthepagemenucommand must beidentical. You canverifythesamplingrateofa As aconditionofstereo sample,thesamplingrates name, pleasepayattentiontotheaboveconditions. (0 vert rates, theywillnotbehandledasastereo sample. convert the-L and-Rsamplestodiffering sampling “ 1a) Sample Mode – 1C) etc.tomodifythemultisamplenameorsample ” ” ” (1 (0 indicationwillappearhere ifyouhaveselecteda – – 1K). Beaware thatifyouuse 1c) settingof “ Rename MS Under thefollowingcondition,twosam- RAM2 “ Stereo ” (0 Underthefollowingconditions,two “ “ – “ Sample MonoToStereo MS MonoToStereo , p.237). 1c) setto Sample Mode 3 ” , or whencreatinganew Stereo ” (0 4 . – 1F) or . Stereo ” “ (0 Rename Sample . “ RAM1 – Rate Convert 1c) setto ” “ (0 Sample – “ ” 1H) page Rate Con- (0 will – “ 1H) Stereo MS ” ” 81 ” to

P8 P4 P3 P2 P1 P0 Sampling Installed SIMM boards and available banks Example 1: Sampling a monaural source connected to AUDIO INPUT 1 RAM Bank Slot No. 16M-SIMM 32M-SIMM without applying internal effects RAM1 Slot1 16Mbyte 16Mbyte L000 RAM2 Slot1 16Mbyte “Input1 Pan” (0–2a) “Level” (0–2a) 127 RAM3 Slot2 16Mbyte 16Mbyte “BUS(IFX)Select” (0–2a) L/R RAM4 Slot2 16Mbyte “Recording Level [dB]” (0–1d) as appropriate “Sample Mode” (0–1c) L-Mono The TRITON is shipped with a 16 Mbyte SIMM installed in Slot 1. In this condition, you can select only Example 2: RAM1 as the “RAM Bank.” If a 16 Mbyte SIMM is A monaural source connected to AUDIO INPUT 1 routed installed in Slot 2, you will be able to select RAM1 (16 through the internal insertion effect IFX 052: Reverb Hall, and Mbyte) and RAM3 (16 Mbyte). If a 32 Mbyte SIMM is sampled in stereo installed in Slot 2, you will be able to select RAM1 (16 “Input1 Pan” (0–2a) C064 Mbyte), RAM3 (16 Mbyte) and RAM4 (16 Mbyte). If a “Level” (0–2a) 127 32 Mbyte SIMM is installed in both Slot 1 and Slot 2, “BUS(IFX)Select” (0–2a) IFX1 you will be able to select all banks, and the total capacity will be 64 Mbytes. IFX1(P8) select 052: Reverb Hall and make settings Sample Time “Recording Level [dB]” (0–1d) as appropriate Specify the time that you wish to sample. This can be set in “Sample Mode” (0–1c) Stereo 0.001 second increments. Immediately after the power is Example 3: turned on, this will show the remaining memory (available A stereo source connected to AUDIO INPUT 1 and 2, and sampling time) of the selected memory bank. If you record a sampling without applying internal effects sample in this condition ([REC]→[START]→[STOP]), the change in time will be displayed automatically. “Input1 Pan” (0–2a) L000 If you have sufficient memory, it is a good idea to set an “Level” (0–2a) 127 ample “Sample Time,” and to use the “Truncate” (1–1A, 2– “BUS(IFX) Select” (0–2a) L/R 1A) page menu command after you sample to delete “Input2 Pan” (0–2a) R127 unwanted portions of the sample and reduce it to the mini- “Level” (0–2a) 127 mum size necessary. You can also press the [START/STOP] “BUS(IFX)Select” (0–2a) L/R key to stop recording after you have recorded the desired “Recording Level [dB]” (0–1d) as appropriate material ( For details on the sampling procedure, refer to “Sample Mode” (0–1c) Stereo p.78 in the Basic Guide). Example 4: The remaining amount of memory will depend on the fol- A stereo source connected to AUDIO INPUT 1 and 2, routed lowing conditions. through internal insertion effect IFX1 008: St.Graphic 7EQ, 1. The amount of memory that is installed. and sampled in stereo 2. Whether the sample is stereo or mono. When the “Sam- ple Mode” (0–1c) is set to Stereo, the memory capacity “Input1 Pan” (0–2a) L000 will be halved. “Level” (0–2a) 127 “BUS(IFX)Select” (0–2a) IFX1 3. The time specified for “Pre Trigger REC” (0–2b: a function that automatically samples the sound even before “Input2 Pan” (0–2a) R127 you begin sampling) will be subtracted from the amount “Level” (0–2a) 127 of memory that actually remains. “BUS(IFX)Select” (0–2a) IFX1 IFX1(P8) select 008: St.Graphic 7EQ and Sample Mode [L-Mono, R-Mono, Stereo] make settings Select the channel(s) to be sampled, to specify whether a “Recording Level [dB]” (0–1d) as appropriate mono or a stereo sample will be recorded. “Sample Mode” (0–1c) Stereo Depending on the “Audio Input (SAMPLING)” (0–2a) set- When you finish recording a stereo sample, you may tings, the external source from the AUDIO INPUT 1 and 2 hear a slight noise. This does not affect the audio data jacks will be sent, either as direct sound without being that has been sampled. routed through an effect, or as effect-processed sound routed through an insertion effect, to the L/R bus and sampled from the L and R channels. 0–1d:Recording Level [dB] L-Mono: The sound of the internal L channel will be sam- [–inf, –72.0... 0.0...+18.0] pled in mono. R-Mono: The sound of the internal R channel will be sam- Adjust the final level of the signal that will be sampled. pled in mono. This is linked with the identically-named parameter in Stereo: The sound of the internal L and R channels will be P0–2: Input/Setup. sampled in stereo. When you sample in stereo, a stereo multisample or sample will be created. When you press the [REC/WRITE] key you will enter sampling standby mode. Use the slider to adjust the signal level. 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.

82 2 1 (i.e., unusedsamples). sample, orsamplesthatare notmappedtoamultisample This commanddeletesallsamples,thecurrently selected 0 AUDIO INPUT – 0 1A: DeleteSample deleted. Use theradiobuttonstospecify which sampleswillbe Select thiscommandtoopenthefollowingdialogbox. – high aspossiblewithoutmaking use therear panel[LEVEL]knobtoadjustthelevelas In order to samplewiththemaximumdynamicrange, appear. Thenset “ without makingthe phones willbeadjustedbythe AUDIO OUTPUTL/MONO,Randfrom thehead- [REC/WRITE] key, thesoundthatisoutputfrom the In thesamplingstandbyconditionafteryoupress the If youhavelowered the cel sampling,thesoundwillbeoutputat but whenyoucancelsamplingstandbyconditionorcan- “ If thesoundisstilldistortedevenifyoulower please becareful ofsuddenchangesinvolume. INPUT canbeveri Excessive signallevelsintheinputstageof AUDIO internal effect. that distortionisbeingcausedbythesettingsof occurring intheinputstageof AUDIO INPUT, or “ indication of by thesettingsofinternaleffect. Lowerthe lowered, itispossiblethatthedistortionbeingcaused If there isstilldistortionevenafter [LEVEL]hasbeen "ADC OVERLOAD!!"displaynolongerappears. INPUT. Adjust therear panel[LEVEL]knobuntilthe excessive levelsintheinputstageof AUDIO 1, 2)Level cute Normalizein If youhavesampledatalowinputlevel,canexe- clipping. amplify theleveltomaximumpossiblewithout Recording Level Recording Level, Recording Level 1: PageMenuCommand 0 0 0 0 0 0 – – – – – – ADC OVERLOAD!! 1F 1E 1D 1C 1B 1A (MIN...MAX) LEVEL Converter Analog toDigital ” ADC (0 “ [127=0dB] "Level" (0 – ADC OVERLOAD!! 2a), oradjusttheeffect settings. “ ” ” Level – “ ﬁ ” (0 bardisplay, thedistortionisdueto 2a) Normalize/Level Adj. itispossiblethatdistortion ed intheP0:InputSetuptab.Ifan “ – CLIP!! "Pan" (0 1d, 0 ” “ (0 Recording Level – 2a) – – Effects ” Insert 2c) ashighpossible 2a) to indicationappear. [ "Recording Level"(0 – “ inf ...0.0dB+18.0dB] Recording Level “ ADC OVERLOAD!! ” 127 appearsabovethe , andadjust – ” 1d) CLIP !! ” below (1 "Sample Mode"(0 0 dB – 1I) to R-Mono L-Mono “ ” (Input slider, level. 0 dB 0 0 0 0 – – – – Stereo 1G 1H 1I 1J – 1c) , ”

1 another sample. This commandcopiesthecurrently selectedsampleto 0 3 3 2 – 1B: CopySample No Assign--- sample assignmentsofallmultisampleswillchangeto All Samples: (used) inamultisamplewillbedeleted. Unmapped Samples: ---No Assign--- The sampleassignmentfor Selected: Select thiscommandtoopenthefollowingdialogbox. button To executetheDeleteSamplecommand,press the If you ber. L andRchannelsforthecopydestinationsamplenum- Specify thesamplenumberofcopydestination. If youdo ple Edittocreate twoormore different typesofsample. the samesampledata,andedititseparatelyinP1:Sam- example, youwouldusethiswhenwishtostartwith ples willexistascompletelyindependentsamples.For data) aswell.Thecopysource andcopydestinationsam- will simultaneouslycopythesampledata(waveform that share thissampledata. edit thesampledata,results willaffect allsamples sumed bythistypeofcopy. IfyouuseP1:SampleEditto loop addresses. Sample memoryarea willnotbecon- more versionsofthesamesampledatawithdifferent when youwishtouseP2:LoopEditcreate twoor copy source sample.Forexample,youwouldusethis newly created samplewillshare thesampledataof copy willnotthesampledata(waveformdata).The "Copy Sample" with SampleData "Copy Sample" name isusedtodistinguishstereo samples. not identicaltoanyothersamplename.(The rename it.Whendoingso,makesure thatthenameis nation. Ifnecessary, use cally beincludedinthesamplenameofcopydesti- The copydestinationsamplenumberwillautomati- itself willnotbedeleted.Onlythesample delete isbeingusedbyanothersample,thesampledata If thesampledata(waveformdata)ofyou check . To cancel,press the Whencopyingastereo sample,specifyboththe Thecurrently selectedsamplewillbedeleted. not check

“ . 0001: NewSample_0001 0001: NewSample_0001 0000: NewSample_0000 0000: NewSample_0000 All samplesinmemorywillbedeleted.The with SampleData . “ with SampleData All samplesthatare notmapped “ Rename Sample “ Cancel button Index ” : Executingthecopy ” (0 Sample Memory Sample Memory Sample Data Sample Data Sample Data – 1a) willchangeto ” : Executingthe . ” (0 – p.81) C) to OK 83 ---

P8 P4 P3 P2 P1 P0 Sampling 4 To execute the Copy Sample command, press the OK When copying a stereo multisample, copy both button. To cancel, press the Cancel button. the L and R channels of the copy destination multisample 0–1C: Rename Sample number. 3 To execute the Copy Multisample command, press the This command lets you modify the name of the currently OK button. To cancel, press the Cancel button. selected sample. When a multisample is copied, the samples assigned to 1 Select this command to open the following dialog box. 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.)

2 Press the text edit button to open the text edit dialog box, 0–1F: Rename MS (Rename Multisample) and input the desired sample name (up to sixteen charac- This command modiﬁes the name of the currently selected ters). multisample. If the multisample is stereo and a stereo sample 1 Select this command to open the following dialog box. 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 characters of the sample of either the L or the R channel, the other sample will automatically be renamed. 3 To execute the Rename Sample command, press the OK 2 Press the text edit button to move to the text edit dialog button. To cancel, press the Cancel button. box, and input a multisample name of up to sixteen characters. 0–1D: Delete MS (Delete Multisample) If the selected multisample is stereo, up to four- This command deletes the currently selected multisample or teen characters can be input as the multisample name. all multisamples. This is because the last two characters are reserved for -L 1 Select this command to open the following dialog box. 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. 3 To execute the Rename Multisample command, press the OK button. To cancel, press the Cancel button. 0–1G: Convert MS To Program 2 All Multisamples: Check this if you wish to delete all (Convert Multisample To Program) multisamples. This command converts the selected multisample into a pro- 3 Delete Samples too?: Check this if you also wish to gram. delete the samples included in the deleted multisam- If you have recorded a sample or created a multisample and ple(s). would like to play it in Program mode, Combination mode, 4 To execute the Delete Multisample command, press the or Sequencer mode, you must create a program that uses OK button. To cancel, press the Cancel button. that multisample for its oscillator. Even if you also choose to delete the samples that are It is possible to set the Program mode OSC1 and OSC2 included in the deleted multisample(s), any sample parameters “Multisample High, Low” (Program P1: 1–2a) to data (waveform data) used by these samples that is select a RAM bank, so that a multisample that you created in shared with other samples will not be deleted. Only the Sampling mode can be used in the program, and then to sample itself will be deleted. make program settings to specify how the multisample will be sounded. 0–1E: Copy MS (Copy Multisample) However by executing this “Convert MS To Program” com- This command copies the selected multisample to another mand, you can quickly and easily convert the Sampling multisample. mode settings into the desired program, without having to make Program mode settings as described above. The copy destination multisample number will auto- 1 Select this command to open the following dialog box. matically be included in the multisample name of the copy destination. If necessary, use “Rename MS” (0–1F) to rename it. When doing so, make sure that the name is not identical to any other multisample name. (The multisample name is used to distinguish stereo multisamples. p.81) 1 Select this command to open the following dialog box. 2 Press the text edit button to access the text edit dialog box, and input a multisample name of up to sixteen characters. The name you specify here will be the program name. 3 If “Use Destination Program Parameters” is unchecked: Executing the command will replace the multisample of 2 Specify the copy destination multisample number. the convert destination program with the multisample that is selected here, and will initialize the settings of the remaining program parameters. The sound that you hear

84 2 1 mono, thedialogboxwillallowyoutoexecute stereo multisample tomono.Iftheselectedmultisampleis This commandconvertsamonomultisampletostereo, ora 0 5 4 To Stereo. box willallowyoutoexecute • • – 1H: MSMonoTo Stereo/MS Stereo To Mono and sampleassignmentwillchange asfollows. When youexecutethiscommand, themultisampletype press the To executetheChangeMultisampleType command, Select thiscommandtoopenthefollowingdialogbox. button mand, press the To executetheConvert MultisampleTo Program com- In gram withan A monauralmultisamplewillbeconvertedintoapro- program. in Samplingmodewillbeaccuratelyreproduced bythe If Double Single will appear. ]keystomakeaselection.Whenyou Here youcanselectaprogram bybank. press thepopupbutton,Bank/Program Selectmenu ] [ slider, and[ numeric keys[0] When theeditcellisselected,youcanusefront panel gram, etc. you wishtousetheparametersettingsofapreset pro- the remaining program parameters.Usethissettingif that isselectedhere, andwillnotinitializethesettingsof the convertdestinationprogram withthemultisample Executing thiscommandwillreplace themultisampleof the banks. bank forSamplingmode. You canspecifyanybank A It isrecommended thatyouuse If you aware ofthefollowingpoints. If theselectedmultisampleismono, stereo, the Single Mode conflicts. not satisfied,amessagewillindicate to executethiscommandwhentheseconditionsare destination programmustbe program tothefollowingpansettings: reproduced bysettingtheconvertdestination position ofthemultisampleinSamplingmodecanbe and D.SpecifybankEtomakethemostef with theEXB-PCMseriesare designed forbanks A, B,C tings andthepreset programs/combinations included for theconvertdestinationprogram, butthefactoryset- Mode L000 Lvl/Pan tabandAmp2tab). “ “ Use DestinationProgram Parameters To Program, (Change MultisampleType) , and ” , andastereo multisamplewillbeconverted intoa . ” ” Iftheselectedmultisampleisstereo, thedialog program. check . Conversely,iftheselectedmultisampleis oftheconvertdestinationprogrammustbe settingoftheconvertdestinationprogram. Iftheselectedmultisampleisstereo,stereo OK button ” Youwillneedtochangethe “ “ Amp 2Pan Oscillator Mode

“ “ Oscillator Mode Use DestinationProgram Parameters, ” OK button – selecttheconvertdestinationprogram. [9], the[VALUE] dial,the[VALUE] . To cancel,press the ”

R127 “ . To cancel,press the MS Stereo To Mono. ” oftheconvert (ProgramP4:Amp1 Double ” (Program P1:1 bank E “ . Ifyouattempt Oscillator Mode ” “ “ is as theprogram Cancel button Amp 1Pan Oscillator “ Oscillator ﬁ checked “ cient useof MS Mono – ” Cancel 1a) of : ” ” be

– E . • 2 1 be executedwhenamonosampleisselected. This commandconvertsamonosampletostereo. Thiscan 0 3 2 1 Normally youwillselect This commandselectstherangeofkeyboard display. 0 • • • • • • MS MonoTo Stereo • • • • – – 1l: SampleMonoTo Stereo(ChangeSampleType) 1J: KeyboardDisplay The selectedsamplewillbecomeastereosample. change asfollows. When youexecutethiscommand,thesampletypewill OK button To executetheChangeSampleType command,press the Select thiscommandtoopenthefollowingdialogbox. OK button To executetheKeyboard Displaycommand,press the Use the Select thiscommandtoopenthefollowingdialogbox. multisample willbedeleted. Multisamples thatarestereopairsoftheselected deleted. The -Lor-Rattheendofmultisamplenamewillbe The selectedmultisamplewillbeconvertedtomono. assigned tothe-Land-Rmultisamples. of astereopairsamples,the-Land-Rsampleswillbe If samplesassignedtotheoriginalmultisamplearepart be assignedtoboth-Land-Rmultisamples. Mono samplesassignedtotheoriginalmultisamplewill overwritten as-R. with thelasttwocharactersofmultisamplename An identicalmultisamplewillbenewlycreated,but overwritten as-L. The lasttwocharactersofthemultisamplenamewillbe The selectedmultisamplewillbeconvertedtostereo. overwritten as The lasttwocharactersofthemultisamplenamewillbe to stereo. Also, iftheselectedmultisampleismono,itwillchange as thelasttwocharactersofsamplename. An identicallynamedsamplewillbecreatedwith sample name. will beoverwrittenintothelasttwocharactersof but whoselasttwocharactersare A newmultisamplewillbecreatedwiththesamename, automatically. The stereosamplethatwascreatedwillbeassigned : MSStereoTo Mono radio buttons . To cancel,press the . To cancel,press the “– L ” . toselectthedisplayedrange. 88Key Normal(A0 Cancel button Cancel button “– R ” . – C8) . . . “– “– L R 85 ” ”

P8 P4 P3 P2 P1 P0 Sampling 0–2: Input/Setup 2 Use the “Recording Level [dB]” slider to adjust the sampling level. Here you can make input level, pan, and bus settings for the rear panel AUDIO INPUT 1 and 2. Setup for recording can Be careful of changes in the monitoring volume level also be performed here. ( “Recording Level [dB]” 0–1d). 3 0–1 Adjust the “Threshold” setting. The black triangles at both sides of the “Recording Level [dB]” level bar display will indicate the “Threshold” level. Normally, this should 0–2a be set as low as possible without allowing noise to trigger sampling. 4 Press the [START/STOP] key. Sampling will automatically begin when the input level exceeds the “Threshold” setting. 0–2b 5 To stop sampling, press the [START/STOP] key once 0–2c again. Sampling will end automatically if you continue sampling to the end of the “Sample Time” (0–1c). Manual: You can manually begin sampling from the sampling standby condition by pressing the [START/STOP] key. 0–2a: Audio Input (SAMPLING) 1 Perform steps 1 and 2 above. 2 Press the [START/STOP] key, and sampling will begin. Here you can make adjustments for the input stage of the (If you use the “Count Down REC” function, sampling audio signal received at AUDIO INPUT 1 and 2. will begin after a count-down sounded by the metronome.) These settings are valid only in Sampling mode. These 3 To stop sampling, perform step 5 above. settings will also be valid when you move from Sam- pling mode to Global mode. Threshold [–63dB...0dB] In modes other than Sampling mode, settings for Audio When performing auto sampling (“REC Mode” Auto), this Input 1 and 2 are made in “Audio Input (COMBI, sets the level at which sampling will begin (“REC Mode” PROG, SEQ, S.PLAY)” (Global P0: 0–3a). Auto, step 3). Level [000...127] Count Down REC [Off, 4, 8, 3, 6] Specify the level of the signal immediately after the analog When sampling manually (“REC Mode” Manual), this spec- audio signal from AUDIO INPUT 1 and 2 is converted into a ifies whether there will be a count-down before sampling digital signal. Normally you will set this to 127. begins. If you hear distortion even after lowering this level, it is pos- Off: Sampling will begin immediately when you press the sible that the distortion is occurring before the A/D con- [START/STOP] key from the recording-standby condition. verter. Adjust the [LEVEL] knob or the output level of your 4, 8, 3, 6: When you press the [START/STOP] key from the external sound source so that the “ADC OVERLOAD!!” recording-standby condition, there will be a count for the indication above the “Recording Level” display does not specified number of beats at the tempo of “ (Tempo),” and appear. then sampling will begin. If you set this to 4, sampling will Pan [L000...C064...R127] begin on the “0” count of 4–3–2–1–0. Set the panning of the analog audio signal from AUDIO (Tempo) [040...240] INPUT 1 and 2. Normally you will set Input 1 to L000 and This sets the tempo of the count-down when “Count Down Input 2 to R127. This allows you to sample a stereo audio REC” is used. source in stereo ( For example settings, refer to p.78 in the The tempo specified here will also be used when the LFO or Basic Guide). delay time of the insert effect is controlled by the BPM/ BUS(IFX) Select [L/R, IFX1...5, Off] MIDI SYNC function during sampling ( p.216). This can also be set by the [TEMPO] knob. Select the bus. L/R: Select this when you wish to sample the incoming ana- Pre Trigger REC [000...500ms] log audio signal without applying an insert effect. Normally When sampling the sound that occurs before sampling is you will select L/R. actually triggered, this setting specifies the time length that IFX1...5: Select one of these when you wish to apply an will be “pre-sampled.” insert effect to the incoming audio sample as you sample it When sampling in auto mode (“REC Mode” Auto), sam- (For details on using the insert effects, refer to p.148). pling will begin when the input signal exceeds the specified Off: The analog audio signal will not be input. threshold level “Threshold” (0–2b). However depending on the “Threshold” settings, the early portion of the attack sound may be lost, and in such cases you can use “Pre Trig- 0–2b: Recording Setup ger REC.” Also, when sampling manually (“REC Mode” Manual) and REC Mode [Auto, Manual] using “Count Down REC,” you may intend to play your Select the method by which sampling will be started. instrument etc. at precisely the downbeat but actually be Auto: Sampling will begin automatically when the input slightly ahead of the beat. In such cases, you can use Pre level exceeds the “Threshold” setting. Trigger REC to sample without loosing the beginning of the note. 1 Press the [REC/WRITE] key to enter sampling standby mode.

86 Top: [Bottom,Center, Top] Center: Bottom: (speci Specify where theoriginalkeywillbelocatedinzone Original KeyPosition [1Key...127 Keys] 2 Keys ple samplesacross thekeyboard. [Right,Left] you playthatnote.Thissettingallowstotriggermulti- The sampleofanindexwillsoundatitsoriginalkeywhen 1Key: Specify thekeyrangeofzonenewlycreated index. Zone Range the leftofcurrently selectedindex. Left (toSelectedIndex): the rightofcurrently selectedindex. Right (toSelectedIndex): left oftheselectedindex. Specify whetherthenewindexwillbecreated attherightor Position are created whenyoupress the These settingsdeterminetheinitialstateofindexesthat 0 0 0 The ADC OVERLOAD!! 0 original key steps across the speci level oftheexternalsoundsource ( level. Ifthisoccurs,adjustthe[LEVEL]knoboroutput nal levelfrom AUDIO INPUT1and2exceedsthemaximum make here, butyouare free tomodifythesettingslater. Each newindexwillbecreated according tothesettingsyou 1b) is – – – 1d). – Link: 0 3a: CreateZonePreference 2c: RecordingLevel[dB] 3: Preference “ Thetopkeyinthezonewillbe originalkey. set at more than you need.Normallyshouldleavethis If youincrease thisvalue,youwillalwaysbesampling necessary. 0 0 0 ADC OVERLOAD!! ﬁ Eachindividualnoteofthekeyboard willbeanindex. checked – – – – ed by 3a 3c 3b Themiddlekeyinthezonewill betheoriginalkey. 127 Keys: Thelowestkeyinthezonewill be theoriginalkey. – 1d 000ms “ “ OrigKey , thepitchwillnotchange. Zone Range , andsetittoaminimalvalueonlywhen Thesamplewillchangepitchinsemitone ﬁ ” ed numberofkeys,centered onthe (0 The newindexwillbecreated at ” – Thenewindexwillbecreated at ” indicationwillappearifthesig- 1b, 3 ) foranewlycreated index. [ – Create button – inf, 1b). If – “ Recording Level[dB] 72.0... 0.0...+18.0] “ Constant Pitch (0 – 1b, 3 – ” 1c). 0 (3 – 1 – ”

ee [000...127] 0 Specify thelevelofmetronome soundplayedby Level [L/R,1,2,3, 4] played by Specify theoutputdestinationofmetronome sound BUS(Output) Select(BUS Select) 0 with loopingturnedon( Checked: Auto LoopOn 0 ape[0000...4000/4000 000...100%] [0000...3999/4000000...099%] Sample inMS [0000...0999/1000000...099%] Sample Multisample(MS) mum. ing numberisalsoshownasapercentage (%)ofthemaxi- Sampling modeformultisamplesandsamples.Theremain- This showsthemaximumnumberofsamplesavailablein 0 amount ofmemorythatisinstalled( bytes, andapercentage (%).Thedisplaywilldependonthe RAM banks1,2,3,and4.Theamountisshowninseconds, be loadedinDiskmode,orthesizeavailableforediting) available forsampling,thesizeofsample This showstheremaining amountofmemory(thetime 0 Down REC. (INDIVIDUAL) 1,2,3,or4respectively. 1, 2,3,4: L/Mono, R,andtheheadphones. L/R: – – – – – 3c: CountDownREC Metronome 3b: RECSamplePreference 4b: FreeNumber 4a: FreeSampleMemory Themetronome willbeoutputfrom OUTPUT(MAIN) 4: Memory Status 4: Memory 0 0 – – 4a 4b Themetronome willbeoutputfrom OUTPUT The recorded samplewillautomaticallybeplayed “ Count DownREC ” “ P2: LoopEditpage ” (0 – 2b). “ RAM Bank ﬁ ” les thatcan ). ” 0 “ Count – 1c). 0 87 – 1

P8 P4 P3 P2 P1 P0 Sampling Sampling P1: Sample Edit 1–1c: Sample waveform display, Edit Range Start, Edit Range End, Use Zero, Grid, ZOOM

Here you can edit the sample data (waveform data) that you Sample waveform display sampled or loaded in Disk mode. This displays the waveform of the selected sample. The hor- Editing operations such as deleting unwanted portions of izontal axis is the sample address (time axis), and the verti- the waveform, reversing the waveform, or lowering the cal axis is the sample level. sampling frequency can be performed in detail while view- ing the “sample waveform display.” The editing range speciﬁed in “Edit Range Start” and “Edit Range End” (1–1c) will be played when you press the [START/STOP] key, allowing you to audition the results (“Keyboard & Index” 0–1a). 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 1–1: Sample Edit multisample or sample is selected, the L channel sample data of the multisample will be displayed in the upper half, 1–1 and the R channel sample data in the lower half. Edit Range Start [0000000...] 1–1a 1–1b Edit Range End [0000000...] 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 “sample waveform display.” 1–1c To audition the selected range, press the [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) (“Key- 1–1a: MS (Multisample), Index, Keyboard & Index board & Index” 0–1a). MS (Multisample) [000...999] Use Zero Select the multisample that contains the sample you wish to Checked: When setting “Edit Range Start” and “Edit Range edit ( Link: 0–1a). End,” it will be possible to select these only to locations ± Index [xxx (001...128)/yyy (001...128)] where the waveform level is 0 (i.e., where the waveform crosses the center line of the “sample waveform display”). Select the index of the sample you wish to edit. Your editing You can use the front panel [VALUE] slider, [VALUE] dial, will affect the sample of the index that you select here, and and [ ] [ ] keys [0]–[9] to automatically search for zero- the waveform will appear in the “sample waveform dis- cross addresses. By using the numeric keys you can search play” ( Link: 0–1a). for the zero-cross address nearest to the value that you An index can also be selected by holding down the input. [ENTER] key and playing a note on the keyboard. The Unchecked: “Edit Range Start” and “Edit Range End” can index that includes this note will be selected. The key be set in increments of one. This is the normal setting. you played will be the base key, and will be displayed Grid [040 BPM...480 BPM] in gray in “Keyboard & Index” (“Keyboard & Index” 0–1a). (Link: 2–1c) Keyboard & Index This has no relation to the setting of the front panel (Link: 0–1a) [TEMPO] knob. ZOOM 1–1b: Sample, Range These buttons let you zoom-in and zoom-out the “sample waveform display” in the horizontal axis (sample addresses) Sample [----: ---No Assign----, 0000...3999] or vertical axis (sample level).

Range [C–1...B9 — C–1...B9] Vertical zoom-in 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 (Link: 0– Horizontal zoom-out Horizontal zoom-in 1b).

Vertical zoom-out

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.

88 When *1 “ ume Ramp Before usingthepagemenucommands Start Zoom-In/zoom-out willoccurstartingatthe the caseofstereo display). zoom-in from 1X(fullrangedisplay)to512X(or1024Xin will moveinstepsofonepixel.)Intheverticalaxis,youcan vertical lineintheLCDthatindicatessampleaddress For exampleifyouchangethesampleaddress byone,the will bethesameasresolution ofthesampleaddresses. (With 1Xmagni change. ple number. Theuneditedsamplewillremain without executed, theeditedsamplewill besavedinadifferent sam- command. to beedited.Thenselectandexecutethedesired pagemenu select the in/out willbebasedonthelast-selectedpoint.Ifyoure- parameter isselectedwhenyouzoom-inor-out,thezoom- be adjustedsoastoshowtheselectedpoint.) when thedisplayiszoomedinorout,rangewill Edit RangeStart : About 1 – ” If you editing. and selecteithertheL channelorRsamplefor the L channelorRchannel, select amonomultisample, ples are editedsimultaneously. Ifyouwishtoeditonly For stereo samples,theL channelandRsam- mand before you execute. “ preserve theuneditedsample, edited result tothestatebefore editing.Ifyouwishto There isnocompare functionthatletsyoureturn the If thezoomratioislow(1Xorless), write ing thezoomratiowillmakedisplayaccurate. does notaffect theplaybacksound.Ifthisoccurs,rais- waveform before andafterwaveformediting,butthis form display If you be created.) and Rsides.(Theresult willbethatastereo samplewill data willbeinserted,mixed,orpastedintoboththeL “ To editthe sample. mono, itisnolongerpossibletoreturn ittoastereo ever, beaware thatonceasamplehasbeenmixedto mix astereo sampleanduseitasamonosample.How- You canalsousethesecommandsifyouwish tomono- that amonosamplewillbecreated.) and theninserted,mixed,orpasted.(Theresult willbe and R-sidedatainthebuffer willbemixedtomono, “ sample data(waveformdata)willbeginplaying,the moved. moved byyourediting,theywillautomaticallybe within anarea ofsampleaddresses thatare deletedor use P2:LoopEdit.Iftheaboveparametersare located 1: PageMenuCommand or Insert, Insert, LoopS “ Overwrite “ “ “ ” Edit RangeEnd Overwrite Edit RangeStart ” *1 “ “ toeditthewaveformdataofasample, ” ” ” Copy Copy iteminthedialogboxofeachpagemenucom-

(loopstartaddress), or “ “ Mix, Mix, fi “ Start cation, thedisplayresolution oftheLCD ” ” ” ” ” and maydiffer slightlyfrom thedisplayed amonosampleintothebuffer, andthen astereo sampleintothebuffer, andthen isunchecked ” ” ” or or ” (startaddress) locationatwhichthe “ “ “ Edit RangeEnd Paste Paste ” pointsyouspecify. (Ifadifferent ” or ” ” ittoastereo sample,the ittoamonosample,theL- “ Edit RangeEnd : Whenthecommandis uncheck “ End ” “ tospecifythearea Truncate ” (endaddress), the “ “ sample wave- Edit Range “ ” Over- points ”–“ fi rst use Vol- “ This commanddeletesunwanteddatathatliesbeyondthe 1 5 4 3 2 1 end ofthewaveformdata. mand whenyouwishtodeletesilenceatthebeginningor When nal sample(number).Theoriginalwillbemodi cuted, theeditedsamplewillbeoverwrittenontoorigi- Edit RangeStart – 1A: Truncate not beset. selected. Ifyouhavechecked number. Bydefault,anunusedsamplenumberwillbe In Range Start Front &End: deleted. Use the The editingrangewillbeshownin Select thiscommandtoopenthefollowingdialogbox. Use Front: deleted. “ The portionthatwillbeleftbythe the editingrange. number fortheL channel and Rchannelrespectively. will bedisplayed.Specifythesave destinationsample Start STOP] key. can beauditionedbypressing thefront panel [START/ will bedeleted. End: End. end address, usethe after settingthestartaddress, loopstartaddress, and If youwishtodeleteunneeded(unplayed)sampledata found inP2:LoopEdit. “ executing be locatedatleasteightaddresses apart.Ifasaresult of Convert addresses, thedisplaywillindicate Address shorter thanminimum. Start “ Loop Start Address “ 1 1 1 1 1 1 Save toNo., “ – – – – – – Overwrite ” Thesampledatathatliesafterthe Edit RangeStart 1F 1E 1D 1C 1B 1A ” willbedeleted. Thesampledatathatliesbefore the ” and Forastereo sample, radio buttons ” ” (1 wouldbeseparatedbylessthaneight ” “ “ andafterthe Truncate Thesampledatathatliesbefore the – Edit RangeEnd ” 1K), the ” and ” ischecked specifythesavedestinationsample “ Edit RangeEnd. ” ” toselecttheportionthatwillbe ” “ (1 “ and and Truncate Loop Start Address ” – Pleasesetthe 1A), “ : Whenthecommandisexe- Edit RangeEnd “ “ “ Edit RangeEnd ” End Address “ Save toNo.(L) appropriately. Overwrite “ Cut ” pagemenucommand “ “ Truncate ” Range Start (1 “ ” Sample lengthis “ Usethiscom- – Edit RangeEnd “ 1B), or ” Edit Range ” in “ ” ” (2 Edit Range ” and willbe ” ” 6 and command – tospecify 1c) must , thiscan- “ ” Rate and “ “ “ End Edit (R) fi 1 1 1 1 1 1 89 ed. – – – – – – 1J 1I 1H 1G 1L 1K ” ”

P8 P4 P3 P2 P1 P0 Sampling 6 If you wish to delete the original sample data and over- 2 Select this command to open the following dialog box. write it with the edited sample data, check “Overwrite” (1–1). 7 To execute the Truncate command, press the OK button. To cancel, press the Cancel button. Normally you will leave “Save to No.” at the default setting, and execute without checking “Overwrite.” When you execute, the original data and the edited data 3 The range to be edited is shown by “Range Start” and will both be preserved, and the sample number after “End.” editing will be assigned to the sample of the index. 4 In “Save to No.,” specify the save destination sample number. By default, an unused sample number will be 1–1B: Cut selected. If you have checked “Overwrite” in 5, this can- This command deletes the data between the “Edit Range not be set. Start” and “Edit Range End.” Sample data located after the For a stereo sample, “Save to No.(L)” and “(R)” deleted portion will be moved forward. will be displayed. Specify the save destination sample number for the L channel and R channel respectively. 5 If you wish to delete the original sample data and overwrite it with the edited sample data, check “Overwrite” (1–1). 6 To execute the Clear command, press the OK button. To 1 Set “Edit Range Start” and “Edit Range End” to specify cancel, press the Cancel button. the editing range. Normally you will leave “Save to No.” at the default The data that will be deleted by “Cut” can be audi- setting, and execute without checking “Overwrite.” tioned by pressing the front panel [START/STOP] key. When you execute, the original data and the edited data will both be preserved, and the sample number after 2 Select this command to open the following dialog box. editing will be assigned to the sample of the index. 1–1D: Copy This command copies the sample data from the area between “Edit Range Start” and “Edit Range End” into the sample data buffer. This data can then be used by the “Insert,” “Mix” or “Paste” commands. 3 The range to be edited is shown by “Range Start” and When “Copy” is executed, the data that is loaded into the “End.” buffer simply references the data of the original sample. 4 In “Save to No.,” specify the save destination sample After using “Copy,” do not delete the copy source sample number. By default, an unused sample number will be until you “Insert,” “Mix” or “Paste” the copied data. selected. If you have checked “Overwrite” in 5, this cannot be set. For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively. 5 If you wish to delete the original sample data and over- 1 Use “Edit Range Start” and “Edit Range End” to specify write it with the edited sample data, check “Overwrite” the editing range. (1–1). 6 To execute the Cut command, press the OK button. To The data that will be copied can be auditioned by press- cancel, press the Cancel button. ing the front panel [START/STOP] key. Normally you will leave “Save to No.” at the default 2 Select this command to open the following dialog box. setting, and execute without checking “Overwrite.” When you execute, the original data and the edited data will both be preserved, and the sample number after editing will be assigned to the sample of the index.

1–1C: Clear 3 The range to be copied is shown by “Range Start” and This command converts the data between “Edit Range “End.” Start” and “Edit Range End” to zero values. Sample data 4 To execute the Copy command, press the OK button. To before and after the edited range will not move. cancel, press the Cancel button. 1–1E: Insert This command inserts the sample data that was copied by the “Copy” command, beginning at the “Edit Range Start” address. The data that had originally been located at that point will be moved backward. 1 Use “Edit Range Start” and “Edit Range End” to specify From the the editing range. buffer The data that will be converted to zero values by “Clear” can be auditioned by pressing the front panel [START/STOP] key.

90 5 4 3 2 1 buffer by This commandmixesthesampledatathatwasplacedin 1 6 5 4 3 2 1 begin atthe – 1F: Mix not beset. not beset. write itwiththeeditedsampledata, If youwishtodeletetheoriginal sampledataandover- selected. Ifyouhavechecked number. Bydefault,anunusedsamplenumberwillbe In “ Select thiscommandtoopenthefollowingdialogbox. Use cancel, press the To executetheInsertcommand,press the write itwiththeeditedsampledata, If youwishtodeletetheoriginalsampledataandover- selected. Ifyouhavechecked number. Bydefault,anunusedsamplenumberwillbe In “ Select thiscommandtoopenthefollowingdialogbox. Use number fortheL channelandRrespectively. will bedisplayed.Specifythesave destinationsample number fortheL channelandRrespectively. will bedisplayed.Specifythesavedestinationsample ( data willbemixed. which thedatawillbemixed.(The ( data willbeinserted. setting hasnoeffect.) which thedatawillbeinserted.(The ting hasnoeffect.) To Start To Start Normally youwillleave setting, andexecutewithoutchecking If thebuffer intowhichdatawasplacedbythe editing willbeassignedtothesampleofindex. will bothbepreserved, andthesamplenumberafter When youexecute,theoriginaldataandedited “ command containsnodata,thedisplaywillindicate “ “ Source sampleisempty. 1 1 Save toNo., Save toNo., – – “ “ 1). 1). Edit RangeStart Edit RangeStart “ Copy Forastereo sample, Forastereo sample, ” ” “ willindicatethestartingaddress atwhichthe willindicatethestartingaddress atwhichthe Edit RangeStart ” withtheselectedsampledata.Mixingwill ” ” Cancel button specifythesavedestinationsample specifythesavedestinationsample ” ” tospecifythestartingaddress at tospecifythestartingaddress at “ ” ” Save toNo. address. “ “ “ “ Save toNo.(L) Save toNo.(L) Overwrite Overwrite . “ Edit RangeEnd check check “ Edit RangeEnd ” “ atthedefault Overwrite. ” ” OK button in in

“ “ ” ” Overwrite Overwrite 5 5 and and , thiscan- , thiscan- “ Copy “ “ buffer From the (R) (R) ” ” . To set-

” ” ” ” ”

”

previously occupiedthatlocationwillbemovedbackward. 2 1 “ places thesampledatathatwasloadedintobuffer by Beginning atthe 1 6 beginning atthe This commandinsertszero-level sampledata(silence), 1 6 5 4 3 by thesampledatafrom thebuffer. Copy. – – 1G: Paste 1H: Insert Zero 1H: Insert cancel, press the not beset. selected. Ifyouhavechecked number. Bydefault,anunusedsample numberwillbe Select thiscommandtoopenthefollowingdialogbox. Use To executetheMixcommand,press the To executethePastecommand,press the write itwiththeeditedsampledata, If youwishtodeletetheoriginalsampledataandover- In “ cancel, press the which thedatawillbepasted.(The ( data willbepasted. number fortheL channelandRrespectively. will bedisplayed.Specifythesavedestinationsample ting hasnoeffect.) To Start Normally youwillleave setting, andexecutewithoutchecking Normally youwillleave “ command containsnodata,thedisplaywillindicate If thebuffer intowhichdatawasplaced bythe editing willbeassignedtothesampleofindex. will bothbepreserved, andthesamplenumber after When youexecute,theoriginaldataandedited setting, andexecutewithoutchecking “ command containsnodata,thedisplaywillindicate If thebuffer intowhichdatawasplacedbythe editing willbeassignedtothesampleofindex. will bothbepreserved, andthesamplenumberafter When youexecute,theoriginaldataandedited “ Source sampleisempty. Source sampleisempty. 1 Save toNo., ” – “ Theoriginaldatawillbedeleted,andoverwritten 1). Edit RangeStart Forastereo sample, ” willindicatethestartingaddress atwhichthe “ “ Edit RangeStart Edit RangeStart ” Cancel button Cancel button specifythesavedestinationsample ” tospecifythestartingaddress at “ “ ” ” Save toNo. Save toNo. “ “ Save toNo.(L) Overwrite ” ” . . address. Thedatathat address, thiscommand “ Edit RangeEnd check ” ” “ “ OK button atthedefault atthedefault Overwrite. Overwrite. ” OK button in

“ ” Overwrite 5 and , thiscan- Size “ “ Copy Copy buffer From the “ . To (R) ” ” ” . To

set- 91 ” ” ” ”

P8 P4 P3 P2 P1 P0 Sampling 1 Use “Edit Range Start” to specify the starting address at 4 If you check “Normalize” and execute, the data will be which the zero-level will be inserted. (The “Edit Range normalized. In this case, the “Level” setting will be End” setting has no effect.) ignored. 2 Select this command to open the following dialog box. If you wish to specify “Level” to modify the level of the sample data, do not check “Normalize.” Each increase of +6 dB will approximately double the height of the waveform shown in the LCD. +12 dB will 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 3 “To Start” will indicate the starting address at which the dB will be approximately 1/4X. Executing the "Level" data will be inserted. command with positive (+) settings may cause the 4 In “Size,” specify the length of the data that will be sound to clip (i.e., distort at the point that amplification inserted. beyond the maximum level is impossible). Once the 5 In “Save to No.,” specify the save destination sample sample data has been boosted beyond the clipping number. By default, an unused sample number will be point, re-executing this command with negative (–) set- selected. If you have checked “Overwrite” in 6, this can- tings of “Level” will simply lower the overall level of not be set. the clipped signal –the waveform will remain distorted. For a stereo sample, “Save to No.(L)” and “(R)” Also, if executing “Level” with negative (–) settings will be displayed. Specify the save destination sample causes any portion of the sample data to reach a zero number for the L channel and R channel respectively. level, the zero data will not return to its original state 6 If you wish to delete the original sample data and over- even if you re-execute “Level” with positive (+) set- write it with the edited sample data, check “Overwrite” tings. 5 (1–1). In “Save to No.,” specify the save destination sample 7 To execute the Insert Zero command, press the OK but- number. By default, an unused sample number will be 6 ton. To cancel, press the Cancel button. selected. If you have checked “Overwrite” in , this cannot be set. Normally you will leave “Save to No.” at the default For a stereo sample, “Save to No.(L)” and “(R)” setting, and execute without checking “Overwrite.” will be displayed. Specify the save destination sample When you execute, the original data and the edited data number for the L channel and R channel respectively. will both be preserved, and the sample number after 6 If you wish to delete the original sample data and over- editing will be assigned to the sample of the index. write it with the edited sample data, check “Overwrite” 1–1I: Normalize/Level Adj. ( 1–1). 7 To execute the Normalize/Level Adjust command, press This command uniformly modifies the data values (volume) the OK button. To cancel, press the Cancel button. of the data between the “Edit Range Start” and “Edit Range End.” “Normalize” will amplify the level of the sample data Normally you will leave “Save to No.” at the default as far as possible without allowing it to clip (distort). If the setting, and execute without checking “Overwrite.” level of the sampled data is too low, you can execute this When you execute, the original data and the edited data command to increase the dynamic range. “Level” allows will both be preserved, and the sample number after you to raise or lower the level as desired. editing will be assigned to the sample of the index. Normalize Be aware that if sample data of an extremely low level is normalized, any noise included in the sample will also be amplified. 1–1J: Volume Ramp Level Adjust –12dB 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.” Fade In 1 Use “Edit Range Start” and “Edit Range End” to specify the range to be edited. The data that will be normalized or level-adjusted can be auditioned by pressing the front panel [START/ Fade Out STOP] key. 2 Select this command to open the following dialog box.

1 Use “Edit Range Start” and “Edit Range End” to specify the range to be edited. The data that will be modiﬁed by “Volume Ramp” can be auditioned by pressing the front panel [START/ STOP] key. 3 The range to be edited is shown by “Range Start” and “End.”

92 2 1 command tocreate frequency ofinputis sampled databy2/3,1/2,1/3,1/4,or1/6.Thesampling This commandlowersthesamplingrate(frequency) ofthe 1 8 7 6 5 4 3 2 The pling frequency. data isthinnedtoconvertitintosampleofalowersam- “ waveform dataoftheselectedsample,regardless of the Edit RangeStart – 1K: RateConvert not beset. right of The samplingrateoftheselectedsampleisshownat Select thiscommandtoopenthefollowingdialogbox. button To executetheVolume Rampcommand,press the write itwiththeeditedsampledata, If youwishtodeletetheoriginalsampledataandover- selected. Ifyouhavechecked number. Bydefault,anunusedsamplenumberwillbe In use Power: fade-in orfade-out,selectLinear. Linear: change. In Fade In: Use the The rangetobeeditedisshownby Select thiscommandtoopenthefollowingdialogbox. number fortheL channelandRrespectively. will bedisplayed.Specifythesavedestinationsample “ Fade Out: will graduallyincrease toward “ will bedisplayedinHz. 2, 1/3,1/41/6.Thesamplingrate followingconversion desired amountofthesamplingrateconversion:2/3,1/ ( cases, use volume hasdropped inthemiddleofcurve.Insuch Linear different faded-outwaveform(i.e.,crossfade), usinga Range Start End. “ Normally youwillleave setting, andexecutewithoutchecking editing willbeassignedtothesampleofindex. will bothbepreserved, andthesamplenumberafter When youexecute,theoriginaldataandedited Rate Convert “ “ 1 Save toNo., Curve, “ – Mix 1). ” fade-in/outmayproduce animpression thatthe . To cancel,press the Thevolumewillchangenon-linearly. Whenyou Thevolumewillchangelinearly. Fornormal Forastereo sample, “ radio buttons Thevolumeat ” Rate. Thevolumewillgraduallydecrease from the (1 Power ” specifythewayinwhichvolumewill – ” 1F) tocombineafaded-inwaveformwith volumeuntilitreaches zero at ” ” At therightof and ” ” “ commandisalwaysexecutedonall toperformthefade-in/out. specifythesavedestinationsample down-sampling ﬁ xed at48kHz,butyoucanusethis “ Edit RangeEnd toselectthetypeofvolumeramp. “ Range Start “ Save toNo. Cancel button “ “ Save toNo.(L) Overwrite “ End. ” “ effects. Thesample -> “ ” Range Start check ” ” ” willbezero, and settings. youcanselectthe ” “ atthedefault Overwrite. ” in .

“ ” Overwrite “ 7 and End. , thiscan- ” and OK “ ” (R) ”

” ”

The beginning andend). This commandreverses thesampledata(i.e.,exchanges 1 5 4 3 4 3 2 1 form dataoftheselectedsample,regardless ofthe Range Start – 1L: Reverse not beset. not beset. selected. Ifyouhavechecked number. Bydefault,anunusedsamplenumberwillbe selected. Ifyouhavechecked number. Bydefault,anunusedsample numberwillbe ton To executetheInsertZero command,press the write itwiththeeditedsampledata, If youwishtodeletetheoriginalsampledataandover- In To executetheReversecommand,press the write itwiththeeditedsampledata, If youwishtodeletetheoriginalsampledataandover- In Select thiscommandtoopenthefollowingdialogbox. To cancel,press the ( ( number fortheL channelandRrespectively. will bedisplayed.Specifythesavedestinationsample number fortheL channelandRrespectively. will bedisplayed.Specifythesavedestinationsample “ Normally youwillleave case. they cannolongerbehandledasastereo sampleinthis -L and-Rconverttheirsamplingrateseparately, Although itispossibletoselectmonomultisamplesfor Stereo samplesmusthavethesamesamplingrate. sampling rateis11.025 kHzorless. This commandcannotbeexecutedonasamplewhose Edit alsocontainsa will berewritten toreverse itsdirection. TheP2:Loop When youexecutethiscommand,allofthesampledata setting, andexecutewithoutchecking ing thesampledataitself. simply reverses theplaybackdirection withoutaffect- editing willbeassignedtothesampleofindex. will bothbepreserved, andthesamplenumberafter When youexecute,theoriginaldataandedited Reverse “ “ 1 1 . To cancel,press the Save toNo., Save toNo., – – 1). 1). Forastereo sample, Forastereo sample, ” and ” commandisalwaysexecutedonallwave- “ Edit RangeEnd ” ” specifythesavedestinationsample specifythesavedestinationsample Cancel button “ Reverse Cancel button “ Save toNo. “ “ “ “ Save toNo.(L) Save toNo.(L) ” Overwrite Overwrite ” (2 settings. – . 1c) command,which check check . ” “ atthedefault Overwrite. ” ” in in

“ “ OK button ” ” Overwrite Overwrite 4 3 and and OK but- “ , thiscan- , thiscan- Edit “ “ (R) (R) ”

93 ” ” ” ” .

P8 P4 P3 P2 P1 P0 Sampling Normally you will leave “Save to No.” at the default setting, and execute without checking “Overwrite.” Sampling P2: Loop Edit When you execute, the original data and the edited data will both be preserved, and the sample number after editing will be assigned to the sample of the index. 2–1: Loop Edit 0–1A 0–1G Here you can specify the portion of the sample that will be 0–1B 0–1H played back, set sample parameters, and edit the sample. 0–1C 0–1I Sample parameters that were loaded into internal sampling 0–1D 0–1J memory in Disk mode can also be edited in the same way. You can make detailed edits in single-sample steps while 0–1E 1–1M watching the sample waveform display. 0–1F 2–1

1–1M: Grid 2–1a This command displays a grid in the “sample waveform dis- 2–1b play.” When you select On and execute this command, vertical dotted lines will appear in the “sample waveform display” according to the speciﬁed resolution and tempo (“Grid” 1–1c, 2–1c). Use the grid when you wish to cut the sample data or determine waveform starting locations based 2–1c on BPM values or beats. 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 2–1a: MS (Multisample), Index, Keyboard & Index played by the currently selected key (displayed in gray) ( “Keyboard & Index” 0–1a). MS (Multisample) [000...999] Select the multisample whose loop and other sample parameters you wish to edit (Link: 0–1a). Index [xxx (001...127)/yyy (001...127)] Select the index whose loop and other sample parameters 1 Select this command to open the following dialog box. 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” (Link: 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 2 Use the On/Off Radio buttons to switch the grid on or be the base key, and will be shown in gray in “Keyboard & off. Index.” 3 In “Resolution,” select the desired resolution for the grid. The grid that appears will be determined by this setting Keyboard & Index and by the “Grid” (1–1c) setting in the page. ( Link: 0–1a) 4 To execute the settings, press the OK button. To cancel, press the Cancel button. 2–1b: Sample, Range

Sample [----: ---No Assign----, 0000...3999] Range [C–1...B9 – C–1...B9] This shows the sample number and name, and the range of the selected index. If you change “Sample,” the sample you specify will be assigned to this index. The sample you select here will appear in the “sample waveform display” (Link: 0–1b).

2–1c: Sample waveform display, Start, LoopS, End, Loop On, Loop Tune, Reverse, Loop Lock, Use Zero, Grid, ZOOM

Sample waveform display The waveform of the “Sample” is displayed here (1–1c).

94 opTn [ the playbackpitchofloopfrom When loopingison( Loop Tune from Checked: [0000000...] Specify whetherornotthesamplewillbelooped. Loop On is inunitsofasampleaddress). Specify theendingaddress forsampleplayback(Thisvalue [0000000...] End (EndAddress) [0000000...] address) ( valid whenLoopisOn(Thisvalueinunitsofasample Specify theloopstartaddress forsampleplayback.Thisis Address) LoopS (LoopStart is inunitsofasampleaddress). Specify thestartingaddress forsampleplayback(Thisvalue Address) (Start Start pensate forsuchcases. tion maysometimesbeincorrect. Usethisparameter tocom- from amusicalinstrument etc.,thepitchofloopedpor- range of “ Unchecked: “ If yousamplewith item willautomaticallybechecked. End End automatically whenyousettheaddresses. least eightaddresses apart.Thissettingwillbeapplied Loop Start Address andEnd Address mustbelocatedat ” ” “ (one-shotplayback). → LoopS op End LoopS LoopS Start tr op End LoopS Start

± “ Whenplayed,thesamplewillcontinuelooping 99 cents.Whenyouloopdatathatwassampled LoopS “ The samplewillplaybackoncefrom ” S.Offset to ” “ → End “ "Two" "One" -"Two" "One" -"Two" "Two" -"One"-... "One" -"Two"... "One" -"Two"...... Auto LoopOn ” “ Program P1: 1 Loop On ” ; e.g., Oe "Two" "One" "One" "One" “ Start Start ” ischecked),youcanadjust ” ” “ → (0 LoopS – 2a). – “ 3b) checked,this End ” to "Two" "Two" ” → “ End “ – LoopS “ End 99...+99] Start ” overa ” ” → →

rd[040BPM...480BPM] ing ofthegridisdeterminedby value orbeat.Ifyouturnthepagemenucommand you wishtocutoreditthesampledatabasedonaBPM display This displaysverticaldottedlinesinthe Grid Unchecked: Use Zero This Loop Lock Checked: Reverse the This commanddeletesunwanteddatathatliesoutsideof 2 directions ofthe This allowsyoutozoom-in/outinhorizontalandvertical ZOOM the (1 Checked: (end address) to and board &Index pitch ofthebasekey(thedisplayedingray use thiscommandtodeleteunwantedsampledata. address, loopstartaddress, andendaddress ofthesample, “ Checked: of oneunit.Thisisthenormalsetting. The gridwillbeginatthe distance between to locationswhere thewaveformlevelis off) oratthe cross rhythm looptomatchaspeci does notchange.Thisisconvenientwhenyouare creating a est tothevaluethatyouinput. numeric keysyoucansearch forthezero-cross address near- ]keysto automatically search forzero-cross addresses. Byusingthe ][ panel [VALUE] slider, [VALUE] dial,and[ of the End – – 2 1A: Truncate 1M) “ “ – “ knob. This hasnoconnectionwiththefront panel[TEMPO] Start (Start Address), Grid ﬁ ” ” End (End Address) 1: PageMenuCommand addresses where thewaveformcrosses thecenterline xes thelengthofloopbeingedited. “ or 0 0 0 0 0 2 sample waveformdisplay ” On – – – – – – toindicatetheresolution andtempo.Usethiswhen 1E 1D 1C 1B 1A 1A ” “ Thesamplewillbeplayedbackward, from Whenthe

“ pagemenucommand,relative totheplayback LoopS andexecute,agridwillbedisplayed.Thespac- Start,

“ “ Start, Loop Start ” 0 ” “ “ ” –

LoopS sample waveformdisplay “ willbeautomaticallyadjustedsothatthe “ 1a) atthetempovalueyouspecifyhere. LoopS ” End

“ “ LoopS End ” ” ” and ” (loopstartaddress). ” address (whenloopingison). ” (2 “ ” and

Start and “ ” – LoopS (LoopStart Address), or ﬁ 1c). After settingthestart “ c tempo. LoopS “ ” “ “ End address (whenloopingis End LoopS ” ). You canusethefront “ ” Resolution ” ” (i.e.,thelooplength) canbesettheseonly address isedited,the ” “ canbesetinsteps ± sample waveform 0 (i.e., ” ( ” 1 “ settingof – zero- “ 1c). Key- “ Grid “ End 0 0 0 0 1 0 95 – – – – – – ” ” 1I 1H 1G 1F 1M 1J

”

P8 P4 P3 P2 P1 P0 Sampling 1 Select this command to open the following dialog box. Sampling P3: Multisample

Here you can make settings for multisamples. You can create indexes for a multisample, and then assign a sample to each index. (These basic settings can also be performed in P0.) In addition, you can delete, copy, or insert an index, and per- 2 “Range Start” and “End” will show the range of data that form detailed editing such as adjusting the level and pitch of will be edited. the sample for each index. 3 Use the radio buttons to select the portion that will be deleted. Front & End: The sample data that lies before the “Range 3–1: Multisample Start” (start address or loop start address) and after the “Range End” (end address or loop start address) will be 3–1 deleted. Front: The sample data that lies before the “Range Start” 3–1a (start address) will be deleted. End: The sample data that lies after the “Range End” (end address) will be deleted. 3–1b 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” in 5, this cannot be set. 3–1c For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively. 5 If you wish to delete the original sample data and over- 3–1a: Multisample (MS), Keyboard & Index write it with the edited sample data, check “Overwrite” (1–1). Multisample (MS) [000...999] 6 To execute the Truncate command, press the OK button. Select the multisample that you wish to edit (Link: 0–1a). To cancel, press the Cancel button. Normally you will leave “Save to No.” at the default Keyboard & Index setting, and execute without checking “Overwrite.” (Link: 0–1a) When you execute, the original data and the edited data will both be preserved, and the sample number after editing will be assigned to the sample of the index. 3–1b: Multisample Setup Index [xxx (001...127)/yyy (001...127)] Select the index that you wish to edit (Link: 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 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. 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) (Link: 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 (Link: 0–1b). Orig.Key (Original Key) [C–1...G9] Specify the original key of the sample (Link: 0–1b).

96 This creates anindex.Whenyoupress the Insert 3 [ ( Adjust theplaybackpitchofsampleinone-centsteps Pitch [ +: no sound. – 0: [C multisample. need toadjustthelevelbalancebetweensampleswithina Adjust theplaybacklevelofsample.Usethiswhenyou Level viewed in within thisarea. Zonesettingsforanindex canalsobe “ This showstherangeofzonethatisdeterminedby Range de Specify thehighestkeyinzoneofindex.Theis Top Key new indexwillbecreated according tothe (0 – inal keyisplayed. 0: Thesamplewillsoundattheoriginalpitchwhenorig- cut orcopiedby You canalsouse will beoneoctavehigher. +: will beoneoctavelower. “ playback timewillbe1/2. +12.00 length ofarhythm loop.Forexamplewithasettingof copied orassignedtoadifferent number.) assigned atthesametime.(Thesamplewillautomaticallybe : Top Key : Original KeyPosition, – Thelevelwillbelowered. At asettingof Unitylevel Thepitchwillbelowered. At asettingof – Thelevelwillberaised. Thepitchwillberaised. At asettingof ﬁ p.7 1c: Insert, Cut,Copy,1c: Insert, Create 2a, 3 ned bythis adjustments inthe+direction willbevalid( been received tolowertheplaybackunitylevel,then have beenoperated,oriftheseMIDImessages TIME CONTROLSknob[1] ABLE PEDAL orastheB-modefunctionofaREAL- Expression (CC#11) direction willhavenoeffect. If normally bethemaximumlevel,adjustmentsin Since inSamplingmodetheplaybackunitylevelwill “ The set theplaybacktimeintermsofaBPMvalue( cute If itisnotpossibletocreate anewindexwhenyouexe- this occurs,refer to If youhavenotyetexecuted (0 ated according totheCreate ZonePreference settings immediately afterpower-on, thenewindexwillbecre- Key Position. Level “ , theplaybackspeedwillbedoubled,andloop – – Pitch 3a, 3 2a). At thistime,thecontentsofindexthatwas “ “ ” Pitch BPM Adjust “ Create setting.Theselectedsampledatawillplayback ” Keyboard &Index – ). ” 2a) ). “ Top Key “ “ “ ” Cut ” Position, Pitch or “ ” Insert, or ” ” “ tomake

hasbeenassignedtothe ASSIGN- ” “ Create “ ( Level ” Copy ”

“ ” pagemenucommandletsyou Link: 0 Zone Range, adialogboxwillappear. If ” ( ” ” – ” and (0 [4] andthesecontrollers ﬁ “ (i.e.,the Link: 0 Cut ne adjustmentsinthe – Volume (CC#07) – 1b). 1b). “ ” Pitch or – – +12.00 “ ” 64.00...+63.00] Insert button 1a). “ “ – Position and – Zone Range, Copy, ” 99 12.00 ) willbe there willbe thepitch “ – Original thepitch ” 99...+99] suchas p.7 – ” 1...G9] or setting 3 – 1A). , a ” +

This commandsetsthe 3 tion, new indexwillbecreated according tothesettingsof This creates anindex.Whenyoupress the Create buffer. This copiesthecontentofselectedindexto Copy tents ofthedeletedindexare copiedtothe This deletestheselectedindex. At thesametime,con- Cut 5 4 3 2 1 desired BPMvalue. to matchthelooplengthetc.ofsampleatempo pitch willslowdowntheplaybackspeed.Thiscanbeused playback willincrease theplaybackspeed.Lowering on thebasisofaBPMvalue.Raisingpitchsample 3a) ( – 3 1A: PitchBPMAdjust When youexecutethiscommand,the button To executethePitchBPM Adjust command,press the In original keyisspeci and endaddress ofthesampleare twosecondsapart,the the endaddress (ifloopingison).Forexampleifthestart sample (ifloopingisoff) orfrom theloopstartaddress to matically from thestartaddress totheendaddress ofthe (displayed ingray).ThisBPMvalueiscalculatedauto- “ Specify Select thiscommandtoopenthefollowingdialogbox. to “ ify aquarter-note 120BPMsampleto240BPM,the value willbesetautomatically. Forexample ifyoumod- from theconversionof the displaywouldindicate Current BPM Pitch – ” 40 It isnotpossibleforthisdisplaytoexceedtherangeof This calculationisperformedwithintheTRITON ﬁ its ofprecision. Minordiscrepancies mayoccurinthe

1: PageMenuCommand 4 “ nal BPMcaculation. “ Link: 0 0 0 0 0 0 0 , New BPM, – Zone Range, – – – – – – “ 480 1F 1E 1D 1C 1B 1A Current BPM ” . To cancel,press the willbesetto “ . Beat. – 1b). ” ” ” Thisisspeci willshowtheBPMvalueatbasekey specifytheBPMvaluethatwillresult ” and ” ﬁ wouldbe “ +12.00 ed asthebasekey, and Pitch “ Original KeyPosition ” “ “ . ﬁ (3 Cancel button Current BPM Current BPM ed inquarter-note beats. – 120 1b) oftheselectedindex . If “ “ Beat Pitch Create button “ Insert ” ” . value. as ” issetto “ ” Beat (3 ” 60 ” (3 “ buffer. – . Insert 1b) – ” 2a, 0 “ ’ isset s lim- Posi- 0 0 0 0 3 2 OK 97 – – – – – , a , ” 1J 1I 1H 1G 1A –

P8 P4 P3 P2 P1 P0 Sampling 3–2: Preference Sampling P4: Controller Setup 3–1

3–2a 4–1: Controller Setup Specify 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 control program parameters.

0–1

4–1a 3–2a: Create Zone Preference

Here you can specify the default settings for indices that are created by executing “Create” (3–1c, 0–1b). New indexes 4–1b 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 (0–3a). (Link: P0 “Create Zone Preference”)

4–1a: Panel Switch Assign

Assign the functions of the front panel [SW1] and [SW2] switches (p.217 “SW1, SW2 Assign List”). SW1 (SW1 Assign) [Off...After Touch Lock] SW1 Mode [Toggle, Momentary] SW2 (SW2 Assign) [Off...After Touch Lock] SW2 Mode [Toggle, Momentary] “Panel Switch Assign” (Program P1: 1–4a).

4–1b: Realtime Control Knobs B-Assign

Assign the B-mode functions (mainly various types of control change) for the front panel REALTIME CONTROL knobs [1]–[4] (p.218 “Realtime Control Knobs B–Assign List”). The functions you specify here will operate when the front panel REALTIME CONTROL knobs [1]–[4] are operated in B-mode. Knob 1–B [Off...MIDI CC#95] Knob 2–B [Off...MIDI CC#95] Knob 3–B [Off...MIDI CC#95] Knob 4–B [Off...MIDI CC#95] “Realtime Control Knobs B-Assign” (Program P1: 1–4b). These controllers can be used to make realtime changes in effect dynamic modulation functions etc. while you sample. Example settings Here’s how you can assign knob [1] (B-mode) to control the “Wet/Dry” balance of the 044: Stereo/Cross Delay effect selected for IFX1, and use knob [2] (B-mode) to control the “Pan” after the IFX in realtime while you sample. 1 Set “BUS (IFX) Select” (0–2a) to IFX1. 2 Select 044: Stereo/Cross Delay for “IFX1.” 3 Set the IFX1 tab “Wet/Dry” setting to Dry, “Src” to KnobM1[+], and “Amt” to +50. 4 In 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).

98 6 5 sound whileyoumodifyit. sound andthedelaywillchange. You cansamplethe Rotate knob[1],[2]andthepanningofexternalinput make the Press thefront panel[REALTIME CONTROLS]keyto “ B ” LEDlight. gram mode 8 8 These parametersare thesameasinProgram mode. ing through theinserteffect. chain settings,andspecifythepanofsoundafterpass- Here youcanselectinserteffects, switchthemon/off, make 8 nal input,andsampletheresult. page, youcanapplyinserteffects tothesoundofexter- selecting inserteffects andmakingsettingsfortheminthis IFX1, 2,3,4,or5(inserteffects 1,2,3,4,5)respectively. By the rear panel AUDIO INPUT1and2jackswillbesentto Input (SAMPLING)parameters When yousettheP0:Recording Input/Setuptab Audio mode. Here youcanmakeinserteffect settingsforuseinSampling Select – – 8 – Guide. For detailsoninserteffects, refer top.146 “ “ 1B: Swap Insert Effect 1B: SwapInsert Effect 1A: CopyInsert Program P8:8 Program P8:8 1: Insert FX 1: Insert – combination backintoSamplingmodeandusethem. 1A) tocopytheseeffect settingsfrom theprogram or In Samplingmode,youcanuse bination, thesettingswillbesavedininternalmemory. order savethem.Whenyouwritetheprogram orcom- of Samplingmodetoaprogram orcombinationin For example,youcancopytheinsertioneffect settings Insert Effect. keep theinsertioneffect settings,youcanuse backed upwhenthepoweristurnedoff. Ifyouwishto Insertion effect settingsinSamplingmodeare not ter EQcannotbeused. In Samplingmode,mastereffects 1and2themas- 1: PageMenuCommand ” to Sampling P8: Insert Effect Sampling P8:Insert ” IFX1 “ 8 – , 2: InsertFx 2 , ” – – 3 1B: SwapInsertEffect. 1A: CopyInsertEffect. , 4 , or5,theexternalinputsoundfrom ” “ Input 1,2BUS(IFX) 8 8 “ – – Copy InsertEffect 1B 1A ” ” “ 8. Effect “ Copy Pro- 8 ” 99 – (8 1 –

P8 P4 P3 P2 P1 P0 Sampling 8–2: IFX 1 8–3: IFX 2 8–4: IFX 3 8–6: IFX 4 8–5: IFX 5 Set the effect parameters for the IFX 1, 2, 3, 4 and 5 effects that you selected in the Insert FX tab (p.207). Effect Dmod (dynamic modulation) is controlled by the global MIDI channel speciﬁed in Global Mode P1.

100 5. Song Play mode

In Song Play mode you can load Standard MIDI Files (SMF) 0–1e: File (File select) [000...999] from floppy disk or external SCSI device, and play them directly as they are being loaded. A jukebox function is pro- From a floppy disk, select the SMF that you wish to play vided to playback these SMF files in any order you specify. back. You can also use the arpeggiator or realtime controllers dur- You can select SMF files from the currently selected direc- ing playback. In Song Play mode you can playback SMF tory. If you wish to select from another directory, use the P3: data and make related settings. Select Directory to select the directory. The TRITON is able to playback SMF format 0 or format 1 When “Jukebox” (0–1d) is checked, you can select SMF files data. 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 Song Play P0: Program/Mix in the jukebox list.

0–1f: Name 0–1: Prog. 1–8 (Program T01–08) This displays the song name of the selected SMF. 0–2: Prog. 9–16 (Program T09–16)

Here you can make settings for SMF playback, and make 0–1g: Play Track Select [Track01...Track16] basic settings such as selecting the program for each track.

0–1b 0–1c 0–1d Select the track (channel) that will sound when you play the 0–1 keyboard. The bank number, program number, and name of 0–1a the program selected for the play track will be displayed. 0–1e 0–1f 0–1g In Song Play mode, MIDI channels 1–16 correspond to 0–1h tracks 1–16.

0–1h: Selected Track Information 0–1i

0–1j This area displays information on the track (1–16) currently selected for editing. T (Track) No.: Bank No.: Prog No. and name This displays the track number, and the bank, number and 0–1a: Location [001:01:000...999:15.191] name of the program selected for that track. Song Play Ch [01...16] This is the current location of the SMF. From the left, this is the measure, beat, and clock. Modifying these values will This displays the MIDI channel number of the track. P0 change the current location. When you change the location, a Song Position Pointer 0–1i: Program T01...08 P1 message will be transmitted. 0–2i: Program T09...16

Category (Category Name) [00...15: name] P2 0–1b: Meter The program used by each track can be selected by category. When you press the popup button, the Category/Track Pro- This indicates the time signature at the current location of P3 the SMF. gram menu ( Program P0: Category/Program Select 0–1a) will appear, allowing you to select programs by category.

This is convenient when you wish to search for programs in P7 0–1c: (Tempo) [40...240] a speciﬁc category, or to select a different program from the same category. Specify the playback tempo of the SMF. P8 In Song Play mode, this tempo will be used regardless of the Bank/Program [A…F/0…127, G…g(d)/1…128] “MIDI Clock” setting (Global P1: 1–1a). Select the program that will be used by the track. P9 When you press the popup button, the Bank/Track Program 0–1d: Jukebox menu ( Program P0: 0–1a) will appear, allowing you to select programs by bank. When this edit cell is selected, you Checked: SMF ﬁles in the jukebox list will be played back in can use the front panel [BANK] keys, numeric keys, succession. You will also check this when you wish to create [VALUE] dial, [VALUE] slider, or [ ] [ ] keys to select a a jukebox list. In the Jump menu (displayed when you press program. At this time, the [BANK] key LED’s will light to the [MENU] key), press the Jukebox button, select the P3: indicate the selected bank. Jukebox, and create the list. When “Status” (1–1a, 2a) is INT or BTH, programs can be selected by receiving MIDI program change messages. Tracks 1–16 will be controlled by MIDI channels 1–16 respectively.

101 0–1(2)j: PLAY/MUTE, SOLO ON/OFF 0–1A: GM Initialize This command transmits a GM System On message to Song PLAY/MUTE [PLAY, MUTE] Play mode, resetting all tracks to the GM settings (refer to This sets the play/mute status of each track. The setting will the table below). alternate each time you press the PLAY/MUTE button. In Song Play mode when a GM System On message is PLAY: The track will play. received from an external device or if the SMF contains MUTE: The track will be muted. a GM System On message, the tone generator will be reset to the GM settings in the same way as when this SOLO ON/OFF [SOLO ON, SOLO OFF] command is executed (However even in these cases, the Switch the Solo function on/off. Only the track set to SOLO parameters of the P9: Master Effect will not be reset). ON will be heard. All other tracks will be muted. 0–1B: Solo Selected Track If a track muted by the Mute or Solo function has a When you select this command and check the menu page, “Status” (1–1a, 2a) of EXT or BTH, the MIDI note-on/ only the selected track will sound and the remaining tracks off messages of that track will not be transmitted. will be muted (the Solo function). To solo a different track, (However, the track selected by “Play Track Select” (0– select one of the parameters of that track (Sequencer P0: 0– 1g) is an exception.) 1B). If the page menu command “Solo Selected Track” (0– If a track muted by the Mute or Solo function has a 1B) is ON, its solo settings will take priority (when ON). “Status” (1–1a, 2a) of EXT or BTH, the MIDI note-on/ When you press “SOLO ON/OFF” or press a parame- off messages of that track will not be transmitted. ter of another track, only that track will be soloed and will sound. 0–1C: Load Template Song This command loads a preset template song (one of sixteen 0–1: Page Menu Command types P00–15) or a user template song (one of sixteen types U00–15) into the song (Sequencer P0: 0–1G).

0–1A 0–1D: Save Template Song 0–1B This command saves the programs, the track parameters, 0–1C and the effect settings etc. as a user template song U00–15 0–1D (Sequencer P0: 0–1H). 0–1E The settings that are saved here can also be loaded in Sequencer mode. 0–1E: Set Location By pressing the [LOCATE] key you can move to the location speciﬁed here (Sequencer P0: 0–1J).

Parameter Track1–9, 11–16 Track10 P0 Bank/Program G000:*A.Piano g(d)000:STANDARD KIT Pan C064 C064 Volume 100 100 P1 Status – – The setting remains unchanged Use Program’s Scale – – The setting remains unchanged P7 Arpeggiator Assign – – The setting remains unchanged Other Arpeggiator parameters – – The setting remains unchanged P8 IFX/Indiv.Out BUS Select L/R DKit Send1(MFX1) 0 0 Send2(MFX2) 40 40 IFX1–5 – – The setting remains unchanged Pan(CC#8) – – The setting remains unchanged BUS Select – – The setting remains unchanged Send1 – – The setting remains unchanged Send2 – – The setting remains unchanged Other Insert Effect parameters – – The setting remains unchanged P9 MFX1 – – 016: Stereo Chorus MFX2 – – 053: Reverb Smooth Hall Return1 – – 127 Return2 – – 050 Other Master Effect and Master EQ parameters – – Default settings

102 oue[0...127] Set thevolumeofeachtrack(channel)1 Volume 0 [RND,L001...C064...R127] Set thepanningforeachtrack(channel)1 Pan (Panpot) 0 used byeachtrack. This area displayspartofthecategorynameforprogram 0 Set thepanandvolumeforeachtrack(channel). 0 0 P0: 0 – – – – – 3(4)c: Volume 3(4)b: Pan 3(4)a: ProgramCategory 4: Mixer9 3: Mixer1 Tracks whose Tracks whose channels 1 (CC#11) values.Tracks 1 multiplying theMIDIvolume(CC#7)andexpression ume. Theactualvolumeofatrackisdeterminedby receive MIDIcontrol change(CC)#7tocontrol thevol- respectively. Tracks 1 far left,64willbecenter, and127willbefarright. panpot. Whenreceiving CC#10,avalueof0or1willbe receive MIDIcontrol change(CC)#10tocontrol the – 0 0 0 0 0 . . . 3b). – – – – – 3a 3c 3b 1a 1g – 16 willbecontrolled byMIDIchannels1 – 16 respectively. “ “ Status Status – – 16 8 (Mixer T01 ” ” (1 (1 (Mixer T09 – – – 16 willbecontrolled byMIDI 1a, 2a)is 1a, 2a)is – 08) – INT INT – 16. – 16) 16 ( or or BTH BTH Sequencer can can – 16 0 – 1 tively, andmakesettingsforthemetronome. when Checked: Auto Start the next Checked: Chain tonext ing. succession whenthecurrently selectedSMF Specify whetherornotthenext 0 Here youcanmakesettingsforplayingSMF 0 ee [000...127] [On,Off] Set thevolumeofmetronome. Level ( Specify theoutputdestinationofmetronome sound BUS (Output)Select(BUSSelect) of themetronome willbeoutputtothebusselectedby On: Sound Make settingsforthemetronome. 0 the next Select. – – 0 – “ However, selected. Sequence P0:0 5a: NextFile 5b: MetronomeSetup Themetronome willsoundduringplayback.The 5: Preference – 0 0 0 . . . 0 0 5: PageMenuCommand – – – – “ ” – 5a 5b 1g 1a Chain tonext 1: PageMenuCommand. fi fi Whenthecurrently selectedSMF Whenthecurrently selected le willautomaticallybeselected. le willautomaticallybeginplaying.Thisisvalid “ Solo SelectedTrack fi le – 7b). fi le ” ischecked. [L/R, L,R,1,2,3,4,1/2,3/4] fi ” le willbeplayedbackin ” (0 – 1B) cannotbe fi le fi fi nishes playing, fi nishes playing, fi nishes play- les consecu- “ 103 BUS 0 – 5

P9 P8 P7 P3 P2 P1 P0 Song Play Song Play P1: Track 1–1(2)c: Scale Select the scale that will be used in Song Play mode. For each track, you can specify the status of the internal tone generator and the scale. Type [Equal Temperament...User Octave Scale15] Select the scale type (“Type” Program P1: 1–1c). Key (Scale Key) [C…B] 1–1: Status 1–8 (Status/Scale T01–08) Select the tonic key of the selected scale (“Key” Program 1–2: Status 9–16 (Status/Scale T09–16) P1: 1–1c).

0–1 Random [0…7]

0–1a As this value is raised, an increasing amount of random . . deviation will be applied to the pitch at note-on ( “Ran- 0–1g dom” Program P1: 1–1c).

1–1a 1–3: MOSS 1–8 (MOSS Setup T01–08) 1–1b 1–4: MOSS 9–16 (MOSS Setup T09–16) This page is displayed when the separately sold EXB-MOSS option has been installed. For details refer to the EXB-MOSS owner’s manual. 1–1(2)a: Status [INT, Off, BTH, EXT]

Specify whether each track will transmit/receive MIDI data and/or sound the internal tone generator. INT: When you play the musical data of this track, or operate the TRITON’s keyboard or controllers when “Play Track Select” (0–1g) is set to a track whose setting is INT, the TRI- TON’s internal tone generator will sound, but MIDI messages will not be transmitted to external devices. 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’s keyboard or controllers when “Play Track Select” (0– 1g) is set to a track whose setting is BTH, the TRITON’s internal tone generator will sound, and MIDI messages will also be transmitted to external devices. EXT: When you play the musical of this track, or operate the TRITON’s keyboard or controllers when “Play Track Select” (0–1g) is set to a track whose setting is EXT, MIDI messages will be transmitted to external devices, but the TRITON’s internal tone generator will not sound. A GM System On message will cause settings for a GM reset to be transmitted via MIDI.

Musical data Keyboard and controller operations Received data Status Internal MIDI OUT Internal MIDI OUT tone genera- tone generator tor INT × — EXT × × — BTH —

1–1(2)b: Use Program’s Scale

For each track you can specify whether or not the scale specified for the program in “Scale” (Program P1: 1–1c) will be used. Checked: The scale specified by the program will be used. Unchecked: The scale specified by “Scale” (1–1c, 2c) will be used.

104 settings here. assigned toeachtrackwillnotbevalid,youcanmakenew Since the[SW1]and[SW2]functionsofprogram valid, youcanmakenewsettingshere. functions oftheprogram assignedtoeachtrackwillnotbe Since theREALTIME CONTROL knobs[1] ated inB-mode. front panelREALTIME CONTROL knobs[1] List Knob 1 ...,AfterTouch [Off, Lock] knobs [1] trol change) forthefront panelREALTIME CONTROL Assign theB-modefunctions(mainlyvarioustypesofcon- [Toggle, ...,AfterTouch [Off, Momentary] Lock] 2 [Toggle, Momentary] Toggle/Momentary SW2 Toggle/Momentary SW1 switches ( Assign thefunctionsoffront panel[SW1]and[SW2] 2 2 Select. can beusedwhenplayingthetrackselectedby [4] willhaveinSongPlaymode.Thefunctionsyouspecify B-mode functionsoftheREALTIME CONTROL knobs[1] Specify thefunctionsthat[SW1]key, [SW2]key, andthe Knob 2 Knob 3 Knob 4 – – – “ “ Song PlayP2:ControllerSetup 1b: RealtimeControlKnobsB 1a: PanelSwitchAssign Realtime Control KnobsB-Assign Panel Switch Assign ” 1: ControllerSetup If thetrackyouselectin tus on theMIDIchannelofthattrack. MIDI control change(CC#)messagestobetransmitted controller that hasbeenassignedaCC#willcause ). Thefunctionsyouspecifyhere willoperatewhenthe 2 0 0 . . . 2 – – – ” – 1a 1a 1g 1b ” – – – – (1 – B [Off, ...,MIDICC#95] [Off, B B [Off, ...,MIDICC#95] [Off, B B [Off, ...,MIDICC#95] [Off, B B [Off, ...,MIDICC#95] [Off, B [4] ( – p.217 1a, 2a)settingofeither p.218 “ SW1, SW2 Assign List “ Realtime Control KnobsB ” (Program P1:1 “ Play Track Select (Preference) BTH – ” (Program P1:1 Assign or – ” 4a). ). – EXT [4] B-mode – [4] are oper- ” , operatinga “ hasa Play Track – Assign – “ 4b). Sta- 2 – – 1 2 – 1: PageMenuCommand 0 0 0 – – – 1E 1D 1C 105

P9 P8 P7 P3 P2 P1 P0 Song Play Song Play P3: Select Directory/ 3–1c: Drive select Jukebox Select the device that will be used for playback. The volume label assigned to the media will be displayed. If the media has no volume label, the display will indicate “no The content that is displayed will depend on the “Juke” (0– label.” If the media is unformatted, the display will indicate 1d) setting. “Unformatted.” Checked: “3–1: Select Directory” will be displayed. When the TRITON is shipped, only ﬂoppy disks can be Unchecked: “3–1: Jukebox” will be displayed. selected here. If the EXB-SCSI option is installed, you can select external SCSI devices that are connected.

3–1: Select Directory 3–1d: Open button, Up button From a listing of the contents of a ﬂoppy disk inserted into Open button the ﬂoppy disk drive, or an external hard disk or other SCSI device connected to the SCSI interface (when the separately When you press the Open button the directory will be sold EXB-SCSI option is installed), select the directory that opened, and the current directory will move one level contains the SMF you wish to play. downward in the directory hierarchy. Up button 3–1a When you press the Up button, the current directory will move one level upward in the directory hierarchy. 3–1b This button is available when a directory is selected in the directory window.

b2 b3 b4 3–1: Jukebox 3–1c 3–1d Here you can create a jukebox list to specify the order in which SMF songs will be played. Up to 100 songs can be registered in a jukebox list. Lists can be saved and loaded using page menu commands 3–1B and 3–1A. Before saving to a 3–1a: Current directory disk, you must turn off the write protect setting of the disk.

The currently displayed directory selected for operations is 3–1 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. You can use the Open button and Up button to change the current directory.

3–1b: Directory window 3–1a

File information for the current directory is shown here. You can select a ﬁle or directory in this window. b1: Files/icons 3–1a: Add button, Delete button These indicate SMF and DOS directory ﬁles. (For details on Add button icons, refer to Disk mode “Files, directories, and icons” (p.131).) This adds a SMF to the jukebox list. In the directory window, select the SMF that you wish to b2: File name add to the jukebox list, and press this button to add the SMF This is the name of the SMF. to the list. b3: Size Delete button This is the size (number of bytes) of the SMF. This deletes an SMF from the jukebox list. b4: Save date This is the date (from the left: day, month, year) that was assigned when the SMF was saved.

106 3 2 1 This commandsavesthejukeboxlistyoucreated asa 3 2 1 This commandloadsthejukeboxlistthatyouwishtouse. 3 – – 3 1B: SaveJukeboxList 1A: Load Jukebox List be savedonthemediathatisselectedindriveselect. When youpress the press the To savethejukebox list,press the box, andinputa Press thetexteditbuttontomovedialog open thefollowingdialogbox. Create ajukeboxlist,andthenselectthiscommandto press the To loadthejukeboxlist,press the The followingdialogboxwillappear. name extension.JKB),andthenselectthiscommand. In thedirectory window, selectajukeboxlist – 1: PageMenuCommand Cancel button Cancel button fi lename. OK button . . , thejukeboxlist OK button OK button 3 3 – – 1B 1A . To cancel, . To cancel, fi le ( fi fi le will fi le- le. an externalMIDIdeviceconnectedtoIN. trolled from thekeyboard, andcontrol theothertrackfrom to twotracks,selectonetrackastheplaybecon- 7 7 Arpeggiator Assign [Off, A,B] [Off, the arpeggiator(s)willfunctionaccording tothe When thefront panel ARPEGGIATOR [ON/OFF]keyison, Arpeggiator Assign 7 • • playback. The arpeggiatorcanbesynchronized tothestartofSMF knobs. parameters, andoperatethe[GATE] and[VELOCITY] you perform,canalsomodifythearpeggiopatternor you canswitchplaytrackstoarpeggiators.While If youassignarpeggiators A andBtotwodifferent tracks, data thatisbeingplayedback. can produce arpeggiosinsynchronization withtheSMF mode. Byassigningthearpeggiator(s)toplaytrack,you Here youcanmakearpeggiatorsettingsforuseinSongPlay As anotherpossibility, youcanassignarpeggiator giator willsoundallthetrackstowhichitisassigned. you selectanarpeggiatorfortwoormore tracks,thearpeg- will beplayingmanuallyalongwiththeSMFplayback.If Select eitherarpeggiator select thearpeggiopatternandsetparameters. B: can selectthearpeggiopatternandsetparameters. A: Off: tor Run A, B – – – Arpeggio Bwilloperate.Inthe Arpeggiator Btabyoucan Arpeggio A willoperate.Inthe Arpeggiator A tabyou 1(2)a: Arpeggiator Assign, Run [ON/OFF] key. stop onlythearpeggiator,turnoffARPEGGIATOR playback andthearpeggiatorwillstop.Ifyouwishto If youpressthe[START/STOP]key,andbothSMF playback timingoftheSMF. key, andthearpeggiatorwillsynchronizewith Turn onthearpeggiatorandpress[START/STOP] 2: Setup9 1: Setup1 Thearpeggiatorwillnotoperate. 0 . . . 0 7 – – Song PlayP7:Arpeggiator – 1g 1a 1a ” settingsandtheofeachtrack. – – 16 8 (Setup T01 A or (Setup T09 B fortheplaytrackthatyou – 08) – 16) “ Arpeggia- A and 107 7 – B 1

P9 P8 P7 P3 P2 P1 P0 Song Play The arpeggiator will not be applied to notes played 7–3: Arpegg. A (Arpeggiator A) back from an SMF. 7–4: Arpegg. B (Arpeggiator B) If tracks 1–16 to which arpeggiator A or B are assigned have a track “Status” (1–1a, 2a) of either INT or BTH, In the Arpegg. A tab you can make settings for arpeggiator they will be played by note data generated by the A, and in the Arpegg. B tab you can make settings for arpeg- arpeggiator regardless of the “Ch” (0–1h) setting of giator B. You can also use the “Copy Arpeggiator” page each track. In the case of BTH or EXT, MIDI note data menu command to copy settings from another mode, such will be transmitted on the “Ch” of each track. In this as Program mode. case, arpeggiator A or B can be triggered by any MIDI 7–1 channel speciﬁed by the “Ch” of a track 1–16 to which arpeggiator A or B is assigned. For example if arpeggia- 0 –.1a tor A is assigned to tracks 1 and 2, the arpeggiator will . 0–1g be triggered by both MIDI channels 1 and 2.

If (“Local Control On” Global P1: 1–1a) is set to off, the 7–3a arpeggiator will not be triggered by note data from the keyboard. The arpeggiator will be triggered only by note data from MIDI IN. Example 1) Here’s how you can use “Play Track Select” (0–1g) to switch between tracks 1 and 2 to use different arpeggiators for each track, in synchronization with SMF playback. 7–3(4)a: Arpeggiator–A(B) Setup For tracks 1 and 2, set “Status” (1–1a, 2a) to INT. Assign arpeggiator A to track 1, arpeggiator B to track 2, and Pattern (Pattern No.) [P00...P04, U00(A/B)...U231(D)] check “Arpeggiator Run A, B” (7–1a). Octave [1, 2, 3, 4] For “Play Track Select,” select Track01. Resolution [ , , , , , ] With the front panel ARPEGGIATOR [ON/OFF] key turned off, play the keyboard and track 1 will sound. Gate [000...100(%), Step] When you turn on the front panel arpeggiator [ON/OFF] Velocity [001...127, Key, Step] key, arpeggiator A will run, and track 1 will sound. Swing [–100...+100(%)] Use “Play Track Select” to select Track02. Sort Arpeggiator B will run, and track 2 will sound.

Arpeggiator Latch Assign Arpeggiator Pattern - A Trigger A Track1 MIDI Ch=1ch Status=INT Pattern - A Key Sync. (Keyboard Synchronize) = Ch1 A (Play Track=Track1) B Track 2 MIDI Ch=2ch Status=INT Pattern - B Keyboard Arpeggiator Trigger B Pattern - B = Ch2 (Play Track=Track2) These are the arpeggiator parameters for the song ( “Pro- gram 7–1: Arpeg. Setup (Arpeggiator Setup)”). Arpeggiator Run A, B When the ARPEGGIATOR [ON/OFF] key is on, the arpeggiator(s) you check here will operate for the tracks to which 7–5: Scan Zone (Scan Zone A/B) they have been assigned. When the arpeggiator key is on, A and B can be turned on/off independently. Here you can specify the range of notes and velocities that will control each arpeggiator A and B.

7–1: Page Menu Command 7–1

0 –.1a . 0–1B 0–1g 7–1A 7–5a 0–1E

7–5b 7–1A: Copy Arpeggiator This command copies arpeggiator settings. “Combination 7–1A: Copy Arpeggiator.”

7–5a: Zone Map

This area displays the “Scan Zone” area for each arpeggiator A and B (Combination “Zone Map” 7–4a).

108 o e [C ger arpeggiatorB( Specify therangeofnotes(keys)andvelocitiesthatwilltrig- [001...127] [001...127] [C Top Key B: A. Specify therangeofvelocitiesthatwilltriggerarpeggiator Bottom Velocity Top Velocity tor A. Specify therangeofnotes(keys)thatwilltriggerarpeggia- Top Key A: 7 tom Key “ otmKy[C Bottom Key [C Bottom Key o eoiy[001...127] [001...127] Bottom Velocity Top Velocity Bottom Velocity – “ 5b: ScanZoneA/B Top Velocity keyboard. ing downthe[ENTER]keyandplayinganoteon The valueoftheseparameterscanalsobesetbyhold- “ Top Key ” isthelowestnote. ” ” isthehighestnoteofrange,and ” isthehighestvelocityofrange,and isthelowestvelocity. “ A ” ). – – – – 1...G9] 1...G9] 1...G9] 1...G9] “ Bot- ify thebusforprogram usedbyeachtrack1 Here youcanmakeinserteffect settings. You canalsospec- 1 Specify thebustowhichprogram oscillatorofeachtrack 8 8 1 Specify thebustowhichprogram oscillatorofeachtrack IFX/Indiv.Out BUSSelect(BUSSelect) 8 be madeintheInsertFXtabs. tus, andchaining.Effect type,on/off, andchainsettingscan routing status,thenameofselectedeffect, theon/off sta- This displaysthesettingsofinserteffects, showingthe 8 master effect. viewed in – – – – – – 16 willbesent. You canalsosetthesendamountto 16 willbesent.Thestatusofthesesettingscanalso Guide. For detailsontheinserteffects, refer top.146 ():IFX/Indiv.Out BUSSelect(BUS Select), 1(2)b: 1a: RoutingMap 2: Routing9 1: Routing1 With asettingof OUTPUT (INDIVIDUAL)1and2,or34,set a soundingnoteandoutputtheresult from AUDIO If youwishtomakerealtime changesinthepanningof ing notewillnotmoveinrealtime. from (MAIN)L/MONOand R,thepanningofasound- the casewithasettingof ting willbeappliedeachtimenote-onoccurs.Unlike AMS (AlternateModulationSource) etc.,thepanset- program oscillatoriscontrolled usingCC#10(pan)or (INDIVIDUAL) 1and2,or34.Ifthepanningof 16 willbeoutputinstereo from AUDIO OUTPUT “ Select 1/2 (8 8 8 IFX1 – – – Song Play P8: Insert Effect Song PlayP8:Insert 1b 1a or 3) afterthesignalpassesthrough theeffects toeither ” ” “ ” 3/4 Send1 (MFX1),Send2(MFX2) to Routing Map (or . IFX1 [DKit, L/R,IFX1...5,1...4,1/2,3/4,Off] IFX2 (or – IFX5 1/2 – – IFX2 16 8 ” or ( ) (8 (Routing T01 3/4 – Combination P8 IFX5 – (Routing T09 L/R 3), andsetthe , theprogram ofeachtrack1 whenthesoundisoutput ), select 000: NoEffect – 08) – – “ 16) 1: Routing). BUS Select “ – 8. Effect 16. “ 109 BUS 8 for – ” 1

–

P9 P8 P7 P3 P2 P1 P0 Song Play Send1 (MFX1) [000...127] If “Status” (1–1a, 2a) is INT or BTH, MIDI control Send2 (MFX2) [000...127] change (CC) #8, #93, and #91 will control the pan, send 1 and send 2 after the signal passes through the insert Specify the send levels from tracks 1–16 to master effects 1 effect and will change the setting. This data will control and 2. This is valid when “BUS Select” (8–1b) is set either to the MIDI channels of IFX1–5 (8–4 – 8–8): IFX1–5 tabs) L/R or Off. If IFX 1, 2, 3, 4, or 5 is selected, the send levels to respectively. master effects 1 and 2 are set by “Send 1” and “Send 2” (in the Insert FX tab) after the signal passes through IFX1–5. 8–1 These settings are invalid if “BUS Select” is set to 1, 2, 3, 4, 1/ 2 or 3/4. 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 accordingly. 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 oscil- 8–4: IFX 1 lator of the program used by the track. 8–5: IFX 2 8–6: IFX 3 8–1: Page Menu Command 8–7: IFX 4 0–1B 8–8: IFX 5 8–1A In the Insert FX tabs you can set the parameters for the 8–1B effects you selected in IFX1–5 (p.155). 8–1C 0–1E 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 tabs 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 tabs will not be swapped. 8–1C: DrumKit IFX Patch “Combination P8: 8–1C: DrumKit IFX Patch.” 8–4a: Ctrl Ch [Ch01...16, AllRouted]

Specify the MIDI channel that will control effect dynamic modulation (Dmod), pan following the insert 8–3: Insert FX effect (CC#8), Send 1 (CC#93), and Send 2 (CC#91). Here you can select the type of each insert effect, turn it on/ An asterisk “*” will be shown at the right of the channel off, and make chain settings etc. number Ch01–16 for each track that is routed through an These parameters are the same as in Program mode. Pro- IFX. If two or more tracks with different MIDI channels are gram mode “8–2: Insert Fx.” routed, you can select here which of the channels will be However, unlike in Program mode, “Pan (CC#8),” “Send 1 used for control. (MFX1)” and “Send 2 (MFX2)” will be controlled on the All Routed: Control will be possible on all of the MIDI chan- MIDI channel speciﬁed in each of the IFX1–5 tabs. The con- nels of the routed tracks. An asterisk “*” will be shown for trol changes used are the same as in Program mode. the Ch of routed tracks (channels). 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.

110 that trackwillbeeffective whenanyoftheIFX1 If the has beensetto program isselectedhasbeensetto “ Kit IFXPatch BUS Select “ BUS Select ” (GlobalP5:5 ” pagemenucommandsettings. All Routed ” (8 – 1b) ofatrackforwhichdrum – , regardless ofthedrum kit 2b) settingsorthe DKit , thechannelof “ Drum – 5 tabs the MFX1and2tabswillnotbeswapped. However, theMIDIcontrol channelspeci tings are thesameasinProgram mode. on/off, andmakechainmasterEQsettings.Theseset- Here youcanselectthetypeofeachmastereffect, turnit 9 MFX 1and2intheMasterFXtab( Here youcansettheparametersofeffects selectedfor 9 9 9 9 Master FX(MasterEffects). the MFX1and2tabswillnotbecopied. However, theMIDIcontrol channelspeci – – 9 – – – Guide. For detailsonthemastereffects, refer top.150 “ “ 1B: SwapMasterEffect 1A: CopyMasterEffect Program P9:9 Program P9:9 1: MasterFX 3: MFX2 2: MFX1 – Song PlayP9:MasterEffect 1: PageMenuCommand ” – – 1B: SwapMasterEffect. 1A: CopyMasterEffect. ” 0 9 9 – – – p.155). 1E 1B 1A ﬁ ﬁ ed by ed by “ ” ” Program 9 “ “ “ Ctrl Ch Ctrl Ch 8. Effect – 111 1: 9 9 ” ” – – in in 2a 1

P9 P8 P7 P3 P2 P1 P0 Song Play 9–2a: Ctrl Ch [Ch01...16, Gch]

Specify the MIDI channel that will control dynamic modulation (Dmod) for the master effects. With a setting of Gch, the global MIDI channel “MIDI Channel” (Global P1: 1–1a) will be used for control.

9–4: Master EQ The master EQ is a three-band stereo EQ. It is located immediately 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.207).

9–4a

9–4a: Ctrl Ch [Ch01...16, Gch]

Specify 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.

112 6. Global mode

In Global mode you can make settings that affect the entire Key Transpose [–12…+12] instrument, such as master tuning, MIDI, and memory pro- This adjusts the pitch in semitone steps over a ±1 octave tect. You can also edit user scales, drum kit setups, and user range. arpeggio patterns. This setting is applied at the location (Pre MIDI or Post If you want the settings you make in Global mode to be MIDI) speciﬁed by “Convert Position” (1–1a). backed up when the power is turned off, you must Note number transmitted Transpose write them into memory. To write your settings, use the –12 0 +12 page menu commands “Write Global Setting,” “Write 24…84 36…96 48…108 Drum Kits,” or “Write Arpeggio Patterns.” TRITON (C1…C6) (C2…C7) (C3…C8) The front panel [REC/WRITE] key can also be used to access “Update Global Setting,” “Update Drum Kits,” 16…91 28…103 40…115 TRITON pro (E0…G6) (E1…G7) (E2…G8) and “Update Arpeggio Patterns.” Simultaneously, the edited content will be written. 9…96 21…108 33…120 TRITON proX (A–1…C7) (A0…C8) (A1…C9)

If the “Convert Position” (1–1a) is Pre MIDI, the range Global P0: Basic Setup of note numbers transmitted from the TRITON will depend on this Key Transpose setting. The Global mode “Key Transpose” setting can be controlled by receiving the MIDI universal exclusive mes- 0–1: Basic sage Master Coarse Tuning (F0, 7F, nn, 04, 04, vv, mm, 0–1 F7: nn=MIDI channel, vv/mm=value). This message will be received on the global MIDI channel specified by “MIDI Channel” (1–1a). 0–1a The Global mode “Key Transpose” setting is the basis from which relative adjustments are applied by incoming MIDI RPN Coarse Tune messages to adjust the tuning of a program or timbre (in Combination mode) or 0–1c 0–1b track (in Sequencer/Song Play modes). In Program mode, MIDI RPN Coarse Tune messages are received on the global MIDI channel specified by “MIDI Chan- nel” (1–1a), and in other modes they are received on the individual MIDI channels specified for each timbre (Combination mode) or track (Sequencer/Song Play 0–1a: Basic modes). Master Tune Velocity (Velocity Curve) [1…8] [–50cent (427.47Hz)…+50cent (452.89Hz)] This specifies the way in which the volume and/or tone will This adjusts the overall tuning of the entire TRITON in one- change in response to variations in keyboard playing cent units (semitone = 100 cents) over a range of ±50 cents. dynamics (velocity). With a setting of 0, the frequency of A4 will be 440 Hz. When “Convert Position” (1–1a) is Pre MIDI, variations in Global The A4 pitch given here is when Equal Temperament is keyboard playing dynamics will affect the velocity effect selected as the scale. If a different scale is selected, A4 and the transmitted velocity data as shown in the left-hand may not be 440 Hz. diagram on the following page. Incoming data will automatically use the velocity curve number 4 shown in the right-

The Global mode “Master Tune” setting can be con- hand diagram. P0 trolled by receiving the MIDI universal exclusive mes- With a setting of Post MIDI, variations in keyboard playing sage Master Fine Tuning (F0, 7F, nn, 04, 03, vv, mm, F7: dynamics and in the velocity of incoming data will create nn= MIDI channel, vv/mm=value). This message is change as shown in the right-hand diagram on the following P1 received on the global MIDI channel speciﬁed by page. If you are playing the TRITON’s tone generator from “MIDI channel” (1–1a).

an external keyboard or sequencer, and the overall sound is P2 too bright or too dark, you can set the “Convert Position” In Program, Combination, Sequencer, and Song Play parameter to Post MIDI and select the appropriate velocity modes, MIDI RPN fine tuning messages can be curve here. For the transmitted data, the velocity curve P3 received to adjust the tuning of the program, the tim- number 4 shown in the left-hand diagram will automatically bres (in Combination mode), or the tracks (in be selected. Sequencer/Song Play modes) relative to the Global P4 mode “Master Tune” setting. For a setting of Pre MIDI For a setting of Post MIDI Velocity (KBD→MIDI Out) Velocity (MIDI In→TG) In Program mode, MIDI RPN fine tune messages will 127 MAX be received on the global MIDI channel that you speci- P5 fied for “MIDI Channel” (1–1a). In other modes, MIDI 6 7 7 5

RPN ﬁne tune messages will be received on the MIDI 8 P6 8 Velocity channel for each timbre (in Combination mode) or track 4 effect 6 3 5 2 4 (in Sequencer/Song Play modes). (Refer to the 3 1 2 “Detune” parameter of Combination mode and 1 1 Sequencer mode.) Soft Strong 1 127

113 1: An effect will be obtained for strongly-played notes When you use the TRITON’s keyboard to play the 2, 3: | internal tone generator, the “Convert Position” setting 4: The normal curve will make no difference. 5: | 6: An effect will be obtained even if you do not play very strongly 0–1b: Effect Global Switch 7: A certain amount of effect will be obtained even for softly- played notes IFX1–5 Off 8: This curve produces the most regular effect. This setting is Checked: All insert effects IFX1–5 will be off. suitable when you do not need velocity sensitivity, or when Unchecked: The P8: Insert Effect settings for IFX1–5 “On/ you wish to make the notes more consistent. However with Off” in Program, Combination, Sequencer, Song Play, and this curve, control of softly-played notes will be more difﬁ- Sampling modes will be valid. cult, so use the curve that is most appropriate for your playing strength and style, and the effect that you wish to MFX1 Off produce. Checked: MFX1 will be off. Unchecked: The P9: Master Effect setting MFX1 “On/Off” After Touch (After Touch Curve) [1…8] in Program, Combination, Sequencer, and Song Play modes This speciﬁes the way in which the volume and/or tone will will be valid. change in response to variations in pressure (after touch) applied to the keyboard after playing a note. MFX2 Off Checked: MFX2 will be off. When “Convert Position” (1–1a) is Pre MIDI, variations in Unchecked: The P9: Master Effect setting MFX2 “On/Off” after touch pressure will affect the after touch effect and the in Program, Combination, Sequencer, and Song Play modes transmitted after touch data as shown in the left-hand dia- will be valid. gram below. Incoming data will automatically use the after touch curve number 3 shown in the right-hand diagram. When IFX1–5 “On/Off,” MFX1 “On/Off,” or MFX2 With a setting of Post MIDI, variations in after touch pres- “On/Off” settings are switched, control change mes- sure and in the value of incoming after touch data will create sages CC#92 (effect control 2), CC#94 (effect control 4), change as shown in the right-hand diagram. For the trans- and CC#95 (effect control 5) will be transmitted respec- mitted data, the after touch curve number 3 shown in the tively. The transmitted data will be 0 for off, and 127 for left-hand diagram will automatically be selected. on.

For a setting of Pre MIDI For a setting of Post MIDI After Touch (KBD→MIDI Out) After Touch (MIDI In→TG) 127 MAX 0–1c: Auto Arpeggiator Program 8:RANDOM 5

5 Aftertouch 4 Checked: When a different program is selected, the arpeg- effect 7 4 3 giator settings stored in that program will automatically 3 6 2 8:RANDOM 7 2 take effect. 6 1 1 0 Unchecked: The state of the arpeggiator will not change Soft Strong 0 127 when the program is switched. Use this setting when you 1: This curve produces change when strong after touch pres- wish to keep the arpeggiator running while you select dif- sure is applied ferent program sounds. 2: | 3: The normal curve Combination 4: | Checked: When a different combination is selected, the 5: This curve produces change even when light pressure is arpeggiator settings stored in that combination will auto- applied matically take effect. 6, 7: These curves produce change in 24 or 12 steps respec- Unchecked: The state of the arpeggiator will not change tively, and are appropriate for when you are recording after when the combination is switched. Use this setting when touch data on the sequencer and wish to conserve memory. you wish to keep the arpeggiator running while you select (Set the “Convert Position” to Pre MIDI.) Curve number 7 different combination sounds. 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 0–1: Page Menu Command steps. 8: This is a random curve. Use this when you wish to create 0–1A special effects, or to use after touch to apply unpredictable 0–1B modulation. 0–1C When “Convert Position” (1–1a) is Pre MIDI, the set- 0–1D ting you make here will be applied immediately after the keyboard, meaning that it will affect the data trans- 0–1A: Write Global Setting mitted via MIDI, but will not affect the received data. With a setting of Post MIDI, the setting you make here This command writes Global mode settings (except for will be applied immediately before the TRITON’s inter- Drum Kits and User Arpeggio Patterns). Press the OK but- nal tone generator, meaning that it will affect the data ton in the dialog box to execute the Write command. received via MIDI, but will not affect the transmitted When you press the front panel [REC/WRITE] key, an data. “Update Global Setting” dialog box will appear. Press the OK button to write the settings.

114 1 sensitivity ofthedamperpedal. rately soldDS-1Hoption,usethis commandtoadjustthe you are usingahalf-damper compatiblepedalthesepa- If thedamperpedaleffect doesnotapplycorrectly when 0 4 3 2 1 sitivity oftheLCDscreen. pressed theLCDscreen, use thiscommandtoadjustthesen- if theeditcellmovestoalocationotherthanwhere you If inputviatheLCDscreen doesnotworkasyouexpect,or 0 4 3 2 1 This commandchangesallprogram banksspeci 0 P5 pagemenucommand Drum KitsandUser Arpeggio Patternsare writtenusingthe bres incombinations ortracksofsongs. page menucommand Half DamperCalibration tively. – – – to accessthecommand. menu, holddownthe[ENTER]keyandpress the[2]key Ifyouare unabletoselectthiscommandfrom thepage 1D: 1C: Touch PanelCalibration 1B: Changeallbankreferences Connect ahalf-damperpedalto the DAMPERjack. again. sage willappear. Pleaseperformtheprocedure once If yourtouchwasnotdetectedcorrectly, anerror mes- Press the highlighted. your touchhasbeendetectedcorrectly thesquare willbe Press the square inthelowerrightofLCD.When lighted. touch hasbeendetectedcorrectly thesquare willbehigh- Press thesquare intheupperleftofLCD.Whenyour Select thiscommandtoopenthefollowingdialogbox press the To executetheChange All BankReferences command, In ences forsongs,check check If youwishtochangebankreferences forcombinations, Select thiscommandtoopenthefollowingdialogbox. bank. change destinationbanksdonotoverlap. change thembacktodifferent banks.Becareful thatthe bank, itwillnotbepossibletousethisfunction If youchangetwoormore different bankstothesame “ Program Bank, “ Combination. OK button Done button ” “ specifythereplacement foreach WritePattern Arpeggio . To cancel,press the ” Ifyouwishtochangebankrefer- “ “ . Write Drum Kits Song. ” ” andtheP6 Cancel button ” respec- ﬁ ed fortim- . 0 4 3 2 akMp[KORG,GM(2)] the separatelysoldEXB-MOSSoption,G,g(1) transmitted (T)forProgram banks A, B, C,D,E,F(onlyfor The followingBankSelectmessageswillbereceived (R)and and CC#32lowerbyte). to BankSelectcontrol changemessages(CC#0 upperbyte Specify themappingofprograms andcombinations relative Bank Map 0 g(d), andCombinationbanks A, B,C,andD. ()7.0 RT78. 00R/T 38. 00R 78. 00R/T 3F. 05R/T 3F. 04R/T 3F.g(d) 03R/T 79. 00,79. 01–09R/T 79. 00,79. 01–09R/T 3F. 02R/T 38. 00R 00. 05R/T 3F. 01R/T g(1)–g(9) 00. 04R/T 3F. 00R/T G, 00. 03R/T GM(2) F 00. 02R/T E 00. 01R/T D 00. 00R/T C B KORG A Bank – – cedure onceagain. error messagewillbedisplayed.Pleaseperformthepro- If theadjustmentcouldnotbeperformedcorrectly, an Press the from thepedal. Press thehalf-damperpedal,andthenrelease yourfoot Select thiscommandtoopenthefollowingdialogbox. 2a: SystemPreference 2: SystemPref. correctly. the appropriate effect, ormaybeimpossibletocalibrate use theoptionalDS-1H.Otherpedalsmaynotproduce Since thehalf-damperpedalishighlysensitive,please 0 0 – – 2a 2b E 0 3E. 00R 3E. 00R Done button . (System Preference) 3F. 7FR 00. 00,01. 00.. (GS)R 00. 00,00. 01.. (XG)R → MUTE(Korg Mute) – g(9), and 115 0 – 1

P6 P5 P4 P3 P2 P1 P0 Global Power On Mode [Reset, Memorize] Drum Kit Specify the condition at power-on. This setting protects the internal drum kit memory. Reset: The TRITON will be in Combination mode P0: Play, Checked: Internal drum kit memory will be protected, and and Combination A000 will be selected. the following write operations cannot be performed. Memorize: The location (mode and page) where you were Writing a drum kit when the power was last turned off, and the last-selected program or combination number will be selected. Receiving drum kit data via MIDI data dump Loading drum kit data from disk This function does not memorize the contents of any parameters that were edited. Before turning off the Unchecked: Data can be written to internal drum kit mem- power, be sure to write your data or save it in Disk ory. mode. Arpeggio User Pattern PC I/F Baud Rate [31.25, 38.40[kBPS]] This setting protects the internal arpeggio user pattern Select the data transmission rate at which data will be trans- memory. mitted to a computer or MIDI device connected to the TO Checked: Internal arpeggio user pattern memory will be HOST connector. protected, and the following write operations cannot be per- 31.25: Select this setting when you have connected an Apple formed. Macintosh. Writing an arpeggio user pattern 38.40: Select this setting when you have connected an IBM Receiving arpeggio user pattern data via MIDI data dump PC (compatible). Loading arpeggio user pattern data from disk Beep Enable Unchecked: Data can be written to internal arpeggio user Checked: A beep will be heard when you press an object in pattern memory. the LCD screen.

0–2b: Memory Protect 0–3: Audio Input

Program 0–1A This setting protects the internal program memory. Checked: Internal program memory will be protected, and 0–3a the following write operations cannot be performed.

Writing a program Receiving program data via MIDI data dump Loading program data from disk Unchecked: Data can be written to internal program memory. Combination This setting protects the internal combination memory. 0–3a: Audio Input (COMBI, PROG, SEQ, S.PLAY) Checked: Internal combination memory will be protected, and the following write operations cannot be performed. These settings specify the level, panning, and destination of the input from the rear panel AUDIO INPUT 1 and 2 jacks. Writing a combination These settings are valid in Combination, Program, Receiving combination data via MIDI data dump Sequencer, and Song Play modes. Loading combination data from disk Insert effects, master effects, and master EQ can be applied to an audio signal from an external audio source. This Unchecked: Data can be written to internal combination allows you to use the TRITON as a two-in six-out effect pro- memory. cessor, in conjunction with its internal tone generator. (Effect 093: Vocoder can also be used as a vocoder effect that con- Song trols an internal sound from an external mic input.) This setting protects the internal song memory. However, when the power is turned off, the song data in These settings will have no effect in Sampling mode. If song memory will be lost regardless of this setting. you move from Sampling mode to Global mode, the “Audio Input” settings of Sampling mode will be main- Checked: Internal song memory will be protected, and the tained, and it will not be possible to view settings. following write operations cannot be performed. Please move here from a mode in which external audio Recording to the sequencer signals can be input (Combination, Program, Receiving song data via MIDI data dump Sequencer, or Song Play mode). In Sampling mode, the rear panel AUDIO INPUT 1 and 2 settings can be made Loading song data from disk in the same way as here, using the parameters in Sam- Unchecked: Data can be written to internal song memory. pling P0: Input/Setup tab “Audio Input (SAM- PLING).” In Sampling mode, you can record while applying insert effects to the external audio source that is input from AUDIO INPUT 1 and 2. (The master effects and master EQ cannot be used.)

116 after thesignalpassesthrough IFX1 external input,thesendlevelstomastereffects are set Select of AUDIOINPUT1and2tothemastereffects. If AUDIO INPUT1and2willbesent( normally setthisto Input 2to Effect ed t F1,Sn2(oMX)[000...127] parameter speci In thesamewayasforoscillatorsofaprogram, this Send1 (toMFX1),Send2MFX2) [L000...C064...R127] parameter speci In thesamewayasforoscillatorsofaprogram, this BUS(IFX/Indiv.) Select [0...127] Input 1to When inputtingastereo audiosource, youwillnormallyset Set thepanningofsignalfrom AUDIO INPUT1and2. Pan source. panel [LEVEL]knobortheoutputlevelofexternalaudio sound isdistortingbefore the AD converter. Adjust therear after thislevelislowered signi you willsetthisto the soundhasbeenconvertedintoadigitalsignal.Normally signal. Thisparametersetsthesignallevelimmediatelyafter verted byan AD converterfrom ananalogsignaltoadigital The analogaudiosignalfrom AUDIO INPUT1and2iscon- Level Input2: Input1: “ Play). ( Send 2 When the than internal sounds,turn combinations, orsongsetc.thatusetheTRITON audio inputsource, andare onlyplayingprograms, L/R, 1,2,3,4jacks.Ifyouare notusinganexternal some casesmaybeoutputfrom the AUDIO OUTPUT into theTRITON, and,dependingonyoursettings,in converters (evenifthere isnoincomingaudiosignal) and 2jacksatthistime,noisewillbeinputviathe AD cables are connectedtotherear panel AUDIO INPUT1 input soundwillbetotheTRITON. Ifaudio to zero, sothatnonoisewillbeinput. from the AD converterintotheTRITON willbeforced AUDIO INPUT1and2jacks,theinputdatathatpasses If audiocablesare notconnectedtotherear panel set ” “ issetsothataninserteffect isbeingappliedtothe 2 ” “ – (Program 8 8. Effect Guide,MasterEffect Level 4. Audio Input 4. Audio Off L000 L000 andthe ” “ ). Wheninputtingamonauralaudiosource, andInput2to to [L/R, IFX1 fi fi BUS (IFX/Indiv.) Select es thesendlevelsfrom theexternalinput es thebustowhichexternalinputof 0 127 C064 . – 2a, Combination,Sequencer, Song “ . Ifthesoundisstilldistortedeven Level ” . ). “ … BUS (IFX/Indiv.) Select ” 5, 1,2,3,4,1/2,3/4,Off] valueisraised,theexternal R127 fi cantly, itispossiblethatthe (or, Input1to – 5 by 8. Effect Guide,Insert “ ” 2 settingisother – “ 4. Audio Input. 4. Audio Send 1 “ ” BUS (IFX) R127 and ”

Off ’ s and , or ” ) will notsounditsinternaltonegenerator. board andusingthejoystick,orplayingbacksequencer) This meansthatoperatingtheTRITON (playingitskey- generator. and joysticketc.willbedisconnected from theinternaltone channel speci mode; inCombination,Sequencer, orSongPlaymode,usethe and MEQ,usetheglobalMIDIchannelinProgram orSampling on/off. To control thepanfollowingIFX,sends1/2,MFX1/2 Use theglobalMIDIchanneltoswitchIFX1 on theglobalMIDIchannelwillswitchcombination. In Combinationmode(P0:Play),program changesreceived speci Sequencer mode,MIDIdataisreceived ontheMIDIchannel global MIDIchannel,butinCombinationmode(P0:Play)or In Program mode(P0:Play),MIDI dataisreceived onthe About MIDIreception sages. channel, andtotransmitreceive systemexclusivemes- to control timbres oreffects forwhich tions viaMIDIinCombinationmode(P0:Play),allmodes [1 musical datainProgram mode(P0:Play),toselectcombina- The globalMIDIchannelisusedtotransmitandreceive Set theglobalMIDIchannel. MIDI Channel(Global MIDIChannel) 1 entire TRITON. Here youcanmakeMIDI-related settingsthataffect the 1 Unchecked (LocalControlOff): the TRITON byitself,leavethissettingchecked. SW1 andSW2,connectedfootpedal.Ifyouare playing generator willbecontrolled byitsownkeyboard, joystick, Checked (LocalControlOn): Local ControlOn 1a) issetto channels oftimbres whose simultaneously ontheglobalMIDIchanneland channel. InCombinationmode,datawillbetransmitted other modes,datawillbetransmittedontheglobalMIDI MFX2, andMEQ.Bysetting track (whose mitted onthechannelspeci In Sequencer, SongPlaymodes,musicaldatawillbetrans- are operated MIDI transmissionwhentheTRITON these parametersfrom theglobalMIDIchannel. – – 1a: MIDISetup 1: MIDI 1 1 fi – – ed foreachtimbre ortrack. 1a 1b EXT fi “ ed separatelyby Status Global P1:MIDI or EX2 ” is . BTH “ “ fi Ctrl Ch Status ed forthecurrently selected , TheTRITON “ EXT Ctrl Ch TheTRITON ” ” , or ’ s keyboardorcontrollers (Combination0 to ” Gch EX2 Gch forIFX1 – 5, MFX1andMFX2 isselectedasthe ). Howeverin , youcancontrol ’ s internaltone ’ s keyboard – 5, MFX1, – 1f, 2 … 117 1 16] – – 1

P6 P5 P4 P3 P2 P1 P0 Global Uncheck this setting if echo-back from an external sequencer Post MIDI: Velocity Curve, After Touch Curve, and Trans- causes notes to be sounded in duplicate. pose will be applied to data before it enters the tone generator. Even if this setting is unchecked, MIDI transmission This means that the Velocity Curve, After Touch Curve, and and reception will occur normally. Playing the key- Transpose settings will affect the data that is sent to the board will cause the corresponding note data to be internal tone generator when you play the TRITON’s key- transmitted, and received note data will sound the TRI- board, when the internal sequencer is played back, or when TON’s internal tone generator. 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 Sequencer Arpeggiator play the TRITON’s keyboard or playback the sequencer. Local OFF Record Trigger control Tone generator MIDI IN Velocity ON Curve Record Play Sequencer MIDI IN Aftertouch Curve MIDI OUT

Tone Scale Transpose generator Note Receive (Note Receive Filter) [All, Even, Odd] Pitch change This setting specifies whether even-numbered, odd-num- MIDI OUT bered, or all note numbers will be sounded when note data is received from the TRITON’s keyboard or from an external MIDI Clock (MIDI Clock Source) MIDI device. By connecting the TRITON to another TRI- [Internal, External MIDI, External PCI/F] TON and setting one instrument to Even and the other to Odd, you can effectively double the polyphony by dividing Set this parameter when you wish to synchronize an exter- the notes between the two instruments. nal MIDI device (sequencer or rhythm machine etc.) with the TRITON’s internal arpeggiator or sequencer. All: All note numbers will be received. Normally you will leave this set to All. Internal: The internal arpeggiator and sequencer will syn- Even: Even-numbered notes (C, D, E, F#, G#, A#) will chronize to the TRITON’s own internal clock. sound. Select the Internal setting when using the TRITON by itself, Odd: Odd-numbered notes (C#, D#, F, G, A, B) will sound. or when you want the TRITON to be the master (controlling device) so that another connected external MIDI device will This setting has no effect on the MIDI data that is synchronize to the MIDI Clock messages transmitted from received. the TRITON. External MIDI: The arpeggiator and sequencer of the TRI- TON will synchronize to MIDI Clock messages transmitted MIDI OUT MIDI IN from an external MIDI device connected to the MIDI IN connector. Another TRITON ODD EVEN External PCI/F: The arpeggiator and sequencer of the TRI- TON will synchronize to MIDI Clock messages transmitted from an external MIDI device connected to the TO HOST Convert Position [Pre MIDI, Post MIDI] connector. This setting specifies the location at which the Transpose, Select either External MIDI or External PCI/F when using Velocity Curve, and After Touch Curve settings will be the TRITON as a slave (controlled device) that will synchro- applied. This setting will affect the MIDI data that is trans- nize to the MIDI Clock messages transmitted from an exter- mitted and received, and the data that is recorded on the nal MIDI device. The TRITON can respond to MIDI realtime internal sequencer. messages (Start, Stop, Continue, Song Select, and Song Posi- When using the TRITON’s keyboard to play the internal tion Pointer) from an external sequencer. tone generator, the Transpose, Velocity Curve, and Afte In Song Play mode, the TRITON will always synchro- Touch Curve settings will always take effect regardless of nize to its own internal clock regardless of this setting. this setting. Pre MIDI: Velocity Curve, After Touch Curve, and Trans- pose will be applied to the data that is transmitted from the 1–1b: MIDI Filter TRITON’s keyboard. This means that the Velocity Curve, After Touch Curve, and Enable Program Change Transpose settings will affect the data that is transmitted Checked: Program changes will be transmitted and from MIDI OUT when the TRITON’s keyboard is played, received. and the data that is recorded on the internal sequencer. MIDI In Program mode (P0: Play), the program will be switched data received from MIDI IN or the data played back by the when a program change message is received on the global internal sequencer will not be affected. MIDI channel specified by “MIDI Channel” (1–1a). When you switch programs, a program change message will be Velocity MIDI IN transmitted on the global MIDI channel. Curve Record Play Sequencer In Combination mode (P0: Play), the combination will be Aftertouch switched when a program change message is received on Curve the global MIDI channel. However, it is possible to set the

Tone Transpose Scale “Enable Combination Change” parameter so that the combi- generator Note number nation is not switched. When a program change is received change MIDI OUT on the channel speciﬁed for each timbre by “MIDI Channel” (Combination P2: 2–1a), the program of that timbre will be

118 via MIDI. control changedata;i.e.,control changeswillbetransmitted sequencer toplaybacksequence data thatwasrecorded with This settinghasnoeffect whenyouusetheinternal mitted norreceived. Unchecked: received. Checked: Enable ControlChange phonic aftertouchtocontrol individualnotes. Alternate ModulationSource (AMS),itcanreceive poly- the TRITON doessupportpolyphonicaftertouchasan it doesnottransmitpolyphonicaftertouch.However, since The TRITON after touchdata;i.e.,willbetransmittedviaMIDI. sequencer toplaybacksequencedatathatwasrecorded with This settinghasnoeffect whenyouusetheinternal touch, youcanuncheckthisparametertosavememory. When recording soundsthatdonotrequire theuseofafter transmitted norreceived. Unchecked: and received. Checked: Enable After Touch “ gram changemessageontheglobalMIDIchannelsetby Checked: Enable CombinationChange valid when transmitted togetherwithprogram changemessages.Thisis Checked: Enable BankChange Change will beaffected bythesettingof switched. However, theprogram changesforeachtimbre valid when received. Unchecked: a channelthatcorresponds toatrackwhose In Sequencermode,incomingprogram changemessageson “ transmitted simultaneouslyonthechanneloftimbres whose will betransmittedontheglobalMIDIchannel,andalso When youswitchcombinations,aprogram changemessage whose global MIDIchannelwillswitchtheprogram ofanytimbre Unchecked: matches thatMIDIchannel. bal MIDIchannelwillswitchtheprogram ofanytimbre that incoming program changeonachannelotherthantheglo- received. Unchecked: EX2 channels oftrackswhose sequencer data,program changeswillbetransmittedonthe grams onthattrack.Whenyouselectasongorplayback (Sequencer P2:2 setting ofthe The program changesforeachtimbre willbeaffected bythe global MIDIchannel.Thecombinationwillnotbeswitched. nation P3:3 MIDI Channel Status . However forplayback,thissettingwillapply. messages willberecorded regardless ofthissetting. When recording ontheinternalsequencer, bankselect “ ” ” MIDI Channel (CombinationP0:0 parameter(CombinationP3:3 Control change messageswillbetransmittedand MIDIaftertouchmessageswillbetransmitted WheninCombinationP0:Play, anincomingpro- TheBankSelectcontrol changemessagewillbe – “ “ Control changemessageswillneitherbetrans- MIDIaftertouchmessageswillneitherbe BankSelectmessageswillnotbetransmittedor An incomingprogram changemessageonthe Program changeswillnotbetransmittedor 1a). Enable Program Change Enable Program Change ’ “ s keyboard transmitsonlychannelaftertouch; Enable Program Change ” – (1 1a) issetto – 1a) willswitchcombinations.Thisis ” (CombinationP2:2 “ Status – INT 1f) issetto ” or issetto “ BTH Enable Program ” ” ischecked. ischecked. An ” – parameter(Combi- EXT 1a). willswitchpro- BTH – “ 1a) matchesthe or Status , EX2 EXT ” .

, or If youselectedacommandotherthan and adialogboxwillappear. Select thedesired command(refer tothefollowingtable), in theformofsystemexclusivedata. press the select thebankortimbre etc.ofthedatatobedumped.Then to anotherconnectedTRITON, MIDI data 1 gram received whilethepagemenucommands( However, systemexclusivedatawillbetransmittedand ted norreceived. Normallyyouwillleavethisunchecked. Unchecked: nected computeretc.toedittheTRITON, orviceversa. received. Checkthissettingwhenyouwishtouseacon- Checked: Enable Exclusive 1 Transmission These commandsallowtheTRITON Data dumptransmissionprocedure 1 1 1 1 1 1 upAlAllbanks of programs +combinations Allsequences Dump All Global settings(except for Kits theDrum Dump Sequencer kits, kit Alldrum Onedrum Dump Global pattern Onearpeggio patterns, Allarpeggio Pattern Dump Arpeggio Kit Dump Drum Combinationsofallbanks, combinationsof Programs ofallbanks, programs ofthe Dump Combination Dump Program – – – – – – – 1 1A: DumpProgram 1B: DumpCombination 1C: Dump Drum Kit 1C: DumpDrum 1D: DumpArpeggioPattern 1E: DumpGlobalSetting 1F: DumpSequencer 1G: DumpAll puter totheTO HOSTconnectoroftheTRITON. exclusive messages,connectthe serial portofthecom- If youare usingacomputerthatisabletoreceive MIDI data dump. Connect theTRITON tothedevicethatwillreceive the – power whiledataisbeingtransmitted. Do nottouchtheTRITON ”–” 1: PageMenuCommand Dump All OK button Systemexclusivedatawillbetransmittedand Systemexclusivedatawillneitherbetransmit- ” ) ofthispageare displayed. . tings +sequences +globalset- patterns kits+arpeggio drum mode) Patterns ofGlobal and UserArpeggio the specifiedbank,onecombination specified bank,oneprogram ’ s switchesorturnoff the 1 1 1 1 1 1 1 0 – – – – – – – – 1G 1F 1E 1D 1C 1B 1A 1A ’ s datatobetransmitted “ Dump All fi “ lter, orcomputer Dump Pro- ” (1 – 1G), 119

P6 P5 P4 P3 P2 P1 P0 Global If you are using a MIDI data ﬁlter etc., connect the TRI- Transmission and reception of MIDI data is also impos- TON’s MIDI OUT connector to the MIDI IN connector of sible during this time. When receiving multiple data the MIDI data ﬁlter (refer to p.111, 112 in the Basic Guide). dumps in succession, you must allow an interval 2 Select Global P1: MIDI. between the transmission of each data dump. 3 From the page menu commands, select the type of data Type of data dumped Processing time for writing into memory that you wish to dump. The following illustration shows the dialog box that will appear when “Dump Program” All Approximately 16 seconds is selected. If you wish to dump all programs, select All Programs Approximately 8 seconds “All.” To dump one bank select “Bank,” or to dump one All Combinations Approximately 4 seconds program select “Single.” All Drum Kits Approximately 8 seconds All Arpeggio Patterns Approximately 4 seconds Global Setting Approximately 4 seconds Sequencer Approximately 1 second

When you save data dumps from the TRITON to a MIDI data filer, do not save multiple data dumps 4 In “To,” specify the output connector from which the together. If two or more data dumps are saved together, data will be transmitted. the TRITON will not have enough time to write the first MIDI OUT: the rear panel MIDI OUT connector data dump before the next data dump is received, and PC I/F: the rear panel TO HOST connector it will not be possible to receive all of the data. 5 OK button Press the to transmit the data. While the data While the TRITON is writing the data into memory, is being transmitted, the display will indicate “Now transmission of Active Sensing (FEh) messages from the Transmitting MIDI Data.” MIDI OUT connector and TO HOST connector will The size of the data and the time required for transmis- stop. sion will depend on the type of data. Data dump reception procedure The following table shows the size of each data dump, and the time required. 1 Connect the TRITON and the device that will receive the data dump. Type of data dumped Data size (kByte) Time required (Sec) If you are using a computer that is able to transmit MIDI TRITON EXB- TRITON EXB- exclusive messages, connect the serial port of the com- MOSS is MOSS is installed installed puter to the TO HOST connector of the TRITON. If you are using a MIDI data filer, connect the MIDI OUT Data All 922.7– 991.8– 295.3– 317.4– 2122.7 2191.8 679.25 701.4 connector of the data filer to the MIDI IN connector of the TRITON (refer to p.111, 112 in the Basic Guide). Program All 345.6 414.7 110.6 132.7 2 Set the MIDI channel of the MIDI device to match the Program Bank (A/B/C/D/E) 691.2 --- 22.1 --- global MIDI channel “MIDI Channel” (1–1a) of the TRI- Program Bank (F) --- 691.2 --- 22.1 TON. If you want the TRITON to receive data that was Program Single (A/B/C/D/E) 0.5 --- 0.2 --- previously transmitted to a MIDI device, you must set the global MIDI channel of the TRITON to the same glo- Program Single (F) --- 0.5 --- 0.2 bal MIDI channel that was used when the data was trans- ← ← Combination All 229.4 73.4 mitted. Combination Bank 57.3 ← 18.4 ← To set the MIDI channel of the transmitting device, refer Combination Single 0.4 ← 0.2 ← to the owner’s manual for that device. The global MIDI Drum Kit All 263.2 ← 84.2 ← channel of the TRITON is set by “MIDI Channel.” 3 Either check “Enable Exclusive” (1–1b), or display one of Drum Kit Single 4.1 ← 1.3 ← the page menu commands of this page. When one of Arpeggio Pattern All 74.2 ← 23.8 ← these page menu commands is displayed, data dumps Arpeggio Pattern Single 0.3 ← 0.1 ← can be received regardless of the “Enable Exclusive” (1– Global Setting 0.8 ← 0.3 ← 1b) setting. 4 Transmit the data from the other device. For the proce- Sequencer Data 4.0– ← 3.0– ← 1204.0 387.0 dure, refer to the owner’s manual for the device you are using. Reception

Do not touch the TRITON’s switches or turn off the power while data is being received. After a data dump is received, the TRITON will require up to 16 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. If the power is turned off during this time, the TRITON 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.

120 switch isconnected,setthisto pedal switchwillnotproduce thecorrect result. Ifnopedal closed-type.) Ifthepolaritydoesnotmatch,operating no damperpedalisconnected,setthisto ating thedamperpedalwillnotproduce thecorrect result. If Assign List ( ting. Ifyouhaveconnectedapedalswitchwithpositive otSic oaiy[ the pedalswitchpolaritywillbe( If aKorg PS-1(soldseparately)pedalswitchisconnected, to therear panel ASSIGNABLE SWITCHjack. [ Set thistomatchthepolarityofpedalswitchconnected Foot SwitchPolarity positive ( this setting.Ifyouhaveconnectedadamperpedalwith nected, thepedalswitchpolaritywillbe( If aKorg DS-1H(soldseparately)damperpedaliscon- to therear panelDAMPERjack. Set thistomatchthepolarityofdamperpedalconnected Damper Polarity Send2(CC#91)] [Off...MFX to therear panel ASSIGNABLE PEDAL jack( pedal (XVP-10orEXP-2option[soldseparately])connected Select thefunctionthatwillbecontrolled byafootvolume Foot PedalAssign RepeatControl] [Off...Cue ASSIGNABLE SWITCHjack( (PS-1 option[soldseparately])connectedtotherear panel Select thefunctionthatwillbecontrolled byapedalswitch Foot SwitchAssign 2 2 type, ↑ – – ) polarity, select 1a: Damper/AssignableFootSwitch,Pedal 1: Controller 2 ↑ – isclosed-type.)Ifthepolaritydoesnotmatch,oper- 1a ↑ ) polarity, select ” Global P2:Controller ). “ + ” forthissetting.( “ + ” forthissetting.( “ – “ . Foot Switch Assign List ↓ ” ), soselect ↓ isopen-type, ↓ “ ), soselect – . ” “ – “ ↓ ” Foot Pedal forthisset- isopen- “ – ↑ ” – – 0 is for – , +] , +] ” 1A ). Scale tab. tion/Sequencer P2:Othertab,ortheSongPlayP1:Status/ selected intheProgram P1:Program Basictab,theCombina- All NotesScale.Theuserscalesyoucreate here canbe Here youcancreate sixteenUserOctaveScalesandone 3 ue[ (C of thekeyboard, andadjustthepitchofeach128notes Use thehorizontalscroll bartomovethedesired located [ Make independentpitchsettingsforeachofthe128notes. Tune 3 above normalpitch. A settingof below normalpitch. A settingof This adjustmentisrelative toequaltemperament. in one-centsteps,yoursettingswillbeappliedtoalloctaves. When youadjustthepitchofeachnoteinoctave(C Make pitchsettingsforeachnoteintheoctave. [UserOctave Scale 00...15] Tune User OctaveScaleType 3 By executingthe above normalpitch. A settingof below normalpitch. A settingof equal temperament. you cancopythesettingsofpreset Stretch scale. – – – – 1b: UserAll NotesScale 1a: UserOctaveScale 1 1: UserScale This dataiswrittenbythe is turnedoff, besure towrite(save)yoursettings. If youwishtokeepanediteduserscaleafterthepower edited data. ting dialogbox,andpress the panel [REC/WRITE]keytoaccesstheWrite GlobalSet- menu command. Alternatively, youcanpress thefront [ENTER] keyandplayinganote onthekeyboard. The notecanalsobeselectedbyholdingdownthe 3 3 – – – G9)inone-centsteps.Thisadjustmentisrelative to 1a 1b Global P3:UserScale +99 – +99 – 99 99 lowersthepitchapproximately asemitone lowersthepitchapproximately asemitone raisesthepitchapproximately asemitone raisesthepitchapproximately asemitone “ 3 – 1A: CopyScale “ Write GlobalSetting OK button ” pagemenucommand, towritethe – – 99 99 … … ” page 121 +99] +99] – 3 B) – 1

P6 P5 P4 P3 P2 P1 P0 Global 3–1: Page Menu Command Global P4: Category Name

0–1A 3–1A 4–1: Program Cat.

3–1A: Copy Scale 4–2: Comb Cat. This command copies data from a preset scale or between Here you can assign names to program and combination user scales. For details on the preset scales, refer to “Type” categories. When you select the text edit button for a cate- (Program P1: 1–1c). gory name, a dialog box will appear so that you can rename 1 Select this command to open the following dialog box. the category. Up to sixteen characters can be input. Sixteen categories can be named. A category name you edit here can be selected when you write a program or combination. In Program, Combination, Sequencer, or Song Play modes, you can select programs by category in the (category) popup menu. In Combination mode, you can select programs or 2 In “From,” select the copy source scale. In the pull-down combinations from the (category) popup menu. menu beside it, select the Key. The Key selection will be With the factory settings, the categories are named for types valid only if Pure Major or Pure Minor is selected. of musical instrument. Stretch can be copied when the destination “To” is the User All Notes Scale. 0–1A 3 In “To,” selects the copy destination scale. 4 To execute the Copy Scale command, press the OK button. To cancel, press the Cancel button.

0–1A

If you want the edited user categories to be backed up when the power is turned off, you must write them into memory. Select the “Write Global Setting” page menu command to access the Write Global Setting dialog box, or press the [REC/WRITE] key to display the Update Global settings dialog box and press the OK button to write the edited settings.

122 Low drum samples. samples toeachkey, andsetparametersfortheHigh Here youcanselectadrum kit,assignHighandLowdrum 5 P1: EditBasic A drum kityouedithere canbeselectedinProgram mode ment (drum sample)toeachkey. Here youcancreate adrum kitbyassigningadrum instru- “ amp andeffects inthesamewayasa Drums select aprogram thatusesadrum kit(i.e.,whose When youwishtoeditadrum kit,enterProgram mode, Mode that usesadrum kitwillalready have You mustset sound according tothesettingsofprogram youselected. sound usingitsown Double Even ifaprogram withan arate settings etc.suitablefordrum sounds.(Programs inthesep- sounds willnotcorrespond correctly. any settingotherthan d Oscillator Mode – Guide For detailsoncreating adrum kit,refer top.90inthe symbol.) 1: SampleSetup If Select the into memory. up afteryouturnoff thepower, youmustwritethem If youwanttheediteddrum kitsettingstobebacked drum kitwillbeaffected. When adrum kitisedited,allprograms thatuse can beeditedusingexclusivedata. write theeditedsettings. Drum Kitsdialogbox,andpress the front panel[REC/WRITE]keytoaccesstheUpdate access theWrite Drum Kitsdialogbox,orpress the 5 5 5 Voice NameList ” – – – “ is ) asanoscillator, andprocessed through the 1a 1c 1b isselectedinProgram mode,theprogram will . Enable Exclusive Drums Global P5: Drum Kit Global P5:Drum “ “ Octave “ Drum Kit Write Drum Kits ), andthenmovetothispage. A program ” is thatuseadrum kitare indicatedbya fi Single ” lter andampsettingsetc.Effects will +0[8'] (Program P1: 1 ” ” (when (2 “ or Oscillator Mode , thekeylocationsanddrum – 1a) ischecked,thedrumkit Double ” “ pagemenucommandto Oscillator Mode “ – fi multisample ). 2a) to lter, amp,andeffect OK button ” of +0[8'] Single “ Oscillator ” . With ” fi is (when to lter, Basic or 5 – 1 you canchoosefrom sample Checked: Assign [C the SampleSetuptab The keyassignedhere willbethesubjectofallparametersin and playinganoteonthekeyboard. You canalsoselectakeybyholdingdownthe[ENTER] Select thekeytoassignadrum sample(anditssettings). KEY (KeySelect) [00(A/B)...63(User)] Drum Kit If youwishtomodifythedrum kitname, usethe Select thedrum kitthatyouwishtoedit. Kit Drum 5 ak[ROM,RAM,EXB*,EXB*] ROM: Specify thebankofHighDrumsample. Bank 5 “ Specify thevelocityvalueatwhichyouwillswitchfrom the Velocity SampleSWLo M.Sample SWLo if anoptionboard containingdrum samplesisinstalled. series optionboard canbeselected.Thisselectedonly EXB*: to usethissampledatacreate adrum kit. loaded inDiskmode.SelecttheRAMbankwhenyouwant RAM: to theseparate play adrumsample atdiffering pitches. key totheright.Uncheckthisparameterwhenyouwish time, thepitchwillbeasemitonelowerthanof the drum samplesofthekeytorightwillsound. At this Unchecked: will checkthisparameter. play. key, andyoucanswitchbetweenthembyvelocityas Two drum samples,HighandLow, canbeassignedtoeach Assign Mode,andMixer. Drumsample, LowDrumsample, Voice/mixer tabVoice 001 ple. velocities belowthisvaluewillsoundthe above thisvaluewillsoundthe will indicatethetypeofinstalledoption. 48 (User)...63(User) 32 (D)...47(D) 16 (C)...31(C) 00 (A/B)...15(A/B) Low Drumsample – – 1a: Drum Kit,KeySelect,Assign,Velocity1a: Drum Sample 1b: HighDrumsample andspecifyonlythe ” the sponding EXB-PCM(expansion board) isnotinstalled, sary drum sampleisnotavailable becausethecorre- sold EXB-PCMseriesboard isselected,buttheneces- If adrum kitthatusesadrum samplefrom aseparately sample bank,youcanmakeitsound. drum samplewillnotsound.Byre-selecting thedrum Ifyoudonotwishtousevelocityswitching,setthis Drum samplesfrom aseparatelysoldEXB-PCM Selectsamplesthatyoucreated inSamplingmodeor Selectpreset Drumsamples. In ” SW and “ Bank ” Thedrum samples youassignedfor pagemenucommand. Theselecteddrumsamples willbeinvalid,and “ Low Drumsample ” Voice NameList

ﬁ → eld willindicate ” Hi (for kits) userdrum (for kits) kits, drum userdrum EXB-PCMseries (for kits) kits, drum userdrum EXB-PCMseries kits Preset drum tothe 00: BD-Dry1 “ ” Velocity SampleSWLo Program P1:1 “ → High Drumsample “ i[001...127] Hi High Drumsample. .) “ ” High Drumsample, willsound.Normallyyou ROM – 412:AmpNoise “ – Drumsample Select, 2c). . Inthiscase,that “ Low Drumsam- ” ( → “ High Drum- ” Hi, Velocities “ “ Velocity Rename – ” ” 1...G9] High . (Refer and 123 “ * ” ”

P6 P5 P4 P3 P2 P1 P0 Global The EXB* display will depend on the type of option Level [–99...+99] board. Specify the volume. High Drumsample Select [000...3999: Name] 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 Select the High Drumsample. The sample selected here will uses that drum kit. Keys for which a value of 0 is specified be sounded by velocities above the “Velocity Sample SW will sound at the volume of the amp level of the program → Lo Hi” value. ( For details on each drum sample, refer to which uses that drum kit. the separate Voice Name List.) Keys for which a value of –99 is specified will not sound. Category/ROM Drumsample Select menu: When ROM has been selected for “Bank,” you can press the Transpose [–64...+63] popup button to open the “Category/ROM Drumsample Adjust the pitch in semitone steps. +12 is one octave up, and Select” menu. (If a different bank is selected, the usual –12 is one octave down. popup menu will appear.) Tune [–99...+99] Adjust the pitch in one-cent steps. 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)” (3–1b, 3–5) of the program that uses this drum kit.

All drum samples will be displayed, grouped into 15 catego- Resonance (Filter-Resonance) [–64...+63] ries. Use the tabs at left and right to select a category, and the Adjust the filter resonance. The filter resonance for each key drum samples in the selected category will be displayed. is determined by adding this value to the filter “Resonance” (3–1b, 3–5) of the program that uses this drum kit. (When It is not possible to edit the category names of drum the “Filter Type” (Program P3: 3–1a) is Low Pass & High samples, or to re-assign the category. Pass, there will be no resonance effect.) S.Offset (Start Offset) Attack (Amp-Attack) [–64...+63] Checked: The sample waveform will start playback from a Adjust the attack time of the volume (Amplifier). The attack location later than the beginning of the drum sample wave- time for each key is determined by adding this value to the form. If the bank is ROM or EXB*, the location of the Start amp EG Attack Time of the program that uses this drum kit. Offset is pre-determined for each drum sample. This sample is not valid for drum samples which have no Start Offset. Decay (Amp-Decay) [–64...+63] However when a RAM bank is selected, this will depend on Adjust the decay time of the volume (Amplifier). The decay the selected drum sample. If you select a drum sample that includes one of the following types of sample, checking this time for each key is determined by adding this value to the item will cause playback to start from the Loop Start Address. amp EG Decay Time of the program that uses this drum kit. • A sample that was recorded (sampled) in Sampling mode 5–1c: Low Drumsample • A sample whose Loop Start Address was edited in Sampling mode after the sample was loaded in Disk Bank [ROM, RAM, EXB*, EXB*] mode Specify the bank of the Low Drumsample (“Bank” 5–1b). • A sample whose Loop Start Address was specified automatically when it was loaded as an AKAI, AIFF, or Low Drumsample Select [0000...3999: Name] WAVE file in Disk mode Select the Low Drumsample. This will be sounded by veloc- Unchecked: Playback will start from the beginning of the ities lower than the value set for “Velocity Sample SW drum sample waveform. Lo→Hi” (5–1a). (For details on each drum sample, refer to Rev (Reverse) the separate Voice Name List.) Select drumsamples from the Category/Drumsample Select Checked: The drum sample waveform will playback in menu (“High Drumsample Select” 5–1b). “one-shot” reverse. If the bank is ROM or EXB*, the location at which the reverse playback will start and end is pre-deter- S.Offset (Start Offset) mined for each drum sample. Rev (Reverse) If the drum sample is already preset for reverse play- Level [–99...+99] back or reverse loop playback, checking this setting will Transpose [–64...+63] not change its playback direction. Such samples are indicated by d in the Drumsample List of the separate Tune [–99...+99] Voice Name List. In the case of a drum sample from the Cutoff (Filter-Cutoff) [–64...+63] RAM bank, the sample will play (in reverse) from Resonance (Filter-Resonance) [–64...+63] “End” (Sampling P2: 2–1c) to “Start.” Attack (Amp-Attack) [–64...+63] This parameter will not change the playback direction Decay (Amp-Decay) [–64...+63] of a sample for which “Reverse” (Sampling P2: 2–1c) is checked. “5–1b: High Drumsample.”

124 4 3 2 1 contiguous keysatonce. another key. You canalsocopysettingsfrom twoormore This commandcopiesthesettingsofanindividualkeyto 5 currently-edited drum kit.Drum kits64 This commandcopiesthesettingsofanotherdrum kittothe 5 a nameofuptosixteencharacters. This commandrenames theselecteddrum kit. You caninput 5 ton the natively, press thefront panel[REC/WRITE]keytoaccess write thedata,press the This commandwritesalldrum kits00(A/B) 5 then editthem.Selectthecopysource drum kitin edited, butyoumaycopythemtoanotherdrumkitand and press the – – – – 5 1D: CopyKeySetup Kit 1C: CopyDrum Kit 1B: RenameDrum 1A: Write Kits Drum button To executetheCopyKeySetupcommand,press the In copy. In Select thiscommandtoopenthefollowingdialogbox. selected twoormore keysin will becopiedtothekeysstartingat tinuing upward. towritethedata. “ – (sold separately). as drum kitsforsomeoptionalEXB-PCMseriesboards Drum kits16(C) Be aware thatwhenyouexecutethe current settings,checktheMemoryProtect will beoverwritten.Ifyoudonotwishtooverwritethe command, allsettingsofthecurrently selecteddrum kit setting (0 Update Drum Kits 1: PageMenuCommand “ “ To Key, From Key, . To cancel,press the OK button – ” 2b). selectthecopydestinationkey. Ifyou ” selecttherangeofkeysthatyouwishto – 31(C) and32(D) ” OK button dialogbox,andpress the toexecute. Cancel button “ From Key, inthedialogbox. Alter- 5 5 5 5 – – – – – 1D 1C 1B 1A 47(D) – “ 72 (GM)cannotbe To Key “ Copy DrumKit ” – theirsettings are provided . 63 (User).To “ ” Drum Kit andcon- “ OK but- From, OK ” ”

”

case if drum program, youwillnormallyselect Off Off: simultaneously. group sothattwoormore hi-hatsoundscannotsound you mightassignclosedandopenhi-hatsoundstothesame played monophonicallywithlast-notepriority. Forexample assigned willbetreated asasinglegroup, andwillbe sample isassigned.Keystowhichthesamegroup numberis 001...127] [Off, 001 Exclusive Group(ExclusiveAssign) leave thisunchecked. begun, sothatthenoteswillnotoverlap.Normallyyou edly, theprevious notewillbehaltedbefore thenewnoteis Checked: Single Trigger 5 and effect routing etc. For eachkeyofadrum kit,youcansetvoiceassign,pan, 5 U eet(F/ni.u sin (BusSelect) For exampleyoumightsendSnare soundsto For eachkey, specifythebustowhich thesoundwillbesent. BUS Select(IFX/Indiv.Out Assign) 5 will uncheckthis.Thisparameterisvalidwhen Checked: Receive Enable NoteOff speci will checkthis,butyoucanuncheckitifdonotwant Checked: Enable NoteOnReceive the EGwillbegin)whenkeyisreleased. be received, andthesoundwill stop(therelease segmentof (Program P1:1 remaining soundsto sounds to – – – 2a: Voice AssignMode 2b: Mixer – . 2: Voice/Mixer Keyswillnotbegrouped. Normallyyouwillsetthis 127: been made. results willnotbere 1b). Beaware thatwhileeditingadrum kit,theedited gram P4:4 valid whenyouhavechecked that isselectedinProgram mode.Thesesettingsare Drum kitswillsoundusingthesettingsofprogram 5 5 5 ﬁ – – – c notestosound. “ 2a 2b 1a Enable NoteOff Thisallowsyoutogroup keystowhichadrum Evenwhenthesamekey(note)isplayedrepeat- Note-off messageswillbereceived. Normallyyou Note-onmessageswillbereceived. Normallyyou IFX2 – toapplyseparateinserteffects, andsend the – 1b) ischecked( 1b) or L/R [L/R, IFX1...5,1...4,1/2,3/4, Off] “ Use DKitSetting ” withoutapplyinginserteffects. ﬂ ischecked,note-off messageswill ected unlessthesesettingshave Hold On “ Use DKitSetting HoldOn ). Inthecaseofa ” (Program P8:8 IFX1 “ Hold . Inthis andKick ” (Pro- ” 125

5 – – 1

P6 P5 P4 P3 P2 P1 P0 Global Pan [Random, L001...C064...R127] Specify the panning for each key. With a setting of Random, Global P6: User Arpeggio the drum sample will be panned randomly at each note-on. Here you can create user arpeggio patterns. Send1 (to MFX1) [000...127] In this page, the TRITON will sound as it did in the mode Send2 (to MFX2) [000...127] you were in before entering Global mode. For each key, specify the send levels to master effects 1 and If you moved here from Program mode: Your editing will 2. These settings are valid when “BUS Select” (5–2b) is set to apply to the arpeggio pattern that is selected by the pro- L/R or Off. gram. Even if you moved from a program in which the If “BUS Select” is set to IFX1–5, the send level to master arpeggiator is turned off, it can be turned on by the front effects 1 and 2 will be determined by the Program, Combi- panel ARPEGGIATOR [ON/OFF] key. nation, Sequencer, or Song Play mode P8: Insert FX tab If you moved here from Combination mode: Your editing parameters “Send 1” and “Send 2” which are located after will apply to the arpeggio pattern that is selected by the the sound passes through IFX1, 2, 3, 4, or 5. combination. Even if you moved from a combination in which the arpeggiator is turned off, it can be turned on by the front panel 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” (Combi- nation P7: 7–1b), the arpeggiator will not run. 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 arpeggiator was turned off, you can use the front panel ARPEGGIA- TOR [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). 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. If you moved here from Sampling mode: The arpeggiator 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 front panel [REC/WRITE] key to access the “Update Arpeggio Patterns” dialog box. Then press the OK button to write the edited data. For details on creating an arpeggio pattern, refer to p.100 in the Basic Guide.

6–1: Pattern Setup

6–1

6–1a

6–1b

126 an arpeggiopattern. is triggered. Thisisidealwhenusingadrum patternetc.as board willcontrol onlythetimingatwhicharpeggiator are playedasthearpeggio.Notenumbersfrom thekey- Keyboard Key Sync.(KeyboardSynchronize) Latch Sort bers speci determining thepitchofeach note numbersfrom thekeyboard willhavenoeffect in Arpeggio Tone Mode [Normal, FixedNote] [Normal, Specify theTone mode(the Arpeggio Tone Mode 6 [1,2,3,4] [ [01...48] Resolution Octave parameter isnotvalidforpreset patterns fi fi Specify thelengthofpattern. After thenotevaluespeci- [P00...P04,...,U000(A/B)...U231(D)] Length (PatternLength) Select thepatternthatyouwishtoedit. Pattern [A,B] ARPEGGIATOR [TEMPO]knob.If You canalsoadjustthetempobyusingfront panel Specify thetempo. moved from Program mode,itwillnotbepossibletoselect will applytothepatternofselectedarpeggiator. Ifyou edit thearpeggiopatternofarpeggiator modes toeditanarpeggiopattern,youcanselectwhether If youmovedfrom Combination,Sequencer, orSongPlay Arpeggio Select 6 Fixed Note: ing tothepitchofeachnotethatispressed. pitches willbedevelopedasanarpeggioandplayedaccord- messages from anexternalMIDIdevice. EXT External MIDI Normal: Pattern Edit)forthearpeggiopattern. (ep)[040...240,EXT] (Tempo) ed here, thepatternwillreturn tothebeginning.This ed by – – Program P7 b ArpeggioPatternSetup 1b: ,Pattern,Length,Octave, 1a: ArpeggioSelect, , andthearpeggiatorwillsynchronize toMIDIClock P04 These parametersare notvalidforpreset patterns “ “ written bythe nal modeandwritethem.Theseparameterscannotbe and settheseparameters,youmustreturn totheorigi- If youmovehere from Program orCombinationmode Song Playmodes,butyoucanalsosetthemhere. that canbesetinProgram, Combination,Song,and this page. Pattern, Latch, Resolution, Sort, Latch, KeySync.,Keyboard Resolution, Sort, “ . Thisisthenormalarpeggiatortype.The Resolution fi ed foreach Specifythenotenumberforeach ”

” “ “

Key Sync, or “ 7 – (Tempo), 1: Arpeg. Setup. 1: Arpeg. External PCI/F “ ” WritePatterns Arpeggio occursforthenumberoftimesspeci- Tone ” and ” “

willdeterminethepitchesthat “ Octave, Tone ” “ and Keyboard , thedisplaywillindicate ” . Instead,thenotenum- “ MIDI Clock “ ” ,

“ A ” Resolution, , displayedin6 or P00 ” are parameters B ” – . Yourediting commandin Tone , 04 ” . (1 Tone , . The ” –

“ 1a) is Sort,

P00 , – 2: B ” – ] .

As Played(Fill): Played...Up&Down] [As will notsound. notes speci As Played: speci Specify thecorrespondence betweenthearpeggionotes Arpeggio Type When the Fixed NoteMode [Up,Down,Both,Parallel] Down: of octaves. Specify theoperationwhen Octave Motion Example) Tones Trigger AllTones: the numberofkeyspressed. Trigger AsPlayed: condition thatwilltriggertheTones. last arpeggionote(thelast-playedif arpeggio notesspeci taneously. Parallel: speci Both: number ofoctaves. Up: the highestnoteif Off will return tothe notes speci Running Up: Example) back toward the will return inreverse direction from thelastarpeggionote notes speci Up&Down: the keys willsoundallthree Tones 1 sound will soundonly With asettingof sound akick, on drums. We willusea and With asettingof played. be soundedatthevelocitywithwhicheachkeywas suf velocity eachtimeakeyispressed. Key, the Tones willbesoundedatthecorresponding If youset No. depending onthe an arpeggio,thefollowingresults willbeproduced to As Played: As Played(Fill): Running Up: Up&Down: , orthelowestnoteis Noteswillrepeatedly ascendwithinthespeci fi fi Noteswillrepeatedly ascendanddescendwithinthe Tone3 . fi ed from thekeyboard andtheTone ateachstep. ed numberofoctaves. ” “ Noteswillrepeatedly descendwithinthespeci Tone 3 cient tosoundallthree;

Velocity 02 Thenotesofthespeci Tone 1 “ to fi fi Ifthere are more fi Arpeggio Tone Mode , andsimultaneouslyplaythree notestoproduce Ifthere are more ed (notesplayedonthekeyboard), the arpeggio ed (notesplayedonthekeyboard), the arpeggio ed (notesplayedonthekeyboard), thosesteps “ Ifthere are more Tone1 Tone 1 0 Length (hi-hat).Ifthe 0 ” → Ifthere are more (kick)and fi “ Tone 2 ofeachTone issetto 0 → fi Arpeggio Tone Mode rst. Pressing asinglekeywilltriggerall “ 1 rst note(the → The Tone 1 1 Sort 0 [Trigger AsPlayed,Trigger All Tones] , Trigger AsPlayed Trigger AllTones fi ” isassignedanotenumberthatwill → 1 ” “

ed (notesplayedonthekeyboard), the → → “ to Arpeggio Type. 2 Step No. → asnare, and ” Tones 2 1 is → “ 04 2 (kick).Pressing twokeyswill → → Sort rest On , → Tone 2 “ Tones 1 2 “ “ Octave Tones willbetriggered according to Velocity Step No. 0 ﬁ ” Tones ) willsoundforthosesteps. → → Tone 1 ﬁ is ed octaveswillsoundsimul- ” → → ” rst-pressed noteif

0 2 03 isFixedNote,specifythe Tones On 0 0 (snare). Pressing three inastepthanarpeggio – → → inastepthanarpeggio to ” 3 (kick,snare, hi-hat).If inastepthanarpeggio → Tone 3 → issetto2 1 0 ) andsoundit. (kick), ” , playingonekeyis ” , pressing onekey ” Key Tone2 ofeachTone issetto 1 1 ”

→ →

inastepthan 01 Fixed Note → → “ 2 1 to Sort , each 2 ahi-hat. 2 → → , Tone 2 Tone0 → → “ 1 2 ” – Step No. is rest 0 4 octaves. → → Tone ﬁ → Off ed range 0... 2 “ (snare), , pattern Sort 0... → “ → will Step , or ﬁ 127 0... 0... ed ” ”

04 is

P6 P5 P4 P3 P2 P1 P0 Global 6–1: Page Menu Command 6–2: Pattern Edit Here you can input Tones 0–11. Tones correspond to a maxi- 6–1A mum of 12 notes 6–1B Tones correspond to the (up to) 12 notes that are simulta- 6–1C neously pressed on the keyboard at each of the (up to) 48 steps. If “Sort” (6–1a) is checked, the notes that were pressed will correspond in ascending order of pitch to Tones 0, 1, etc. 6–1A: Write Arpeggio Patterns If “Sort” (6–1a) is not checked, the notes that were pressed This command writes all user arpeggio patterns U00 (A/B)– will correspond in the order in which they were pressed to U231 (D). Tones 0, 1, etc. These parameters are not valid for preset patterns P00– P04.

6–2 Press the OK button in the dialog box to write the data. Alternatively, you can press the front panel [REC/WRITE] key to open the “Update Arpeggio Patterns” dialog box. In the same way, press the OK button to write the data. “Pattern,”“ Tempo,” “Octave,” “Resolution,” “Sort,” “Latch,” “Key Sync,” and “Keyboard” are parameters that are set in Program, Combination, Song, and Song 6–2a 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 original mode and write them. 6–2a: Step No., Pitch Offset, Gate, Velocity, Flam, Tone No., Fixed Note No. Patterns U200(C)–U215(C) and U216(D)–U231(D) are provided as preset patterns for certain EXB-PCM series Step No. (Step Number) [01...48] option boards (sold separately). Select the Tone that you wish to edit. When the “Step No” is 6–1B: Rename Arpeggio Pattern selected, use the numeric keys to input the Tones. Numeric keys [0]–[9] correspond to Tones 0–9, [–] corresponds to This command renames the selected user arpeggio pattern. Tone 10, and [./10’s HOLD] to Tone 11. Each time you press Up to sixteen characters can be input. Preset patterns P00– a key, the Tone will be set or reset. P04 cannot be selected. When “Arpeggio Tone Mode” (6–1a) is Normal, the display will indicate “.” When set to Fixed Note, the display will indicate “.” 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. 6–1C: Copy Arpeggio Pattern Pitch Offset [–48...+48] This command copies the settings of another user arpeggio For each step, the pitch corresponding to the Tone can be pattern to the currently selected arpeggio pattern. It is not raised or lowered in semitone steps. This lets you make set- possible to copy from a preset arpeggio pattern P00–P04. 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 parallel chords. Gate [Off, 001...100%, Legato] 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 “.” This setting is valid when the Program, Combination, Song, or Song Play mode parameter “Gate” (Program P7: 7–1b, Combination P7: 7–2b, 7–3, Sequencer/Song Play P7: 7–3a, 7–4) is set to Step. When making this setting, make sure that “Gate” is set to Step in the mode from which you arrived here. Velocity [001...127, Key] Key: The Tone of the step will sound with the velocity at which the key was played. 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: 7–1b,

128 together. tings oftwoormore adjacentstepscanalsobecopied 2 1 This commandcopiesthesettingsofaspeci 6 3 2 1 “ This commandinitializesthestepparameters( 6 [01...12] pressing anoteonthekeyboard. [C input thisvaluebyholdingdownthe[ENTER]keyand Specify thenotenumberforselected Fixed NoteNo.(FixedNumber) This isvalidwhen Tone No.(Tone Number) [ more Specify howthenotetimingwillbeskewedwhentwoor Flam Combination P7:7 +01 00: Fixed Note of theTone number. (When 7 high note.When When makingthissetting,makesure that pattern. Step inthemodefrom whichyouarrivedhere. – were pressed.) “ To simulatechords strummed onaguitar, itiseffective toset opposite direction as This settingisnotvalidforpreset patternsP00 numbered steps. Pitch Offset, – 01 + – – 6 4) issettoStep. ” 2B: CopyStep 2A: InitializeSteps All Tones willsoundsimultaneously. In Select thiscommandtoopenthefollowingdialogbox. button To executetheInitializeStepsoperation,press the initialize alltonestoafullstate. Empty Select thiscommandtoopenthefollowingdialogbox. copy. – – valuesforodd-numbered stepsand –

+99: – 2: PageMenuCommand Tones “ 99: 6 6 6 6 From Step, – – – – 2A 1C 1B 1A Thetimingofthenoteswillbeskewedinorder Thetimingofthenoteswillbeskewedin willinitializealltonestoablankstate. . To cancel,press the . ThisselectstheTone. are speci ”

“ Gate, “ ” Sort – selecttherangeofstepsthatyou wishto “ 2b, 7 Arpeggio Tone Mode ﬁ “ ” ” ed inthesamestep. +.

“ is – Velocity, ” 3, Sequencer/SongPlayP7:7 OFF “ Sort , intheorder inwhichkeys Cancel button ” ”

is “ Flam ON “–” ” , from lownoteto Tone ” ) ofthearpeggio “ (6 Velocity ﬁ valuesforeven- – c step.Theset- . . You canalso 1a) issetto – “ P04. Tone, – Full 99...+99] ” – issetto 1...G9] ” OK will

– 6 6 6 6 3a, – – – – 2B 2C 2D 2E 2, Step2 Executing pose there isapatternof This commandrotates thestepsettings.Forexample,sup- 6 step totheright. selected stepnumber. Subsequentstepswillbemovedone This commandinsertsanemptystepintothecurrently 6 This commanddeletesthestepparameters( 6 4 3 Offset, to 4,Step2 Executing toward theleft. step number. Subsequentstepswillmoveonecolumn – – – 2E: RotateStep Step 2D: Insert 2C: DeleteStep ton To executetheCopyStepoperation,press the In selected twoormore adjacentstepsin the stepsaboveit. steps willbecopiedtothespeci “ . To cancel,press the ” To Step,

“ → Gate, “ “ 3,Step3 → Forward Backward 1,Step3 ” ”

selectthecopydestinationstep.Ifyou “ Velocity, ” → wouldrewrite thesettingsofStep1to ” 4,andStep4 wouldrewrite the settingsofStep1 → “ 2,andStep4 ” Length

“ Cancel button Flam ” ”

) ofthecurrently selected ﬁ 4 ed destinationstepand . → 1. → 3. “ . From Step, “ Tone, OK but- ”

“ Pitch ” 129 the

P6 P5 P4 P3 P2 P1 P0 Global 130 7. Disk mode

In this mode you can save and load internal memory data to sion that is added to the filename. DOS files with an exten- and from a floppy disk or a connected external SCSI device sion other than the following extensions will be considered (if the separately sold EXB-SCSI option is installed). You can to be Standard MIDI Files. also make various settings related to saving and loading. Extension Type The TRITON can use MS-DOS format 3.5 inch 2HD or 2DD floppy disks. After a floppy disk has been formatted on the .PCG Program, combination, drum kit, user arpeggio pattern, global settings (TRITON format) TRITON, a 2HD disk will have a capacity of 1.44 MB (18 sectors/track), and a 2DD disk will have a capacity of 720 KB (9 .SNG Song, cue list (TRITON format) sectors/track). When the EXB-SCSI option is installed, up to .JKB Jukebox list (TRITON format) 4 GB can be formatted on an external SCSI device. .MID Standard MIDI File (SMF) The TRITON cannot format media with a format of other .EXL MIDI exclusive data than 512 bytes/block (such as 640 MB MO disks etc.). .KMP Korg Multisample Parameter file (Korg format) For details on connecting external SCSI devices and setting .KSF Korg Sample File (Korg format) the ID, refer to the EXB-SCSI owner’s manual. .KSC Korg Script File (Korg format) ISO9660 format is supported. ISO9660 level 1 CD-ROM .AIF AIFF file discs can be read. .WAV WAVE file

.JKB files cannot be loaded or saved in Disk mode – Files, directories, and icons only in Song Play mode. When data is saved on the TRITON, one of these filename The TRITON manages data on disks and other media in a extensions will be added automatically, according to the hierarchical manner, using files and directories. The contents type of data (except for .AIF and .WAV). If these filename of a file (whether it is a file or a directory) are indicated not extensions are modified on a computer, the file will be only by the name but also graphically by an icon. Files and treated as an undefined file when it is reloaded back into the directories have differently shaped icons. TRITON, and will be handled as a Standard MIDI File. On the TRITON, files and directories that can be recognized by MS-DOS (i.e., read by an MS-DOS computer) are referred Files handled by the TRITON have the following structure. to as DOS files and DOS directories. Since .PCG and .SNG files can be opened to divide their con- Various types of DOS files are distinguished by the exten- tents, they are displayed as directory icons.

DOS directory Undefined DOS file

Files that can be loaded

DOS files DOS file

.PCG file All programs 1 program bank 1 program .JKB file AKAI format program file [A–F]

All combinations 1 combination bank 1 combination .MID file AKAI format sample file [A–D]

All drum kits 1 drum kit group 1 drum kit .EXL file [A/B, C, D, User] Disk

All user arpeggio 1 user arpeggio 1 user arpeggio .KMP file patterns pattern group [A/B, C, D] pattern

Global settings .KSF file P0

.SNG file Cue list .KSC file

1 song Track .AIF file [000–199]

1 user pattern .WAV file [U00–99]

Up Open

131 0–1: Load 0–1d: Open button, Up button Open button Here you can load a selected ﬁle or directory into internal When you press the Open button, the directory will open, memory. and the current directory will move one level downward. Use the Open button and Up button to select the desired This can be used when a directory has been selected in the ﬁle or directory. Then use the “Load selected” (0–1C) page directory window. menu command to select and load the data.

0–1 Up button 0–1a When you press the Up button, the directory will move one level upward.

0–1b 0–1: Page Menu Command

b1 b2 b3 b4 0–1A 0–1B 0–1c 0–1d 0–1C

0–1A: Hide unknown files (check command) 0–1a: Current directory Checked: Undefined files will not be displayed in the directory window. However, this is valid only if the current direc- The directory currently selected for processing is referred to tory is a DOS directory. as the “current directory.” 0–1B: Translation (check command) The LCD screen will show the full path name of the directory. A slash “/” character is used as the delimiter between Checked: The multisample names and sample names used directory levels. To change the current directory, use the in Sampling mode will be displayed instead of the DOS file- “Open” button and “Up” button (0–1d). names, a .KMP (Korg Multisample Parameter) and .KSF (Korg Sample File).

0–1b: Directory window 0–1C: Load selected This command loads the file or directory that was selected in Directory window the “directory window” (0–1b). File information for the current directory is shown here. The dialog box that appears when you select this command You can select a file or directory in this window. will differ depending on the file from which you are loading data. b1: File/icon The icon indicates the type of file. For details on icons, p.131. 1) Load .PCG: selected icon b2: File name All data in the .PCG file will be loaded. 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 parameter) file or .KSF (Korg sample) file that is loaded will be replaced in the display by the multisample name or sample name that you specified in Sampling mode. b3: Size 1 If the current directory contains a .SNG file or .KSC file of This is the size of the file (in bytes). the identical name, “Load ********.SNG too” and “Load Save date and time ********.KSC too” check boxes will allow you to select this This shows the date and time when the file was saved. From data if desired. the left, this is shown as day, month, year, hours, minutes • If you check “Load ********.SNG too,” the .SNG file of and seconds. the same name as the .PCG file will also be loaded. However since the TRITON does not contain an internal cal- • If you check “Load ********.KSC too,” the .KSC file of endar or clock, you must use “Set Date/Time” (0–3E) to set the same name as the .PCG file will also be loaded. the date and time before saving the file. 2 “Select .KSC Allocation” is valid if “Load ********.KSC too” has been checked. You can specify how the multi- 0–1c: Drive select samples and samples in the .KSC file will be loaded. Append: Samples will be loaded starting at the first Select the device (floppy disk or hard disk etc.) that will be unoccupied number following the last multisample or used for loading and saving. sample that currently exists in memory (i.e., by having The volume label assigned to the media will be displayed. been sampled or loaded). At this time, only the valid For media that has no volume label, the display will indicate multisamples or samples will be loaded, and they will be “no label.” For unformatted media, the display will indicate organized in numerical order. (See diagram on the next “Unformatted.” page.) If the EXB-SCSI option is not installed, only the floppy disk can be selected.

132 2 1 bank youspecify. All program dataoftheselectedbankwillbeloadedinto 3) LoadProgramBank[A selectedicon 1 All program datafrom a.PCG 2) LoadPrograms: 3 Append Clear reproduce thestatethatwassaved, select If thepowerhasjustbeenturnedon,oryouwantto multisamples orsamplesfrom disk,select that youwishtokeep,andloadadditional If memoryalready containsmultisamplesorsamples were saved. (Seediagrambelow.) loading, press the To loadthedata,press the In loading, press the To loadthedata,press the loading, press the To loadthedata,press the will beloadedinthesamecon ory willbeerased,andthemultisamplessamples Clear: ples. kit rewritten sothatthedrum kitusesthecorrect sam- will automaticallyhavethesamplesettingsfordrum At thesametime,programs withinthe.PCG kits inthe.PCG that eachprogram usesthecorrect multisample.Drum the multisamplesettingsfortheiroscillatorsrewritten so multisamples from the.KSC you selectbank A Bank Fprogram datacanbeloadedonlyintobankF. If bank Fin “ .KSC filetobeloaded To, MS005 MS003 MS001 MS000 MS005 MS003 MS001 MS000 All multisamplesandsamplescurrently inmem- ” selecttheloadingdestinationbank. “ To. ” fi le thatusesamplesfrom the.KSC Cancel button Cancel button Cancel button – E, itwillnotbepossibletoselect – F]: selected icon memory afterloading TRITON internal MS005 MS003 MS001 MS000 MS007 MS006 MS005 MS004 MS003 MS002 MS000 OK button OK button OK button fi fi le willbeloaded. le willautomaticallyhave fi guration inwhichthey . . . . To cancelwithout . To cancelwithout . To cancelwithout Clear Append before loading TRITON internal fi MS003 MS002 MS000 MS003 MS002 MS000 le thatuse . . fi le )La obntos selectedicon All combinationsinthe.PCG 5) LoadCombinations: 3 2 1 selectedicon gram numberyouspecify. Data fortheselectedprogram willbeloadedintothepro- 4) LoadaProgram: 3 2 1 selectedicon destination combinationnumberyouspecify. The combinationyouselectwillbeloadedintotheloading 7) LoadaCombination: 2 1 bank youspecify. All combinationsintheselectedbankwillbeloadedinto 6) LoadCombinationBank[A 1 popup button,the into whichthedatawillbeloaded.Whenyoupress the loading, press the To loadthedata,press the In wish toload. selected, use If youwishtoloadaprogram otherthantheonealready loading, press the To loadthedata,press the In already selected,use If youwishtoloadacombinationotherthantheone loading, press the To loadthedata,press the In loading, press the To loadthedata,press the ton, the the datawillbeloaded.Whenyoupress thepopupbut- 0 ( nation thatyouwishtoload. – bank F. Banks A Data foronebankFprogram canbeloadedonlyinto 1a) willappear. “ “ “ Combination P0:0 To Program, To Combination, To, ” specifytheloadingdestinationbank. “ Bank/Program Select “ Program ” selectthebankandprogram intowhich – Cancel button Cancel button Cancel button Cancel button E willnotbedisplayed. “ Bank/Combination Select ” “ – selectthebankandcombination Combination 1a) willappear. ” toselecttheprogram thatyou – D]: selected icon OK button OK button OK button OK button fi le willbeloaded. ” window( . . . . ” toselectthecombi- . To cancelwithout . To cancelwithout . To cancelwithout . To cancelwithout Program P0: ” window 133

P0 Disk 8) Load Drum Kits: selected icon If you select user arpeggio pattern block 000–199 (A/B) All drum kits in the .PCG ﬁle will be loaded. as the destination for loading either 200–215 (C) or 216– 231 (D), user arpeggio patterns 000–015 will be loaded. If you select either 200–215 (C) or 216–231 (D) as the loading destination for 000–199 (A/B), the data will be loaded into user arpeggio patterns 000–015. 1 To load the data, press the OK button. To cancel without 2 To load the data, press the OK button. To cancel without loading, press the Cancel button. loading, press the Cancel button.

9) Load Drum Kit [00-15(A/B),16-31(C),32-47(D),48-63(User)]: 13) Load an Arpeggio Pattern: selected icon The selected user arpeggio pattern data will be loaded into selected icon the user arpeggio pattern number that you specify as the All drum kit data of the selected drum kit block will be loading destination. loaded into the drum kit block you specify as the loading destination.

1 If you wish to load an user arpeggio pattern other than 1 In “To,” select the drum kit block into which the data will the currently selected one, use “Arp Pattern” to re-select be loaded. the user arpeggio pattern that you wish to load. 2 To load the data, press the OK button. To cancel without 2 In “To Arp Pattern,” specify the loading destination user loading, press the Cancel button. arpeggio pattern. 3 To load the data, press the OK button. To cancel without loading, press the Cancel button. 10) Load a Drum Kit: selected icon The selected drum kit will be loaded into the drum kit num- 14) Load Global Setting: selected icon ber you specify as the loading destination. Global setting data in the .PCG ﬁle will be loaded. This includes Global mode parameters other than drum kits and user arpeggio patterns. Memory protect settings will not be loaded.

1 If you wish to load a drum kit other than the one already selected, use “Drum Kit” to re-select the drum kit you wish to load. 1 To load the data, press the OK button. To cancel without 2 In “To Drum Kit,” select the loading destination drum loading, press the Cancel button. kit. 3 To 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. 11) Load Arpeggio Patterns: selected icon All user arpeggio pattern data in the .PCG ﬁle will be loaded.

1 If the current directory contains a .PCG file or .KSC file of 1 To load the data, press the OK button. To cancel without the identical name, “Load ********.PCG too” and “Load loading, press the Cancel button. ********.KSC too” check boxes will allow you to select this data if desired. 12) Load Arpeggio Pattern [000-199(A/B), 200-215(C), 216- • If you check “Load ********.PCG too,” the .PCG file of 231(D)]: the same name as the .SNG file will also be loaded. selected icon • If you check “Load ********.KSC too,” the .KSC file of All user arpeggio pattern data in the selected user arpeggio the same name as the .SNG file will also be loaded. 2 pattern block will be loaded into the user arpeggio pattern “Select .KSC Allocation” is valid if “Load ********.KSC block you specify as the loading destination. too” has been checked. You can specify how the multisamples and samples in the .KSC file will be loaded. 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 1 In “To,” select the loading destination user arpeggio pattern block.

134 2 1 selectedicon the loadingdestination. However, itisnotpossibletospecifyan uncreated songas loaded intothesongyouspecifyasloadingdestination. The eventdataofalltracksintheselectedsongwillbe 18) LoadTracks: 3 2 1 selectedicon ber youspeci Data fortheselectedsongwillbeloadedintonum- 17) LoadaSong: selectedicon 1 The cuelistdatainthe.SNG 16) LoadCueLists: 3 loading, press the To loadthedata,press the In loading, press the To loadthedata,press the In use If youwishtoloadasongotherthantheselectedsong, loading, press the To loadthedata,press the loading, press the To loadthedata,press the 0 organized innumericalorder. (Refertothediagram for If reproduce thestatethatwassaved, select If thepowerhasjustbeenturnedon,oryouwantto multisamples orsamplesfrom disk,select that youwishtokeep,andloadadditional If memoryalready containsmultisamplesorsamples were saved. will beloadedinthesamecon ory willbeerased,andthemultisamplessamples Clear: drum kitusesthecorrect samples. sample settingsforthedrum kitrewritten sothatthe samples from the.KSC rect multisample.Drum kitsinthe.PCG oscillators rewritten sothateachprogram usesthecor- will automaticallyhavethemultisamplesettingsfortheir the .PCG are checkedwhenyouloadthedata,programs within – “ 1C: Load.PCG) “ “ Load Song, To Song, “ Song All multisamplesandsamplescurrently inmem- ******** ” fi ” fi specifytheloadingdestinationsong. le thatusemultisamplesfrom the.KSC tore-select thesongtobeloaded. ed astheloaddestination. ” selecttheloadingdestinationsong. .PCG too Cancel button Cancel button Cancel button Cancel button fi le willautomaticallyhavethe ” fi and OK button OK button OK button OK button le willbeloaded. fi “ guration inwhichthey Load . . . . . To cancelwithout . To cancelwithout . To cancelwithout . To cancelwithout ******** fi Clear le thatuse Append .KSC too . fi . le ”

you specifyastheloadingdestination. selectedicon to beaStandard MIDIFile,andwillbeloadedintothesong If youhaveselectedanunde number youselectastheloadingdestination. The selectedStandard MIDIFilewillbeloadedintothesong 20) LoadStandardMIDIFile: 3 2 1 selectedicon tion. possible tospecifyanuncreated songastheloadingdestina- of theselectedloadingdestinationsong.However, itisnot The selecteduserpatternwillbeloadedintoa Data: 19) LoadPattern 3 2 1 MIDI OUTorTO HOST. All datainthe.EXL selected 21) LoadandTransmit MIDIExclusiveData: 2 1 icon loading, press the To loadthedata,press the In already selected,use If youwishtoloadauserpatternotherthantheone loading, press the To loadthedata,press the use If the.EXL PC I/F: MIDI OUT: data willbetransmitted. In loading, press the To loadthedata,press the In owner Menu Command).ForotherMIDI devices,refer totheir tern thatyouwishtoload. the GlobalmodesectiononDump( interval ofapproximately 16seconds.Fordetailsrefer to After transmittingall.PCGdata,youmustallowan required timeintervalwilldependonthetypeofdata. If youare transmittingthedatatoanotherTRITON, the that willbeinsertedbetweeneachitemofexclusivedata. tion songanduserpattern. the songwillfollow The program bankandprogram numbersloadedinto setting. If selected forbankselect00.00(MSB.LSB).If is “ “ “ GM(2) To Song To, Song, “ Transmit IntervalTime ’ ” s manual. the rear panelTO HOST connector specifytheoutputconnectorfrom whichthe ” selecttheloadingdestinationsong. , bankGwillbeselected. fi “ ” therear panelMIDIOUTconnector le containstwoormore exclusivedataitems, Bank Map and fi “ le willbeloaded,andtransmittedfrom Cancel button Cancel button Cancel button Pattern, “ Pattern ” is fi “ OK button OK button OK button ” KORG ned Bank Map(GlobalP0:0 selecttheloadingdestina- ” tospecifythetimeinterval ” tore-select theuserpat- fi le, itwillbeconsidered . . . , bank A willbe . To cancelwithout . To cancelwithout . To cancelwithout Global P1 “ Bank Map – 1: Page – 135 2a) ”

P0 Disk Loading sample data 1 If the current directory contains a .PCG file or .SNG file of The paragraphs 22) Load .KSC, 23) Load .KMP, and 24) the same filename, you will be able to select the “Load Load .KSF which follow explain how Korg format PCM ********.PCG too” and/or “Load ********.SNG too” check- data files are loaded into the sample data RAM of the TRI- boxes. TON. • If you check “Load ********.PCG too,” the .PCG file of the same name as the .KSC file will also be loaded. About the sample data RAM • If you check “Load .SNG too,” the .SNG file of The TRITON is shipped from the factory with 16 Mbytes of ******** sample data RAM. (One 16 Mbyte SIMM is installed in a 72 the same name as the .KSC file will also be loaded. 2 pin SIMM slot.) By installing SIMM modules in both of the “Select .KSC Allocation” allows you to specify how the 72 pin slots, you can expand the sample data RAM to a max- multisamples and samples in the .KSC file will be loaded. imum of 64 Mbytes (two 32 Mbyte SIMM’s). Append: Samples will be loaded starting at the first unoccupied number following the last multisample or It is not possible to load an individual sample that is sample that currently exists in memory (i.e., by having larger than 16 Mbytes. been sampled or loaded). At this time, only the valid multisamples or samples will be loaded, and they will be Limitations on the maximum number that can be loaded organized numerical order (refer to the diagram for 0– • Multisamples: up to 1,000 1C: Load .PCG). • Samples: up to 4,000 If “Load .PCG too” is checked when you load the • Samples used by multisamples: up to 4,000 ******** data, programs within the .PCG file that use multisam- About Korg format PCM data files ples 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 KSC files: .PCG file that use samples from the .KSC file will auto- Files with an filename extension of KSC (Korg Script) con- matically have the sample settings for the drum kit tain the names of .KMP and .KSF files. rewritten so that the drum kit uses the correct samples. When a .KSC file is loaded, the .KMP and .KSF files whose Clear: All multisamples and samples currently in mem- names it contains will also be loaded. This is a convenient ory will be erased, and the multisamples and samples way to load multiple multisamples and samples at once. will be loaded in the same configuration in which they When saving, a .KSC file and a directory with the same were saved (refer to the diagram for 0–1C: Load .PCG). name as the .KSC file will be created. The .KMP files and If memory already contains multisamples or samples .KSF files listed in the .KSC file will be saved in this direc- that you wish to keep, and you wish to load additional tory. 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. KMP files: 3 To load the data, press the OK button. To cancel without loading, press the Cancel button. Files with a filename extension of KMP (Korg Multisample Samples will be loaded starting at the first unoccupied Parameter) contain the parameters which make up a single number following the last multisample or sample that multisample. These parameters also include the filename of currently exists in memory by having been sampled or the .KSF files that are used by that multisample, so when a loaded. Only valid multisamples or samples will be .KMP file is loaded, the necessary .KSF files will also be loaded (Append load). loaded at the same time. If the .KSF files used by the .KMP file are not in the cur- When saving, a .KMP file and a directory with the same rent directory or below it, a dialog box will appear, allow- name will be created, and the .KSF files used by the multi- ing you to specify the directory. Use the procedure “If the sample will be saved in this directory. file to load cannot be found,…” (p.138) to load the required .KSF files.

KSF files: Since PCM memory overflow checking is performed when loading each .KSF file, an overflow may occur Files with a filename extension of KSF (Korg Sample File) during the loading process. contain the parameters and waveform data which make up a single sample. A .KSF file can be used as one of the sam- 23) Load .KMP: selected icon ples used by a multisample. A .KSF file can also be selected and used as a drum sample for a drum kit. The selected .KMP file will be loaded as a multisample. The .KSF files used by the .KMP will also be loaded as samples. 22) Load .KSC: selected icon The .KMP files and .KSF files listed in the .KSC file will be loaded as multisamples and samples respectively. The .KSF files used by the .KMP file will be saved in an identically-named directory that is created automatically when the .KMP file is created. 1 To load the data, press the OK button. To cancel without loading, press the Cancel button. Samples will be loaded starting at the first unoccupied The .KMP files and .KSF files listed in the .KSC file number following the last multisample or sample that are saved in a directory of the same name that is cre- currently exists in memory by having been sampled or ated automatically at the same time as the .KSC file.

136 be savedasaKorg format.KSF data thathasbeenloadedissavedtoastoragemedia,itwill puters etc.Theloadeddatacanbeusedasasample.When which are formatsusedtosaveaudiodataonpersonalcom- 5 od.I: selectedicon 1 The selected AIFF 25) Load.AIF: The TRITON canload AIFF formatorWAVE format Loading AIFF selectedicon 1 The selected.KSF 24) Load.KSF: required .KSF saved asaKorg format.KSF loaded dataisthensavedtostoragemedia,itwillbe having beensampledorloaded(Appendload).Ifthe sample thatcurrently existsintheTRITON The samplewillbeloadedafterthelastmultisampleor loading, press the To loadthedata,press the having beensampledorloaded(Appendload). sample thatcurrently existsintheTRITON The samplewillbeloadedafterthelastmultisampleor loading, press the To loadthedata,press the fi ing youtospecifythedirectory. Usetheprocedure rent directory orbelowit,adialogboxwillappear, allow- If the.KSF loaded (Appendload). loaded. Onlyvalidmultisamplesorsampleswillbe le toloadcannotbefound, Since PCMmemoryover during theloadingprocess. when loadingeach.KSF page menucommand ognized as.AIFF Files withanextensionofotherthan.AIFcannotberec- last fourcharactersofthe point, youcanset If thedatathatisloadedasasamplecontainsloop a sion maymeanthatitisimpossibletosavedataon fi consumed willbeapproximately twiceaslarge asthe This willmeanthattheamountofinternalmemory will beconvertedinto16bitdatainsidetheTRITON. If datawhosesamplesizeis8bitsorlessloaded,it point. TRITON sothatthesoundwillbegin from theloop le size.Theincrease insizeresulting from thisconver- fl oppy disk. fi fi les usedbythe.KMP les andWAVE fi fi fi les. le willbeloadedasasample. le willbeloadedasasample. Cancel button Cancel button fi “ les. Inthiscase,usetheUtilitytab S.Offset “ Rename fi fl OK button OK button fi le, anover ow checkingisperformed …” fi ” lename to fi fi (Program P1:1 le. le. les ( . . ” fi (0 p.138) toloadthe le are notinthecur- – . To cancelwithout . To cancelwithout 3A) tochangethe fl “ ow mayoccur .AIF ’ ’ s memoryby s memoryby ” – 2a) onthe fi “ les, If the 6 od.A: selectedicon 1 The selectedWAVE 26) Load.WAV: 7 odAA apeFl:selectedicon 1 The selectedSamplewillbeloadedasasample. 27) LoadAKAISampleFile: fi The TRITON canload AKAI S1000/S3000formatSample Loading AKAIS1000/S3000formatSample be savedasaKorg format.KSF When theloadeddataisthensavedtostoragemedia,itwill data canbeusedasasampleormultisamplerespectively. Program Sample aaee AKAIS1000/S3000 Parameter oplnt Settable withresolution Loop length Ofthemultiple looppoints, Multiplesettings possible Loop points les andProgram saved asaKorg format.KSF loaded dataisthensavedtostoragemedia,itwillbe having beensampledorloaded(Appendload).Ifthe sample thatcurrently existsintheTRITON The samplewillbeloadedafterthelastmultisampleor loading, press the To loadthedata,press the saved asaKorg format.KSF loaded dataisthensavedtostoragemedia,itwillbe having beensampledorloaded(Appendload).Ifthe sample thatcurrently existsintheTRITON The samplewillbeloadedafterthelastmultisampleor loading, press the To loadthedata,press the recognized as.WAVE Files withanextensionofotherthan.WAV cannotbe point, youcanset If thedatathatisloadedasasamplecontainsloop tab pagemenucommand point. TRITON sothatthesoundwillbeginfrom theloop the lastfourcharactersof point, youcanset If thedatathatisloadedasasamplecontainsloop a sion maymeanthatitisimpossibletosavedataon fi consumed willbeapproximately twiceaslarge asthe This willmeanthattheamountofinternalmemory will beconvertedinto16bitdatainsidetheTRITON. If datawhosesamplesizeis8bitsorlessloaded,it point. TRITON sothatthesoundwillbeginfrom theloop le size.Theincrease insizeresulting from thisconver- fl oppy disk. fi les fi les format of lessthanonesample fi les. TheloadedSampleorProgram fi Cancel button Cancel button le willbeloadedasasample. “ “ S.Offset S.Offset fi les. Inthiscase,usetheUtility OK button OK button “ fi ” ” Rename fi fi (Program P1:1 (Program P1:1 le or.KMP le. le. fi lename to . . after loading TRITON seriesformat use thelongestloop If thereisnoHOLDloop, HOLD loopareused. the settingsfor thefirst sample isignored Resolution oflessthanone ” . To cancelwithout . To cancelwithout (0 – fi 3A) tochange le respectively. “ ’ ’ s memoryby s memoryby .WAV – – 2a) onthe 2a) onthe fi les and ” 137 fi le

P0 Disk 28) Load AKAI Program File: selected icon If the file to load cannot be found, or when loading The selected Program file will be loaded as a multisample. a file that was saved in parts When the loaded data is saved to storage media, a Program When loading PCM data, the following dialog box will file will be saved as a .KMP file, and a Sample file will be appear if the required file cannot be found in the current saved as a .KSF file. directory or a lower directory. 1 To load the data, press the OK button. To cancel without • If when loading a .KSC file, a .KMP file used by it loading, press the Cancel button. cannot be found Samples will be loaded starting at the first unoccupied • If when loading a .KMP file, a .KSF file cannot be found number following the last multisample or sample that • If when loading an S1000/S3000 format Program file, a currently exists in memory by having been sampled or Sample file cannot be found. loaded. Only valid Program files or Samples files will be • If loading a .KSF file that was larger than the media loaded (Append load). capacity and was therefore saved on multiple media, If the Sample files used by the Program file are not in the when the first media has been loaded and the second current directory or below it, a dialog box will appear, disk etc. needs to be specified. allowing you to specify the directory. Use the procedure “If the file to load cannot be found,…” to load the required Sample files. Since PCM memory overflow checking is performed when loading each .KSF file, an overflow may occur during the loading process.

About Program files The TRITON will load only the key-map related parameters from the Program file. AKAI format uses the concept of “key groups.” For each 1 Exchange disks as necessary, and move to the directory key zone, up to four samples can be assigned, and these that contains the file shown in “Where is.” four can be switched or crossfaded by velocity. Key zones 2 Press the Select button to resume loading. If you press can also be crossfaded. the Cancel button, loading will be halted. If you press On the TRITON, in contrast, there is one sample for each the Skip button, the specified files will be skipped, and key zone, and you can use up to four multisamples to cre- the next file will be loaded. ate a key map in the order of the velocity of each key group. Except for special cases in which the disk containing the It is not possible to crossfade key zones. specified file has been damaged or is unavailable, press the Select button to continue loading. 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, three multisamples will be created, collected 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 sample that is assigned at the right, and if the bottom key is the same (key groups 1 and 2 in the diagram), the higher-numbered key group will be used.

Program file TESTPROGRAM Key Group 1 Zone 1 Key Group 1 Zone 2

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

Key Group 4 Zone 1 Key Group 4 Zone 2

TRITON Multisample TESTPROGRAM 1 Key Group 2 Zone 1 Key Group 3 Zone 1 Key Group 4 Zone 1 TESTPROGRAM 2 Key Group 2 Zone 2 Key Group 3 Zone 2 Key Group 4 Zone 2 TESTPROGRAM 3 Key Group 3 Zone 3

138 speci The dateandtimewithwhichthesaved displayed. in thesamelevelofdiskhierarchy asthe When youexecuteaSaveoperation,thedatawillbesaved tory), andthenselectthedesired pagemenucommand. move tothedesired directory (i.e.,changethecurrent direc- media suchasdisk.Usethe Here youcansavevariousdatafrom internalmemoryto 0 – When savingcombinationswith 2H). you savethedataas are usedinaprogram ordrum kit,werecommend that If multisamplesorsamplescreated inSamplingmode gio patternatthesametime. the drum kitusedby theprogram andtheuser arpeg- Similarly whensavingprograms, youshouldalsosave same time. by theprograms) andtheuserarpeggiopatternsat programs usedbyeachtimbre (andthedrum kitsused & SNG, the nextpieceofmedia. lowing dialogboxwillappear, allowing youtoselect does not When saving.KSC,.KMP, or.KSF Also whenusing When using rectly. program ordrum kitwas savedwillcorrespond cor- that thecorrect multisamples/sampleswithwhichthe fi the same mend thatyousavethedatainsamedirectory with ple orsamplecreated inSamplingmode,werecom- to saveanindividualprogram, drum kit,ormultisam- fi 2: PageMenuCommand le ofthesamenamewillbeloadedattimeso ed by 0 0 0 0 0 0 0 – – – – – – – 2E 2D 2C 2B 2A 1B 1A ” “ or fi Set Date/Time fi t onasinglepieceofmedia(disketc.),thefol- lename. “ “ Save PCG, Load PCG 0 “ Save PCG – “ 2: Save Save All. ” Open button ” ” youshouldalsotrytosavethe (0 toloada.PCG “ – Select nextmedium 3E). ” or ” “ “ Save All, Save SamplingData fi les andthedata fi and le isstamped fi fi les thatare Up button le, the.KSC ”

“ Save PCG ” (0 0 0 – 0 – – – to 2F 2G 2 ”

4 3 2 1 user arpeggiopatterns,andglobalsettingsasa.PCG This commandsavesallprograms, combinations,drum kits, 0 3 2 1 DOS directory. This commandisvalidonlywhenthecurrent directory isa fi tings asa.PCG nations, drum kits,userarpeggiopatterns,andglobalset- This commandsavesallinternalmemoryprograms, combi- 0 samples created inSamplingmodeasa.KSC songs andcueslistsasa.SNG DOS directory. This commandisvalidonlywhenthecurrent directory isa i fi le onthespeci – – ed media. 2A: SaveAll(PCG,SNGandKSC) 2B: SavePCG& SEQ listed inNEWFILE.KSCwillbesavedthisdirectory. name youspecify, onedirectory willbe created. The To savethedata,press the units ofbanks. to save.Programs andcombinationscanalsobesavedin Check thecheckboxesfortypesofdatathatyouwish will besavedtothemedia. NEWFILE.PCG, NEWFILE.SNG,andNEWFILE.KSC NEWFILE andexecutethesavecommand, box, andspecifythe Use thetexteditbuttontomoveinputdialog Select thiscommandtoopenthefollowingdialogbox. units ofbanks. to save.Programs andcombinations canalsobesavedin Press thecheckboxesfortypesofdata thatyouwish media. NEWFILE.PCG andNEWFILE.SNG willbesavedtothe NEWFILE andexecutethesave command, box, andspecifythe Use thetexteditbuttontomoveinputdialog Select thiscommandtoopenthefollowingdialogbox. .PCG, .SNG,and.KSC will becreated inthecurrent directory. Inadditiontothe When youexecutethiscommand,the saving, press the fi fi ed media. le, andsavessongscueliststoa.SNG Cancel button fi fi lename. Forexampleifyouspecify lename. Forexampleifyouspecify fi les thatare created withthe OK button fi le, andmultisamples . . To cancelwithout fi les shownbelow fi fi fi le tothespec- les named les named fi 139 le, fi fi le- les

P0 Disk 4 To save the data, press the OK button. To cancel without If the page menu command “Translation” (0–1B) is saving, press the Cancel button. turned on, the names of .KMP files and .KSF files you save will be displayed as the multisample name or sam- 0–2C: Save PCG ple name. This is convenient when you are searching This command saves all internal memory programs, combi- for the desired files on disk. nations, drum kits, user arpeggio patterns, and global set- All: tings as a .PCG file. All multisamples and samples from the TRITON’s inter- This command is valid only when the current directory is a nal memory will be saved as .KMP files and .KSF files. DOS directory. Simultaneously, a .KSC file and a directory to contain these files will also be created and saved. The filename that you 1 Select this command to open the following dialog box. assigned using the text edit button will be the name of the .KSC file and the name of the directory. 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 that you assigned using the text edit button will be the name of the .KSC file and the name of the directory. 2 Use the text edit button to move to the text input dialog All Samples: All samples will be saved as .KSF files. Simul- box, and specify the filename. For example if you specify taneously, a .KSC and directory to contain these files will NEWFILE and execute the save command, a file named also be created and saved. The filename that you assigned NEWFILE.PCG will be saved to the media. using the text edit button will be the name of the .KSC file 3 Press the check boxes for the types of data that you wish and the name of the directory. to save. Programs and combinations can also be saved in One Multisample: The selected multisample will be saved units of banks. as a .KMP file. Simultaneously, a directory will also be cre- 4 To save the data, press the OK button. To cancel without ated, and the samples used by the multisample will be saved saving, press the Cancel button. in that directory. The filename that you assigned using the text edit button 0–2D: Save SEQ (Songs and Cue Lists) will be the name of the .KMP file and the name of the direc- This command saves all songs and cue lists from internal tory. By default, this name will consist of the first five char- memory as a .SNG file. acters (uppercase) of the sixteen-character multisample This command is valid only when the current directory is a name + the multisample number. DOS directory. [Examples] → 1 Select this command to open the following dialog box. 000: NewMS______000 NEWMS000.KMP 001: 108bpmDrLoop00 → 108BP001.KMP One Sample: The selected sample will be saved as a .KSF file. The filename that you assigned using the text edit button will be used as the name of the .KSF file. By default, this 2 Use the text edit button to move to the text input dialog name will consist of the first four characters (uppercase) of box, and specify the filename. For example if you specify the sixteen-character sample name + the sample number. NEWFILE and execute the save command, a file named NEWFILE.SNG will be saved to the media. [Examples] → 3 To save the data, press the OK button. To cancel without 0000: NewSample_0000 NEWS0000.KSF → saving, press the Cancel button. 0001: C#3-EGuitar C#3-0001.KSF 0–2E: Save Sampling Data (Multisamples and 0–2F: Save to Std MIDI File Samples) (Save Song as Standard MIDI File) By executing this command, multisample and sample data This command saves the selected song from internal mem- that was recorded or edited in Sampling mode or loaded in ory to storage media as a .MID file (Standard MIDI File). Disk mode can be saved from internal sampling RAM to This command is valid only when the current directory is a media as Korg format .KMP files or .KSF files (and the .KSC DOS directory. file that manages these files). 1 Select this command to open the following dialog box. This command is valid only when the current directory is a DOS directory. 1 Select this command to open the following dialog box.

2 In “Song,” so the song that you wish to save. 3 Use 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. 4 Use the radio buttons to specify the format. 2 Specify the data that you wish to save. Use the following Format 0 will save sixteen tracks of MIDI data together in five radio buttons to make your selection. (All data is a single track. saved in Korg format.) Format 1 will save each track individually. 3 To save the data, press the OK button. To cancel without saving, press the Cancel button.

140 3 2 1 0 4 3 2 1 DOS directory. This commandisvalidonlywhenthecurrent directory isa media asan.EXL unused portionofinternalmemory, andsavesthedatato This commandreceives exclusivedata,accumulatesitinthe 0 5 – – 2H: Selectothermedium 2G: SaveExclusive the next will besaved( ton operation willbeterminated.Ifyoupress the found, SCSI device,use If atthispointyoupress the Press the Remove the saving, press the To savethedata,press the box, andspecifythe Press thetexteditbuttontoaccessinputdialog will indicate TRITON. Whilethedataisbeingreceived, thedisplay Transmit theexclusivedatathatyouwishtosave box willappear. for exclusivedatatobereceived. Thefollowingdialog When youselectthiscommand,theTRITON willwait this willallowahigherdegree ofreproducibility. ommend thatyouuse you intendtoplaybackthedataonTRITON, werec- device thatsupportsStandard MIDIFiles.Howeverif The songdatayousavehere canbeplayedbackona the To savethedata,press the will changeto of theremaining free area willberewritten. Thedisplay reception ends,thesizeofreceived dataandthesize EXB-SCSI optionisinstalled). button TON. Duringreception, the you cancontinuetransmittingexclusivedatatotheTRI- select thenextpieceofmedia. the followingdialogboxwillappear, askingyouto When savinga.KSC,.KMP, or.KSF does not , thespeci Cancel button (Receive andSaveMIDI Exclusive Data) …” cannotbepressed. fl Select button oppy disk.Ifyouwishtospecifyadifferent ). fi t onasingle fl “ fi oppy diskfrom thediskdrive,andinsert Status=RECEIVING MIDIDATA. “ ed fi Status=AWAITING MIDIDATA, le. p.138 “ Cancel button fi Drive Select . le willbeskipped,andthenext fi lename. “ “ , savingwillresume. Save SEQ If the fl oppy disk(orothermedium), OK button OK button Cancel button Cancel button fi ” le toloadcannotbe (0 . ” – tosavethedata,since 1c) toselectit(ifthe fi . To cancelwithout . To cancel,press le andthedata andthe , thesave Skip but- ” ” When and fi OK le 2 1 tory isselected. This commandisvalidonlywhenaDOS This commandcopiestheselected 0 3 2 1 This commandrenames theselected 0 command. After selectingadiskor fi Here youcanrename, copy, ordeletetheselecteddisk tory isselected. This commandisvalidonlywhenaDOS le, create anewdirectory, andsetthedatetime. – – 0 3B: Copy 3A: Rename cancel, press the “ Select thiscommandtoopenthefollowingdialogbox. To rename the box, andmodifythename. Press thetexteditbuttontoaccessinputdialog Select thiscommandtoopenthefollowingdialogbox. If youwishtochangethe tory. copied, usethetexteditbuttonto movetothetextinput Copy – 3: PageMenuCommand ” willshowthenameofselected fi le ordirectory, press the Cancel button 0 – fi 3: Utility le, selectthedesired pagemenu fi le ordirectory thatwillbe . fi 0 0 0 0 0 0 0 0 le ordirectory. – – – – – – – – fi 3D 3C 3B 3A 1B 1A 3F 3E le ordirectory. fi fi le oraDOSdirec- le oraDOSdirec- OK button fi le ordirec- 141 . To 0 – 3

P0 Disk dialog box, and specify the filename that you wish to 0–3D: Create Directory copy. This command creates a new directory within the current (Can use */? as Wildcard): When you use the text edit directory. button to access the text input dialog box and specify the name of the file or directory to be copied, you can use “*” 1 Select this command to open the following dialog box. 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, 2 Use the text edit button to access the text input dialog PRELOAD1.KSC, ... box, and specify the name of the new directory. Example) 3 To create the directory, press the OK button. To cancel PRELOAD1.* : PRELOAD1.PCG, PRELOAD1.SNG, without creating the directory, press the Cancel button. PRELOAD1.KSC, ... PRELOAD?.PCG : PRELOAD1.PCG, PRELOAD2.PCG, 0–3E: Set Date/Time PRELOAD2.PCG, ... This command sets the date and time that will be used to time-stamp files that are saved. When wildcards are used, only files will be subject to copying. Directories will not be copied. 1 Select this command to open the following dialog box. 3 Use 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 (if the EXB-SCSI option has been installed). 4 If you wish to copy the file or directory with a different name, use the text edit button (in the lower line) to access 2 Set each parameter. the text input dialog box, and specify the name with “Year” 1980–2079 which the file or directory will be copied. If you are using “Month” 1–12 wildcards to simultaneously copy multiple files, it is not “Day” 1–31 possible to modify the filename. “Hour” 0–23 5 To copy the data, press the OK button. To cancel without “Minute” 0–59 copying, press the Cancel button. “Second” 0–59 (only even-numbered second values will If the drive that you selected in “Drive Select” is remov- be assigned to a file) able media (floppy disk, MO disc, removable hard disk 3 To set the date and time, press the OK button. To cancel, etc.), it is not possible to copy to different media on the press the Cancel button. same drive. 0–3F: Format 0–3C: Delete This command formats the selected media, such as a floppy This command deletes the selected file or directory. disk or external SCSI device (if the EXB-SCSI option has If a directory is selected, it can be deleted only if no files been installed). The volume label (a name for the entire disk) exist within that directory. you specify will be assigned to the disk. The volume label This command is valid only if a DOS file or directory is you assign here will be displayed in “Drive Select” (0–1c). selected. The volume label can be a maximum of eleven characters. 1 Select this command to open the following dialog box. When you format, all data saved on that media will be erased. Be sure to double-check before you format. After formatting, it is not possible to press the [Com- pare] key to return to the previous state. 2 “Delete” will indicate the name of the selected file or directory. 1 To format a floppy disk, insert the floppy disk to be for- If you wish to change the file or directory that is to be matted into the floppy disk drive. deleted, use the text edit button to access the text input 2 In “Drive Select” (0–1c), select the media that you wish to dialog box, and specify the name of the file or directory format. (If no external SCSI device is connected via the that you wish to delete. EXB-SCSI option, ignore this step.) (Can use */? as Wildcard) : When you use the text edit 3 Select this command to open the following dialog box. 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 simultaneously delete multiple files with identical filenames and different extensions, or files whose names are partially identical ( “Copy” 0–3B). 4 In “Volume Label,” use the text edit button to access the When wildcards are used, only files will be subject to text input dialog box, and specify the volume label. deletion. Directories will not be deleted. The previously-specified volume label will be dis- 3 To delete the selected file or directory, press the OK but- played. If no volume label had been specified for the ton. To cancel without deleting, press the Cancel button. disk, or if a non-DOS disk was inserted, this will indicate “NEW VOLUME.”

142 6 5 device connectedviatheEXB-SCSI(soldseparately). mum of4GBcanbeformattedonanexternalSCSI 2DD 2HD After a without formatting,press the To formatthemedia,press the this media. type offormattingifwritingerrors occurfrequently with not beenphysicallyformatted. You shouldalsoselectthis Full Format: media needbeformatted,thiswillrequire lesstime. physically formatted.Sinceonlythesystemarea ofthe Quick Format: block. Performthe media thathasbeenphysicallyformattedat512bytes/ Only 512bytes/blockmediacanbeformatted. It isnotnecessarytoperforma fl fl oppy willhold720KB(9sectors/track). A maxi- oppy willhold1.44MB(18sectors/track),anda fl oppy diskhasbeenformattedbytheTRITON, a Selectthiswhenformattingmediathathas Selectthisifthemediahasalready been Quick Format Cancel button OK button Full Format forsuchmedia. . To cancel . onSCSI “ This displaysinformationonthemediathatisselectedby drive isselected, The vendorID,product, andproduct version,etc. Product ID: The typeofmedia. Device Type: The speci SCSI ID: The volumelabelofthemedia. Volume Label: This willindicate Removable: Supports “ The writeprotect statusofthemedia.Thiswillindicate Write Protect: The free capacityofthemedia(inbytes). Free Size: The capacityofthemedia(inbytes). Total Size: “ The typeofformat.Ifnotformatted,thiswillindicate Type:Format disk). Ifthemediais can beremoved (e.g., Drive Select On Unformatted. 0 ” ifprotected, or – 4: MediaInfo fi ed SCSIID.IftheTRITON ” (0 ” – “–” 1c). “ Yes willbedisplayed. fi “ fl xed, thiswillbe ” Off oppy disk,MOdisc,removable hard ifthemediaofselecteddevice ” ifnotprotected. (Media Information) ’ s internal “ No. ” fl oppy disk 143

P0 Disk 144 8. Effect Guide

Sampling mode enables you to sample sound by applying Overview the Insert Effects to the incoming signals at AUDIO INPUTs 1 and 2. To do so, use the “Audio Input” (Sampling P0: 0–2a) The effects section of the TRITON consists of five-channel parameters. The settings here are effective only in Sampling Insert Effects, two-channel Master Effects, a single-channel mode. Master EQ (stereo, three-band EQ), and a Mixer section that controls the effect routings. You can select any of 102 digital Sample AUDIO INPUT 1, 2 Insert Effect 1-5 Insert Effects or 89 digital Master Effects, as listed below: Recording Classification of 102 effects The external input from AUDIO INPUT 1 and 2 is also valid 000–015 Filters and dynamics effect, such as EQ and compression in modes other than Sampling mode. In Program, Combina- 016–031 Pitch modulation and phase modulation effects, such as cho- tion, Sequencer, and Song Play modes, the insertion effects, rus and phaser master effects, and master EQ can be used. Settings for the 032–040 Other modulation and pitch-shifting effects, such as rotary external input from AUDIO INPUT 1/2 are made in “Audio speaker and pitch shifter Input (COMBI, PROG, SEQ, S.PLAY)” (Global P0: 0–3a). 041–051 Early reflection and delay effects In these modes, the TRITON can function as a 2-in 6-out 052–057 Reverb effects effect processor for the external input signal from AUDIO 058–089 Mono effects and mono chain effects, in which two mono INPUT 1 and 2, or you can use the external audio signal in effects are internally connected in series conjunction with the sounds of the internal tone generator. 090–102 Double-size effects (093: Vocoder can be used as a vocoder effect in which an external mic input is used to control the sounds of the TRI- Select the desired effects 000–089 from IFX 1, 2, 3, 4, and TON.) 5, and MFX 1 and 2. Effects 090–102 are double-size Send Return effects and use twice the area, compared to other Master Effect 1,2

OUTPUT effects. They are selected in IFX 2, 3, and 4. Oscillator Filter Amplifier Insert Effect 1-5 Master EQ L/MONO, R

AUDIO INPUT 1, 2 1. Effects in each mode When you apply effects to the external audio signal In Program mode, you can process sounds using Insert from AUDIO INPUT 1 and 2, oscillation may be heard Effects. This is something like processing an oscillator (OSC) depending on the effect type and the parameter set- output sound using a filter and an amplifier. Then, you can tings. If this occurs, adjust the input level, output level, apply a modulation and reverb effect or other Master Effect) and effect parameters. In particular, please exercise cau- to the processed sound to add ambience and space. Finally, tion when using high-gain effects. before the sound is output from the OUTPUT (MAIN) L/ MONO, and R connectors, you can fine-tune the tonal quality using the stereo, three-band Master EQ. You can adjust these settings for each Program individually. 2. Dynamic modulation (Dmod)

Send Return Dynamic modulation is a function that enables you to con- Master Effect 1,2 trol and change in real-time certain parameters *1 of the TRI- OUTPUT Oscillator Filter Amplifier Insert Effect 1-5 Master EQ L/MONO, R TON that govern the intensity of the effects during performance via the TRITON’s controllers and incoming In Combination mode, Sequencer mode, and Song Play MIDI messages. mode, you may process Program sounds for each timbre You can also control the effect parameters using the BPM/ and track using the Insert Effects, add ambience and space MIDI Sync function *2. Using this function enables you to to the entire sound using the Master Effects, and adjust the synchronize the LFO speed of modulation effects or the overall tonal quality using the Master EQ. delay time of delay effects with the tempo of the arpeggiator You can make these settings for each Combination in Com- or sequencer. bination mode, for each Song in Sequencer mode, and for For more information, refer to “Dynamic Modulation Source each mode in Song Play mode individually. (Dmod)” p.214. *1 Send Return These effect parameters are marked with Master Effect 1,2 OUTPUT ( p.155~). Timbre 1 / Track 1 Insert Effect 1-5 Master EQ L/MONO, R *2 The effect parameters marked with support this Timbre 2 / Track 2 function (p.160~). Timbre 8 / Track 16 Effect 3. Effect I/O To achieve the best tonal quality, signals sent to the Master Effects should be output at the maximum level without clipping. 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.

145 The TRITON does not have an input level meter to detect the effect input level. If the input level is too low, Insert Effects (IFX 1, 2, 3, 4, 5) the S/N ratio may decrease. On the other hand, if the input level is too high, clipping may occur. The following table shows the parameters related to the 1. In/Out level settings: Insert Effects (IFX 1, 2, 3, 4, 5) have a stereo input and a ste- Program mode reo output. If you select Dry (no effect) for the “Wet/Dry” Input OSC1/2 High, Low Level (P1) parameter, the stereo input signal will be output in stereo without being processed by the effect. If you select Wet Filter1/2 Trim (P3) (effect applied), the processed signal will be output in one of Amp1/2 Level (P4) the following ways: Send1/2 (P8)

Effect Trim parameter *1 (P8, P9) Mono In - Mono Out + Effect Output Effect Wet/Dry parameter (P8, P9) Wet Mono In - Stereo Out + Effect Return1, 2 (P9) Effect Stereo In - Stereo Out Effect Combination mode

Input Volume (P0, P1) If you select 000: No Effect, stereo input signals are output in stereo without being processed. Send1/2 (P8) The possible routing of stereo inputs and outputs is indi- *1 Effect Trim parameter (P8, P9) cated in the upper left corner of the block diagram. Output Effect Wet/Dry parameter (P8, P9) Pressing the “On/Off” switch of IFX 1–5 in the P8: Return1, 2 (P9) “InsertFX” tabs in each mode will toggle between ON and OFF. When OFF is selected, the effect will be bypassed, and Sequencer mode the stereo input signal will be output in stereo without being Input Volume (P0) processed. Send1/2 (P8) The TRITON can also turn IFX1–5 off by receiving MIDI Effect Trim parameter *1 (P8, P9) control change message CC#92. Value 0 will turn them Output Effect Wet/Dry parameter (P8, P9) off, and value 1–127 will turn them on. You can also use Return1. 2 (P9) “Effect Global SW” (Global P0: 0–1b) to turn IFX1–5 on and off. This MIDI control is performed on MIDI Global Song Play mode Channel “MIDI Channel” (Global P1: 1–1a).

Input Volume (P0) Double-size effects Send1/2 (P8) Double-size effects 090–102 use twice the area of what Effect Trim parameter *1 (P8, P9) other effects use. Output Effect Wet/Dry parameter (P8, P9) You can select them for Insert Effects IFX2, IFX3, and IFX4. Return1, 2 (P9) Note that if you select a double-size effect for IFX2, you cannot use IFX3. In the same way, if you select a double-size Sampling mode effect for IFX3 or IFX4, you cannot use IFX4 or IFX5 respec- Input AUDIO INPUT LEVEL on the rear panel tively. Level (P0) Selecting double-size effects for IFX2 and IFX4 Effect Trim parameter *1 (P8) Output Effect Wet/Dry parameter (P8)

Global mode *2

Input AUDIO INPUT LEVEL on the rear panel Level (P0) Send1/2 (P0)

*1 Some effects may not have these parameters. *2 Use this parameter to set the Audio Input Level in all Selecting a double-size effect for IFX3 modes other than Sampling mode.

146 “ Master Effects inseries,withthesendlevelspeci Select thisoptionifyouconnecttheInsertEffects withthe Effects, thesignalisoutputto AUDIO OUTPUT(MAIN).) MONO, R,(INDIVIDUAL)1,2,3,or4.(AftertheMaster Off: and orMasterEQ. The signalisnotsenttotheInsertEffects, MasterEffects, The following “ If youare connectingtheInsertEffects inseries,checkthe (INDIVIDUAL) 1,2,3,4( 1, 2,3,4,1/2,3/4: IFX1 Master EQ. sent to AUDIO OUTPUT(MAIN)L/MONOandRafterthe L/R: of theoscillatoroutput. Use 2 You canuseupto 2. Routing P8: 8 Use 2 outputsbeingsenttoIFX1.Checkthe series, thevaluesof is senttoIFX2.WhentheInsertEffects are connectedin located betweenIFX1andIFX2,theoutputsignalfrom IFX1 Insert Effects This settingiseffective if nect IFX1,2,3,4,and5inseriesthisorder. The (CC#8), “ If will beused( “ for thepost-IFX5signalwillbeused. level ofthepost-IFXsignal( Send1 (MFX1) Chain Send1, Send1 – “ 1. Programmode BUS Select “ “ by theSend1and2valuesreceived viaMIDI. Send 1and2settingsforOscillators2,multiplied this time,theactualsendlevelusesvalueof Send2 responds toMIDIControl ChangeCC#91. At Send1 responds toMIDIControl ChangeCC#93,and The signalisnotsentto AUDIO OUTPUT(MAINL/ – – The signalisnotsenttotheInsertEffects. Instead,itis BUS Select Send1 (toMFX1) 1d) tospecifythesendlevelforMasterEffects. 5: ” ” ” ThesignalissenttoInsertEffects IFX1,2,3,4,5. ” box(Program P8:8 and

and “ BUS Select, “ ” “ in anymode. Send2 ﬁ (Program P8:8 Send2 ” “ gure showsanexampleofOscillators 1and and ” Thesignalissentto AUDIO OUTPUT 3. Mixer (Program P8:8 ﬁ ve channels(IFX1,2,3,4,and5)forthe ” ” “ (Program P8:8 ” parametersforthepost-IFXsignal Send2 (MFX2).

” “ “ and Send1, ” Pan (CC#8), “ ). BUS Select p.153 – “ 2a). Ifyouchecktheboxthatis Send2 (toMFX2) “ – ” 3. Mixer 1c) issetto – and 1c) tosetthedestinationbus “ Individual Outputs – ” ” “ ” 2a) tospecifythesend

issetto Send2 “ ” BUS Select, “ ). Chain IFX1 ” parameters ” L/R ” – boxtocon- (Program ﬁ 5 “ ed by , use or Pan ”

Off ” ). . Use 2 If youhaveselected — output issentto mode. TheTimbre 1outputissentto The following “ gram P1:1 Effects. (MAIN) L/MONOandR.Itisnotrouted totheInsert through theMasterEQ,thengoesto AUDIO OUTPUT Other timbres are sentto drum instrument outputsare senttothebusspeci “ (Program P8:8 “ Off As withProgram mode,select single InsertEffect. and tracks. You canroute multipletimbres andtrackstoa select anInsertEffect toapplythecorresponding timbres bres (Combination)andtracks(Sequencer, SongPlay)to settings. Effects toalldrum instruments, regardless oftheDrumKit “ out applyinganyInsertEffects. Ifyou sounds to AUDIO OUTPUT(MAIN)L/MONOandRwith- the Gateeffect, akicksoundtoIFX2 applyEQ,andother For example,youcansendasnare sound toIFX1apply DrumKit becomeseffective. IFX signal( If BUS Select BUS Select Send1 (MFX1) BUS Select – IFX1 Settingsfor drumprograms .Combination, Sequencer, andSongPlay 2. for eachtimbre andtrack. “ by theSend1and2valuesreceived viaMIDI( grams (selectedforthetimbres andtracks),multiplied Send 1and2settingsforOscillatorsofthePro- this time,theactualsendlevelusesvalueof Send2 responds toMIDIControl ChangeCC#91. At Send1 responds toMIDIControl ChangeCC#93,and “ BUS Select Send Level – modes 5 isselected,use – 1a) ofaProgram, the ” ” ” (Program P8:8 (GlobalP5:5 hasbeensetto “ ﬁ – 3. Mixer 1b) becomesavailable.Ifyou ” gure showsanexampleofCombination IFX2 ” ” and ). (P8: “ according tothe Drums “ ” “ Send2 (MFX2) ). Routing “ L/R Send1 – 2b) foreachkeyoftheselected – L/R ” . Theoutputsignalpasses 1c). You mayapplyanyInsert for L/R ” ” orOff. — “ tabineachmode)fortim- and “ USE DKitSetting , Oscillator Mode IFX1 IFX1 ” “ de-select thebox “ becomeavailableif Send2 BUS Select – 5 andtheTimbre 2 , 1 check thisbox – ” 4 forthepost- , 1/2 ﬁ ” , ” ed by ” setting. 3/4 (Pro- box p.151 147 , or , all ,

Effect In the following example, the “Chain” box between IFX1 For example, assume that the snare sound is routed to IFX1, and IFX2 is checked so that the IFX1 output is sent to IFX2. and the kick sound is routed to IFX2, and you wish to use an “IFX1: 001: St. Amp Simulation” and “IFX2: 020: Stereo effect for a drum Program that is different from the effects Flanger” are inserted to Timbre 1. “IFX2: 020: Stereo for timbres 2 and 3. In this case, use “DrumKit IFX Patch.” Flanger” is inserted to Timbre 2. The ﬁgure above (“Rout- Select “DrumKit IFX Patch” from the page menu to tempo- ing” tabs) shows these settings. (In this example, IFX 3, 4, rarily change the setting for the DrumKit from IFX1 to IFX3, and 5 are not being used.) 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. DrumKit IFX Patch dialog

After setting the parameters — Settings for drum Programs — If a drum Program (“OSC Mode” DrumKit) 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 anything other than DKit, you may apply any Insert Effects to all drum instruments, regardless of the DrumKit settings. If you have selected “DKit” for “BUS Select,” you can select 2–3. Sampling mode “DrumKit IFX Patch” from the page menu. This option allows you to change the routing of the Insert Effects tempo- You can sample sound while applying the Insert Effects to rarily by changing “BUS Select” for each key. For example, the signal input from AUDIO INPUTs 1 and 2. assume that the DrumKit key assignment is set so that a Use “BUS (IFX) Select” (Sampling P0: 0–2a) to set Inputs 1/ snare sound is routed to IFX1 and a kick sound is routed to 2, and the buses by selecting from L/R, IFX1–5, and Off. You IFX2. In this case, if you wish to assign IFX 1 and 2 to the cannot select 1, 2, 3, 4, 1/2, or 3/4 (output to OUTPUTs 1, 2, 3, Programs used by other timbres and tracks, you can view 4). the routing so that these DrumKit sounds are routed to IFX3 In the following example, input signals at Inputs 1 and 2 are and IFX4 respectively. This type of patching is available only routed to IFX1. The Insert effect parameters are set in “P8: with the keys for which “BUS Select” is set to IFX1–5. You Insert Effect” and the Insert effects are applied to the input can check the settings with the Routing map. After you set signals for sampling. “DrumKit IFX Patch,” press the [OK] button 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 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 IFX2 for Timbre 3. With Timbre 1, the “BUS Select” (Global P5: 5–2b) for DrumKit setting becomes effective.

148 Use 3. Mixer “ signals are routed totheTRITON EQ tothesignalsinputfrom AUDIO INPUTs 1and2.These you canapplytheInsertEffects, MasterEffects andMaster In Program, Combination,Sequencer, andSongPlaymodes, 2 Use Use 3a) setting. and theoscillatorsoundto can route theincomingsignalfrom AUDIO INPUTs 1and2 For example,inProgram modeorCombinationmode,you You mayalsocombinethesesignalswiththeinternalsound. in/6-out effects totheincomingsignalfrom Inputs1and2. Song PlaymodetosetuptheInsertEffects. You canapply2- “ by selectingfrom is controlled bythemicinputs( order tosetupavocodereffect inwhichtheinternalsound only when Off the P8: post-IFX signal( MFX1 andMFX2.Ifyouhave set thepan/busandsendleveltoMasterEffects tive. post-IFX (lastInsertEffect inthechain)signal becomeeffec- connect theInsertEffects inseries,theseparametersforthe Audio Input(COMBI,PROG,SEQ,S.PLAY) Send1 (toMFX1) – 4. AudioInput . If “ “ “ This settingisignored inSamplingmode.Referto mode settings. Sampling Mode setting forthepost-IFXsignals. INDIVIDUAL 1,2,3,and4. You can setonlythepan You cannotusetheMasterEffects orroute signalsto Pan (CC#8), P8: InsertEffect BUS Select IFX1 “ Insert FX “ – BUS Select 5 isselected,use ” (GlobalP0:0 ” ” ” L/R tabforthepost-IFXsignalinallmodesto “

and “ 3. Mixer BUS Select, ” ” , forinformationontheSampling inProgram, Combination,Song,or IFX1 ” “ (GlobalP0:0 Send2 (toMFX2) “ – ” Insert Effect 5 ). , “ checked – 1 Send1 ” 3a) tosetInputs1/2buses –

4 “ ’ p.201 s effects, according tothe , Send1, 1/2 ” – and , the 3a) issetto 3/4 “ 093: Vocoder 093: Vocoder ” ” and , and becomeeffective “ “ Chain Send2 ” (GlobalP0:0 “ Off Send2 ” L/R ” boxto forthe . ” ” or ” ). “ in of 2 – 3. – (INDIVIDUAL) 1,2,3,or4( ( Effects in seriesusing when youare connecting theInsertEffects withtheMaster Effects to AUDIO OUTPUT(MAIN).Thissettingisused 3, or4.Inthiscase,thesignalsare routed from theMaster “ Select PUT (MAIN)L/MONOandRoutputs. signals totheMasterEQbefore theyare routed totheOUT- If youare usingthe signal. This parameterenablesyoutosetthepanofpost-IFX 3 tings are effective onlywhen nals routed toMasterEffects MFX1andMFX2.Theseset- These parametersenableyoutosetthesendlevelofsig- 3 for thepost-IFXsignals. This parameterenablesyoutospecifythedestinationbus 3 “ If youare notusinganyInsertEffects, use Off are settoCenter. Usethe tors, timbres, tracksandaudioinputsare ignored, andthey “ timbres (CombinationP0:0 “ “ send levelfortheaudioinputs.). send level(UsetheGlobalP0: Audio Inputtabtosetthe Sequencer, andSongplaymodestosettheMasterEffect P0: 0 (Sampling P0:0 If youare using Insert Effects ( Pan Off Send2 Insert FX R127 – – – OSC1 Left Left “ 1. Pan(CC#8) 3. Send1,Send2 2. BUSSel.(BUSSelect) . In/Out Change CC#8. You cancontrol theseparametersviaMIDIControl ” – ” sothatnosignalswillbeoutputtoL/MONO,R,1,2, 3b, 0 settingsfortheoscillators(Program P4:4 ” 1 ” ishard right. , Center Center oftheP8: 2 , ” – 3 ” tab)tosetthepan. 4b, SongPlayP0:0 , ), setthisparameterto 4 , OSC2 Right Right 1/2 – “ mono-in/stereo 2a, GlobalP0:0 OSC1 Left Left In/Out Post IFXPan(CC#8) R127 R096 L000 C064 OSC1: Amp1Pan=L000 L032 OSC2: Amp2Pan=R127 , or “ Insert Effect=MonoIn-StereoOut Insert Effect=StereoIn-Out Routing stereo-in/stereo-out “ 3/4 Send1 Center Center “ ” “ L/R to route thesignalstoOUTPUT ), the Pan (CC#8) – ” Mono In-Out 2b, P1:1 tabinProgram, Combination, ” “ ” OSC2 Right Right “ isacommonsettingtosend BUS Select andSend2. – “ “ Individual Output 3b, 0 – L000 – Pan Left Left out 3a). Post IFXPan(CC#8) R127 R096 L000 C064 OSC1: Amp1Pan=L000 L032 OSC2: Amp2Pan=R127 “ ” – or C064 – ” settingsfortheoscilla- 4b), andaudioinputs ” 1c), tracks(Sequencer ishard left,and Center Center parameter(P8: mono-in/mono InsertEffects ” ” ” issetto “ toenablethe Send1 Right Right – R127 R096 L000 C064 L032 Post IFXPan(CC#8) OSC1: Amp1Pan=L032 OSC2: Amp2Pan=R096 1b, 4 ” ” L/R and ). Select – 149 4), or – out

Effect “Send1” responds to MIDI Control Change CC#93 and “Send2” responds to MIDI Control Change CC#91. Master Effects (MFX1, 2)

4. Controlling the Insert Effects via 1. In/Out MIDI The I/Os of Master Effects MFX1 and MFX2 are mono-in/ stereo-out. “Send1” and “Send2” determine the send level Using the Dynamic Modulation (Dmod) function enables to the Master Effects (“Routing” and “Mixer”). Stereo sig- you to control all effect parameters in real-time during per- nals will be combined to a mono signal automatically and formance from the controllers of the TRITON or a connected sent to the effects. MIDI sequencer. You can also control the Pan (CC#8),” The Master Effects do not output any Dry signals (signals “Send1,” and “Send2” parameters in the same way. that are not processed by the effects). Therefore, they output only Wet (signals that are processed by the effects) signals 4–1. Program mode and Sampling mode (set via the “Wet/Dry” of the “MFX1” and “MFX2” tabs). You can control the parameters on MIDI Global channel The output signals from the Master Effects are routed to the (MIDI Channel” (Global P1: 1–1a). L/R bus with the output level specified by “Return1” and “Return2.” These output signals are mixed with the output 4–2. Combination mode signals from the bus specified by “BUS Select” (P8: “Rout- ing” tab in each mode) L/R, or with the output signals from Use “Ctrl Ch” parameters of the “IFX1–5” tabs to set up the the bus specified by “BUS Select” (“Insert FX” tab in each control channels for IFX1, 2, 3, 4, and 5. Select an appropriate mode) L/R, then routed to the Master EQ. option from Ch01–16, Gch, and All Routed. Ch01–16: Select this option if you wish to control the parameters for each Insert Effect on different channels. The “*” mark appears on the right of the number of the channel routed to the corresponding Insert Effects. 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 the channels (channels 1–16 that have a “*” mark) for the timbres that are routed to the corresponding Insert Effects. Selecting “000: No Effect” will mute the output. The processed signal will be output in one of the following ways, 4–3. Sequencer mode and Song Play mode according to the type of effects 001–089. Use “Ctrl Ch” parameters of the “IFX1–5” tabs to set up the control channels for IFX1, 2, 3, 4, and 5. Select an appropriate Mono In - Mono Out + Effect option from Ch01–16 and All Routed. Ch01–16: Select this option if you wish to control the param- Wet Mono In - Stereo Out + Effect eters for each Insert Effect on different channels. The “*” Stereo In - Stereo Out + Effect mark appears on the right of the number of the channel Effect routed to the corresponding Insert effects. This option is The possible routing of effect signal inputs and outputs is suitable if multiple tracks on different MIDI channels are indicated in the upper left corner of the block diagram. sent to the Insert Effects and you wish to control the parameters using one of the tracks. Pressing the “On/Off” switch for MFX1 and 2 of the P9: All Routed: Select this option to control the parameters on “MasterFx” tab in each mode will toggle between ON and the channels (channels 1–16 that have a “*” mark) for the OFF. When OFF is selected, the output signals will be tracks that are routed to the corresponding Insert Effects. muted. All Routed “ ” is a typical option. If you wish to control the The TRITON can also turn MFX 1 and 2 off by receiving Ch01–16 parameters on a channel, select one from . 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.

150 Effects willnotbeapplied. Send 1and2settingsare ignored, andtheMaster Use the 2 levels are determined bythe using anyInsertEffects inanymode,theMasterEffects send not usetheMasterEffects inSamplingmode.)Ifyouare not Effects inanymodeotherthanSamplingmode.(You can- You canuseuptotwochannels(MFX1and2)fortheMaster 2. Routing ters oftheP8: (MFX2) “ bass sound.Ifyouare usingtheInsertEffects, setthe beration tothestringssound,andnoreverberation tothe assigned tothetimbre andtracks,asmallamountofrever- can applysubstantialreverberation toapianosound and SongPlay),audioinputs(Global).Forexample,you tors (Program), timbres (Combination),tracks(Sequencer parameters oftheP8: If youhaveset nals, tosettheMasterEffect sendlevel. and If youhaveset ally. These parameterscanbesetforoscillators1and2individu- “ (series), the are effective. Ifyouare usingtheInsertEffects inchain Out) 1,2,3,or4( lator signalsare outputdirectly toOUTPUT(Individual If youhaveset IFX (lastIFX)are effective. Send1 Send2 – 1. Programmode “ Send2 (MFX2) ” ” ” “ and ofthe parametersspeci Send1 (toMFX1) “ Send1 “ “ Send2 “ “ “ “ Routing Insert FX BUS Select BUS Select BUS Select “ ” ” Individual Output and ” ofthe “ parametersforthepost-IFXsignals. Insert FX ” tab,orthe “ ” ” ﬁ Send2 tabforthepost-IFX1 ” ” ” and ed independentlyfortheoscilla- “ to to to Routing “ Send1 (MFX1) L/R IFX1 1 ” “ , ” tabforthepost-IFX1 Send2 (toMFX2) 2 parametersforthepost- , or “ 3 – Send1 ” , 5 tabare effective. 4 Off , ” , “ ). Inthiscasethe 1/2 Send1 , ” “ , or and Send1 (MFX1) ” and ” 3/4 – and 5 signals “ ” , theoscil- Send2 “ parame- Send2 – 5 sig- ”

”

Use 2 For example,ifaProgram – If youhaveselected “ gram P1:1 settings are ignored andtheMasterEffect isnotapplied. of theselectedDrumKit becomeeffective. If If you (Program P8:8 IFX1 upper The followingexamplesare inCombinationmode.Inthe If as follows: 127 127 (Global P5:5 As withProgram mode,if Play) tosettheSend1and2levelsforeachtimbre andtrack. tab) fortimbres (Combination)andtracks(Sequencer, Song key, 032 routed totheMasterEffect. (Inthisexampletheyare setto Amp Simulation “ case, use Timbres 5and6to If 5 “ bres 2,3,and4, usethe the post-IFX2,3,and4signalsto setthesendlevelsofTim- ( ues, multipliedbythesendlevelvaluesofoscillators1and2 this time,theactuallevelsusetheseSend1and2levelval- “ 5 and6.ForTimbres 7and8,thesettingsof ters forthepost-IFX5signaltoset thesendlevelsofTimbres “ If you (MFX2) “ FX “ Send2 Send2 – Send1 (MFX1) Send1 Routing Send1 Sendlevel – Oscillator Mode IFX1 1 2b) becomeeffective. If ” .Combination, Sequencer, andSongPlay 2. , , theactualsendlevelsofcombinationare calculated , aCombination and tabforthepost-IFX1 2 “ “ MIDI Globalchannel Send2 responds toMIDIControl ChangeCC#91on Send1 responds toMIDIControl ChangeCC#93and plied bytheSend1and2valuesreceived viaMIDI. the Send1and2settingsforOscillators2,multi- 1a). At thistime,theactualsendlevelusesvalueof “ Send2 responds toMIDIControl ChangeCC#91.If Send1 responds toMIDIControl ChangeCC#93,and and tracks.Ifthe the MIDIchannelssetforcorresponding timbres track are effective, theparameterwillbecontrolled on trolled ontheMIDIchannelsassignedtoIFX1 the post-IFX1 , Timbre 2to , Send1 (MFX1) Send1 (toMFX1) Send1 (MFX1) check thisbox remove thecheck ﬁ 3 – ” ” ” ” modes ” , OSC2 Send2=127(100%)*127(100%)=127(100%) OSC2 Send1=064(50%)*064(50%)=032(25%) OSC1 Send2=064(50%)*127(100%)=064(50%) OSC1 Send1=127(100%)*064(50%)=064(50%) gure, 5 127 setto parametersforthepost-IFXsignals. and and (Program P8:8 4 isselectedfor ” “ , tab. Send1 – 1/2 .) Inthesameway, use 1a) ofaProgram, the – “ “ – “ 2b) issetto , or Send2 Send2 BUS Select – 064 ” 1b) becomesavailable. andSend2(MFX2) ” ) signaltosetthesendlevelofTimbre 1 and IFX2 3/4 ” – , IFX5 issetto 5 signalsare effective, theycanbecon- “ ’ ” s ” “ OSC2 Send1 ” ” and andSend2(MFX2) , Send1andSend2levelsforeachkey is selectedinstead,theseSend1and2 “ Drums (Program P8:8 (Program P8:8 “ ” , Timbre 3to “ Send1 Send1 and Send2 , andTimbres 7and8to “ – , – BUS Select 1d) oftheP8: ” “ L/R “ “ ’ 5 signalsbecomeeffective. “ issetsothatTimbre 1isrouted to “ s Send1 (MFX1) BUS Select Send2 (MFX2) MIDI Channel BUS Select “ “ “ “ ” ” Double Send1 ” OSC1 Send1 or Send2(toMFX2) ” for setto and forthepost-IFX1( Off ” “ “ setto USE DKitSetting “ Oscillator Mode ” “ IFX3 ” ” Send1 foradrum instrument and 064 Send2 ” becomeeffective. At , usethe – – ” ) oftheProgram P8: 2a) becomeeffective. 2a) oftheP8: ” issetto “ issetto , and Routing ” , Timbre 4to 064 ” ” “ foreachtimbre/ ” ” ” and (P8: Send2 ” issetto (GlobalP1:1 and “ parametersfor , “ Send1 (MFX1) “ ” “ BUS Select “ Send2 (GlobalP5: Send2 Send1 “ “ IFX1 “ L/R ” Send2 L/R Routing ” Send2 001: St. tabor parame- – ” 127 ” 5. “ or . Inthis – ” (Pro- ” box Insert ” 5 setto IFX4 setto and , 151 , Off ” ” for – ”

, ” ,

Effect and “Send2 (MFX2)” will be effective. (At this time, the 3. Mixer actual send levels use these Send 1 and 2 values multiplied by the Send1 and 2 settings for Program oscillators 1 and 2.) The send levels determine the input levels of oscillators (Program), timbres (Combination), tracks (Use the Global P0: Audio Input tab in all modes), and audio inputs (sampling) that are routed to the Master Effects. The P9: “Master FX” tabs in all modes enable you to set the output levels and Master EQ gain values, and connect the Master Effects in series (chain).

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 setting). 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” tab is set to L/R. For example, with MFX1 “Wet/Dry” set to 50:50 (50%) and “Return1” set to 64 (50%), the result- ant effect level will be 25%. The effect level is maximum (100%) when “Wet/Dry” is set to “Wet” and “Return1” is set If drum Programs are selected for timbres in Combination to 127. mode and for tracks in Sequencer mode and Song Play mode, you can select “DKit” for “BUS Select.” If you select 3–2. Chain check box “DKit,” the “BUS Select” (Global P5: 5–2b) settings for each key become effective, and each drum instrument sound will Press this box to chain MFX1 and MFX2 to each other. be routed to the corresponding buses. At this time, the The following ﬁgure indicates that the output from actual send levels use these Send 1 and 2 values, multiplied “MFX1:016: Stereo Chorus” is added to “MFX2: 052: Reverb by the Send1 and 2 settings for each DrumKit key. (Use the Hall” input. “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 “BUS Select” is set to L/R or Off, the actual send levels use the Send 1 and 2 values set here, multiplied by the send levels set for “OSC1 Send1 (to MFX1)” and “Send2 (to MFX2)” (Program P8: 8– 1d) of the Program P8: “Routing” tab. 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.

2–3. Sampling Mode 3–3. Chain Direction You cannot use the Master Effects and Master EQ in Sam- If you have checked the “Chain” box, you can set the direc- pling mode. tion of the connection here. You can also visually conﬁrm the direction on the LCD. 2–4. Audio Input In Program, Combination, Sequencer and Song Play modes, 3–4. Chain Signal you can apply the Insert Effects, Master Effects and Master This parameter enables you to select signals routed between EQ to the signals input from AUDIO INPUTs 1 and 2. These MFX1 and 2. If the chain direction (order) is from MFX1 to signals are routed to the TRITON’s effects, according to the MFX2, selecting LR Mix will cause the stereo L/R outputs “Audio Input (COMBI, PROG, SEQ, S.PLAY)” (Global P0: 0– from MFX1 to be mixed and input to MFX2. This setting is 3a) setting. useful when you wish to serially connect delays that are Set the send level of the Input 1 and 2 signals routed to the panned to L and R (e.g., “043: L/C/R Delay”). Selecting L Master Effects, using “Send 1 (to MFX1)” and “Send 2 (to Only or R Only will cause only one channel of stereo out- MFX2) (Global P0: 0–3a). These settings become effective puts from MFX1 to be input to MFX2. This setting is suitable only when “BUS Select” is set to L/R or Off. If IFX1–5 is for a chain connection of a reverb effect and a modulation selected, use the “Send1” and “Send2” parameters (“3. effect such as 016: Stereo Chorus. 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.

152 Program mode Global channel In TRITON control all Master Effects parametersinreal-time from the You canusetheDynamicModulation(Dmod)functionto via 4. ControllingtheMasterEffects and High equalizer. Theseslidersettingsare linkedwiththeLow, Mid, EQs are oftheshelvingtype,andMidEQisabandtype AUDIO OUTPUT(MAIN)L/MonoandR.LowHigh and Highstereo three-band EQthatislocatedrightbefore These parametersare usedtosetthegainofLow, Mid, 3 one MFXtotheotherinachainconnection. This parameterdeterminesthelevelofsignalsrouted from 3 using the mode In Use this width (forMid),anddynamicmodulationoftheEQbands. the desired optionfrom on MIDIGlobalchannel Gch: eters foreachMasterEffect ondifferent channels. Ch01 This isthenormalsetting. – – Program mode Combination mode 6. MasterEQGain[dB] 5. ChainLevel Effect/MixerBlockDiagraminProgramMode MIDI Selectthisoptionifyouwishtocontrol theparameters – Oscillator1 Oscillator2 AUDIOINPUT1 AUDIOINPUT2 , youcansetthecontrol channelsforMFX1andMFX2 16: “ ’ s controllers orfrom anexternalMIDIsequencer. “ MasterEQ Select thisoptionifyouwishtocontrol theparam- “ Global P0:AudioInput Ctrl Ch Gain [dB] (AUDIOINPUT1,2) “ Pan MIDI Channel , theparametersare controlled onMIDI ” parametersofthe ” Off 3/4 1/2 4 3 2 1 IFX5 IFX4 IFX3 IFX2 IFX1 L/R Select from: = IFX1 BUS Select = IFX1 BUS Select = L/R BUS Select BUS Select IFX /Indiv.Out ” tabtosetthecenterfrequency, band parametersofthe , Sequencer mode Ch01 “ MIDI Channel – 16 ” mono x4 (GlobalP1:1 , and IFX3 BUS IFX2 BUS IFX5 BUS IFX4 BUS IFX1 BUS “ Gch MFX1 ” “ , and (GlobalP1:1 stereo stereo stereo stereo stereo MasterEQ . Chain – – 2 P8: InsertEffect Song Play 1a). ” Insert Effects tabs.Select IFX1 IFX3 IFX5 IFX4 IFX2 ” tab. – 1a). Pan(CC#8) Post IFX Off 3/4 1/2 4 3 2 1 L/R Select from: = L/R BUS Select BUS Select Use puts. output orthepost-IFXsignalstothesefourindividualout- (Program), timbre (Combination),andtrack(Sequencer) OUTPUTs (INDIVIDUALs). You canroute theoscillator The TRITON isequippedwithfourindividual AUDIO using theInsertEffects, use Song Play)to AUDIO OUTPUTs (INDIVIDUAL).Ifyouare tors (Program), timbres (Combination),ortracks(Sequencer, bination, Sequencer, orSongPlaymodetoroute theoscilla- FX UAL) 3/4instereo for3/4. in stereo for1/2,anduse AUDIO OUTPUTS(INDIVID- (INDIVIDUAL). Use AUDIO OUTPUTs (INDIVIDUAL)1/2 1/2, 3/4: (INDIVIDUAL). 1, 2,3,4: bus. Formore informationontheparameters, The MasterEQisappliedtothesignalinputfrom theL/R parameters usingtheDynamicModulationfunction. type equalizer. You cancontrol theLowGainandHigh High EQsare oftheshelvingtype,andMidEQisapeaking before AUDIO OUTPUT(MAIN)L/MONO,R.Lowand The MasterEQ(stereo, three-band EQ)islocatedright ” tabtoroute thepost-IFXsignals. Send1 /2 Post IFX “ BUS Select mono x4 Send1 Stereo signalsare routed to AUDIO OUTPUTs Monaural signalsare routed toAUDIOOUTPUTs mono Send2 mono Individual Outputs (Send1,2 onAUDIOINPUT1,2) Global P0:AudioInput Chain ” oftheP8: Master Effects MFX2 MFX1 Master EQ P9: MasterEffect Return1 /2 “ “ Routing BUS Select stereo stereo stereo L/R BUS Master EQ ” tabinProgram, Com- ” oftheP8: (INDIVIDUAL)1/2/3/4 AUDIO OUTPUT (MAIN) L/Mono,R AUDIO OUTPUT p.207. “ Insert 153

Effect Combination mode, Sequencer mode, Song Play mode

Effect / Mixer Block Diagram in Combination / Sequencer / Song Play Mode

P8: Insert Effect P9: Master Effect

IFX / Indiv.Out Pan BUS Select Send1 Send2 L/R BUS BUS Select Timbre / Track 1 = L/R BUS Select Timbre / Track 2 = IFX1 Timbre / Track 3 BUS Select = IFX2 Timbre / Track 4 BUS Select = Off

Timbre / Track 8 BUS Select = 1/2

stereo AUDIO OUTPUT Master EQ (MAIN) L/Mono, R Track 16 BUS Select = 3/4

BUS Select AUDIO INPUT 1 = L/R BUS Select AUDIO INPUT 2 = IFX1 Global P0: Audio Input (Send1,2 on AUDIO INPUT1, 2) Global P0: Audio Input Post IFX Post IFX (AUDIO INPUT1,2) Chain Insert Effects Pan(CC#8) BUS Select Send1 / 2 stereo IFX1 BUS Select from: IFX1 (DKIT) stereo L/R IFX2 BUS IFX2 BUS Select IFX1 = L/R IFX2 stereo BUS Select IFX3 IFX3 BUS IFX3 = L/R IFX4 stereo BUS Select IFX5 IFX4 BUS IFX4 = 1/2 1 stereo 2 IFX5 BUS IFX5 BUS Select 3 = Off 4 1/2 Select from: Chain Master Effects Return1 / 2 3/4 L/R Off 1 MFX1 2 mono stereo 3 4 1/2 mono MFX2 mono x 4 3/4 mono x 4 stereo Off AUDIO OUTPUT (INDIVIDUAL)1/2/3/4

Sampling mode

Effect / Mixer Block Diagram in Sampling Mode

P0: Recording P8: Insert Effect

IFX Pan BUS Select L/R BUS BUS Select AUDIO INPUT 1 = L/R BUS Select AUDIO INPUT 2 = IFX1 Select from: L/R Post IFX stereo Sample Recording IFX1 Chain Insert Effects Pan(CC#8) Level Meter IFX2 stereo IFX3 IFX1 BUS IFX1 IFX4 IFX5 stereo IFX2 BUS Off IFX2 stereo IFX3 BUS IFX3 stereo IFX4 BUS IFX4 stereo IFX5 BUS IFX5

154 and rightchannels,oruseeachchannelseparately. drum sounds.Thisisastereo compressor. You canlinkleft and givea This effect compresses theinputsignaltoregulate thelevel 002: StereoCompressor sounds. guitar ampli This effect simulatesthefrequency response characteristicsof 001: St.AmpSimulation Effect sectionmutestheoutput. Effect sectionoutputsunprocessed signalsandtheMaster Select thisoptionwhenyoudonotuseanyeffects. TheInsert 000: NoEffect Filter anddynamicscontroleffects Right Right b a b a d c Stereo In-Out Stereo In-Out Left Left Sets theattack level Attack neoeSlc L/RMix,Individually Sets thesensitivity Sensitivity separately whethertheleftandrightDetermines channelsarelinked orused Envelope Select Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Selects thetypeofguitaramplifier Amplifier Type Sets theEQinputlevel EQ Trim (Stereo AmpSimulation) “ punchy fi ers. Itisalsoeffective fororgan and drum Envelope Select EQ Trim EQ Trim Filter/Dynamic ” effect. Itisuseful forguitar, piano,and LEQ E HEQ LEQ Amp SimulationFilter Amp SimulationFilter Envelope -Control Envelope -Control HEQ Compressor Compressor SS, EL84,6L6 Output Level Output Level –100...+100 Wet /Dry Wet /Dry Wet /Dry Wet /Dry 1...100 1...100 0...100 The b: Sensitivity, f: OutputLevel channel iscontrolled independently. linked tocontrol bothsignalssimultaneously, orwhethereach This parameterselectswhethertheleftandrightchannelsare a: Envelope Select nel individually. limiter. You canlinkleftandrightchannels,oruseeachchan- you tosetanybandwidthbecovered. Thiseffect isastereo nal (whichcontrols thedegree oftheLimitereffect), allowing nals. TheLimiterappliesapeaking-typeEQtothetriggersig- that exceedthespeci Compressor, exceptthattheLimitercompresses onlysignals The Limiterregulates theinputsignallevel.Itissimilarto 003: StereoLimiter This parametercontrols theattacklevel. c: Attack parameter. higher. To adjustthe be boosted.With ahigherSensitivity, theoverallvolume levelis If thisparameterissettoahighervalue,lowerlevelsoundswill g e Right Stereo In-Out f Left “ Sensitivity r Off...Tempo –100...+100 Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Sets themodulationamountofcompressoroutputlevel Amt Selects themodulationsourcefor thecompressor output level Src Sets theoutputlevel ofthecompressor Output Level Sets thegainofHighEQ Pre HEQGain[dB] Sets thegainofLow EQ Pre LEQGain[dB] + Level Level ” Envelope Select parametersetsthesensitivityofcompressor. Louder Side PEQ fi fi nal volumelevel,usethe ed leveltolowerunnecessarypeaksig- Dry Attack=20 Attack=80 Dry Wet Envelope -Control Envelope -Control Compressor -Sensitivity Wet Sensitivity=40 Sensitivity=100 Compressor -Attack Limiter Limiter Trigger Monitor Time Time “ Gain Adjust Gain Adjust Output Level –15.0...+15.0dB –15.0...+15.0dB –100...+100 Wet /Dry Wet /Dry , 0...100 155 ”

Effect Envelope Select L/R Mix, L Only, R Only, L/R Individually Limiter - Attack / Release Selects from linking both channels, controlling only from left channel, a Threshold only from the right channel, or controlling each channel individually Dry Ratio 1.0:1...50.0:1, Inf:1 b Sets the signal compression ratio Threshold [dB] –40...0dB c Sets the level above which the compressor is applied Ratio=Inf : 1 Wet Attack=1 Attack 1...100 Release=1 Sets the attack time d Release 1...100 Sets the release time Ratio=Inf : 1 Wet Attack=100 Gain Adjust [dB] –Inf, –38...+24dB Release=100 Sets the output gain , Release

Src Off...Tempo Attack e 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] Side PEQ Insert Off, On These parameters are used to set the EQ applied to the trigger sig- Toggles between on/off of the trigger signal’s EQ nal. f Trigger Monitor Off, On The Limiter determines whether the compression is applied or Switches between effect output monitor and trigger signal monitor not, based on the post-EQ trigger signal. Setting the equalizer allows you to set the Limiter to respond to any frequency band. Side PEQ Cutoff [Hz] 20...12.00kHz Sets the EQ center frequency for the trigger signal f: Trigger Monitor Setting this parameter On will cause the trigger signal to be out- Q 0.5...10.0 g Sets the EQ bandwidth for the trigger signal put, instead of the effect sound. Use this parameter to check the trigger signal with EQ applied. Gain [dB] –18.0...+18.0dB Sets the EQ gain for the trigger signal Usually, set this to Off. Wet/Dry Dry, 1:99...99:1, Wet Sets the balance between the effect and dry sounds Src Off...Tempo h Selects the modulation source of the effect balance 004: Multiband Limiter Amt –100...+100 This effect applies the Limiter to the low range, mid range, Sets the modulation amount of the effect balance and high range of the input signal. You can control dynamics for each range to adjust the sound pressure of the low range, a: Envelope Select mid range, and high range in a different way from the EQ. When L/R Mix is selected for this parameter, the left and right channels are linked to control the Limiter using the mixed signal. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left If L Only (or R Only) is selected, the left and right channels are Wet / Dry Band-Pass Filters Low linked, and the Limiter is controlled via only the left (or right) Limiter channel. Envelope - Control Mid Low Offset With L/R individually, the left and right channels control the Lim- + Limiter Envelope - Control Gain Adjust iter individually. High Mid Offset Limiter b: Ratio, c: Threshold [dB], e: Gain Adjust [dB] Envelope - Control High Offset Right This parameter sets the signal compression “Ratio”. Compression Wet / Dry is applied only when the signal level exceeds the “Threshold” value. Adjust the output level using the “Gain Adjust” parameter, since Ratio 1.0:1...50.0:1, Inf:1 a compression causes the entire level to be reduced. Sets the signal compression ratio Fx:003 Threshold [dB] –40...0dB Limiter - Threshold / Ratio b Sets the level above which the compressor is applied Fx:003 Ratio=1.0 : 1 Output Level Attack 1...100 c Ratio=2.0 : 1 Sets the attack time Fx:003 Threshold Ratio=4.0 : 1 Release 1...100 Ration=Inf : 1 d Sets the release time Fx:003 Low Offset [dB] –40...0dB

Louder e Gain of the low-range trigger signal Louder Input Level Mid Offset [dB] –40...0dB f Gain of the mid-range trigger signal Level Dry Ratio=1.0 : 1 Ratio=2.0 : 1 High Offset [dB] –40...0dB Ratio=4.0 : 1 g Gain of the high-range trigger signal Threshold Gain Adjust [dB] –Inf, –38...+24dB Ratio=Inf : 1 Sets the output gain Fx:003,

Time Src Off...Tempo h 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 Sets the modulation amount of the output gain attack time will cause the compression to be applied more slowly.

156 source isalsoreversed. the Threshold. The gateoperationcontrolled bythemodulation tive This parameterreverses theGateon/off operation.With a b: Polarity With lation source, selectedfrom by themodulationsource. TheSrc parameterspeci is triggered bythelevelofinputsignal,orcontrolled directly The a: Envelope Select, a: Src and off. gate, andusesNoteOnOff messagestoturnthegateon speci This effect mutestheinputsignalifitslevelislowerthan 005: StereoGate and compression willnotbeapplied. old range, reduce the For example,ifyoudonotwanttoapplycompression tothehigh These parameterssetthegainoftriggersignal. e: Low Offset[dB], f: MidOffset[dB], g: HighOffset[dB] is selected,thegatecontrolled byeither ofthechannelsignals. nal mixture willtriggerthegateon/off. When a b e d Right c Stereo In-Out f i Left ” value,thegateisclosedwheninputsignallevelexceeds “ level.Inthisway, thehighrangelimiterwillnotrespond, Gate+Sus ﬁ “ Envelope Select Sets thelevel towhichtheGateisapplied Threshold r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry neoeSlc D-mod,L/RMix,LOnly, ROnly signals,right Onlyleft,andright Selects fromControlviathemodulationsource, mixingtheleftand Envelope Select Sets thereleasetime Release r Off...Gate2+Dmpr Select =D-mod Selects themodulationsourcethatcontrolsgatewhenEnvelope Src oaiy+,– Switches between non-reversed andreversed Gateon/off Polarity Sets thedelay timeofthegateinput [msec] Delay Time Sets theattack time Attack r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Envelope Select + ed level.Italsoreverses theonandoff operationofthe Envelope Select “ High Offset ” ” parameterselectswhetherthegateon/off = Envelope -Control Envelope -Control L/R Mix Off Delay Delay ” to valuedownbelowthe , theleftandrightchannelsig- Gate2+Dpmr Gate Gate L Only . ﬁ es themodu- or 0...100msec –100...+100 –100...+100 “ Thresh- R Only , Wet /Dry Wet /Dry nega- 0...100 1...100 1...100

part ofthesound. will beinputaftertheGateisopened.Thispreserve theattack has averyfastattack,increase thedelaytimesothatsignal This parametersetsthedelaytimeofGateinput.Ifsound e: Delay Time when This parametersetsthesignallevelbelowwhichGateisapplied c: Threshold, d: Attack, d: Release sounds. tion sounds.Thiseffect issuitableforguitarandorgan the ampsimulationwillallowyoutocreate versatiledistor- Gain mode.Controlling thewaheffect, the3-bandEQ,and This distortioneffect utilizesanOverdrive modeandaHi- 006: OD/Hi.GainWah release time. The Attack andReleaseparameterssettheGateattacktime b a c Right Wet: MonoIn-Out/Dry:Stereo Left a we r Off...Tempo Toggle, Moment Off...Tempo Selects themodulationsourcethatcontrols Wah Wah Sweep Src the Wah onandoff Selects theswitching modefor themodulationsourcethatswitches Sw Selects themodulationsourcethatswitches the Wah onandoff Src rv oeOverdrive, Hi-Gain Switches between overdrive andhi-gain distortion Drive Mode Sets therange of Wah Wah Sweep Range on/off Switches Wah Wah “ Envelope Select D (Overdrive/Hi.Gain Wah) + -mod Pre Low-cut Dry Wet Wet Output Level Wah Attack Threshold ”

Driver Louder issetto Drive Mode: Overdrive/Hi-Gain Output Level Direct Mix 3 BandPEQ Louder L/R Mix Input Level Release Amp Simulation , Gate -Attack/Release L Only Gate -Threshold Release=1 Attack=1 Release=100 Attack=100 Threshold , or R Only –10...+10 Wet /Dry Wet /Dry , , Off, On 157 .

Effect g: Q, h: Q Drive 1...100 Sets the degree of distortion These parameters set the bandwidth of each equalizer. The higher d Pre Low-cut 0...10 the value, the narrower the band becomes. Sets the low range cut amount of the distortion input Output Level 0...50 Sets the output level , Src Off...Tempo 007: St. Parametric 4EQ e Selects the modulation source for the output level (Stereo Parametric 4-Band EQ) Amt –50...+50 Sets the modulation amount of the output level This is a stereo 4-band parametric equalizer. You can select Low Cutoff [Hz] 20...1.0kHz peaking type or shelving type for Band 1 and 4. The gain of Sets the center frequency for Low EQ (shelving type) Band 2 can be controlled by dynamic modulation. f Gain [dB] –18...+18dB Stereo In - Stereo Out Sets the gain of Low EQ Left Band1 Band2 Band3 Band4 Wet / Dry Mid1 Cutoff [Hz] 300...10.00kHz PEQ PEQ PEQ PEQ Sets the center frequency for Mid/High EQ 1 (peaking type) Trim LEQ HEQ Q 0.5...10.0 g Sets the band width of Mid/High EQ 1 LEQ HEQ Trim Gain [dB] –18...+18dB Sets the gain of Mid/High EQ 1 PEQ PEQ PEQ PEQ Right Mid2 Cutoff [Hz] 500...20.00kHz Wet / Dry Sets the center frequency for Mid/High EQ 2 (peaking type) D-mod Q 0.5...10.0 h Sets the band width of Mid/High EQ 2 Tr im 0...100 Gain [dB] –18...+18dB a Sets the input level Sets the gain of Mid/High EQ 2 Band1 Type Peaking, Shelving-Low Direct Mix 0...50 b Selects the type of Band 1 Sets the amount of the dry sound mixed to the distortion i Band4 Type Peaking, Shelving-High Speaker Simulation Off, On c Selects the type of Band 4 Switches the speaker simulation on/off Band2 Dynamic Gain Src Off...Tempo Wet/Dry Dry, 1:99...99:1, Wet Selects the modulation source of the Band 2 gain Sets the balance between the effect and dry sounds d Amt [dB] –18...+18dB Src Off...Tempo j Sets the modulation amount of Band 2 gain Selects the modulation source of the effect balance Band1 Cutoff [Hz] 20...1.00kHz Amt –100...+100 Sets the center frequency of Band 1 Sets the modulation amount of the effect balance Q 0.5...10.0 e a: Wah Sets the bandwidth of Band 1 Fx:006 The Wah parameter switches the wah effect on/off. Gain [dB] –18.0...+18.0dB Sets the gain of Band 1 a: Sw Band2 Cutoff [Hz] 50...10.00kHz This parameter sets how the wah effect is switched on and off via Sets the center frequency of Band 2 the modulation source. Q 0.5...10.0 f When “Sw” = Moment, the wah effect is usually turned off. It is Sets the bandwidth of Band 2 Fx:006 turned on only when you press the pedal or operate the joystick. Gain [dB] –18.0...+18.0dB Sets the gain of Band 2 , When a value for the modulation source is less than 64, “off” speed is selected, and when the value is 64 or higher, Band3 Cutoff [Hz] 300...10.00kHz Sets the center frequency of Band 3 “on” is selected. Q 0.5...10.0 g When “Sw” = Toggle, the wah effect is switched between on and Sets the bandwidth of Band 3 Fx:006 off each time you press the pedal or operate the joystick. Gain [dB] –18.0...+18.0dB Sets the gain of Band 3 The switch will be turned on/off each time the value of the modulation source exceeds 64. Band4 Cutoff [Hz] 500...20.00kHz Sets the center frequency of Band 4 b: Wah Sweep Range, b: Wah Sweep Src Q 0.5...10.0 h This parameter sets the sweep range of the wah center frequency. Sets the bandwidth of Band 4 Fx:006 A negative value will reverse the direction of sweep. The wah cen- Gain [dB] –18.0...+18.0dB ter frequency can be controlled by the modulation source speci- Sets the gain of Band 4 ﬁed in the “Wah Sweep Src” parameter. Wet/Dry Dry, 1:99...99:1, Wet Sets the balance between the effect and dry sounds d: Drive, e: Output Level Src Off...Tempo i The degree of distortion is determined by the level of input signal Selects the modulation source of the effect balance and the setting of “Drive”. Raising the “Drive” setting will cause Amt –100...+100 the entire volume level to increase. Use the “Output Level” Sets the modulation amount of the effect balance parameter to adjust the volume level. The “Output Level” parameter uses the signal level input to the 3-Band EQ. If clipping occurs at the 3-Band EQ, adjust the “Output Level” parameter. d: Pre Low-cut Cutting the signal in the low range before it is input to the Distor- tion will create a sharp distortion.

158 for eachbandfrom twelvetypes,according tothesound. quency responses. You canselectacenterfrequency setting gain settingforeachbandgivesyouaclear, visualideaoffre- This isastereo 7-band graphicequalizer. Thebargraph ofthe 008: St.Graphic7EQ You cancontrol thegainofBand2usingmodulationsource. d: Band2DynamicGainSrc, d: Amt[dB], f: Gain[dB] Selects a b: Band1 Type, c: Band4 Type b a d e g h c Right f Stereo In-Out j i Left Sets theinputlevel im Tr Selects acombinationofcenterfrequenciesfor eachband 12:Wide High 1:Wide1,2:Wide2,3:Wide3,4:Half Wide 1,5:Half Wide 2, 6:Half Wide 3,7:Low, 8:WideLow, 9:Mid,10:WideMid,11:High, Type Sets thegainofBand1 Band1 [dB] Sets thegainofBand2 Band2 [dB] Sets thegainofBand3 Band3 [dB] Sets thegainofBand4 Band4 [dB] Sets thegainofBand5 Band5 [dB] Sets thegainofBand6 Band6 [dB] r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Sets thegainofBand7 Band7 [dB] +15dB +Gain – +6dB (Stereo Graphic7BandEQ) ﬁ Gain 0dB 0dB Band2 DynamicGainAmt[dB]=+9.0 Band2 Gain[dB]=+6.0 lter typeforBand1and4. Trim Trim Band2 Cutoff Band1 Cutoff ad ad ad ad ad ad Band7 Band6 Band5 Band4 Band3 Band2 Band1 ad ad ad Band4 Band3 Band2 Band1 D Band1 Type=ShelvingLow Band4 Type=ShelvingHigh Band1 Type=Peaking -mod Band4 Type=Peaking Parametric 4EQ-Band2DynamicGainControl +6dB – 0dB 9dB 3dB 3dB Band2 DynamicGainAmt[dB]= Band2 Gain[dB]=+6.0 Parametric 4EQ-Band1,Band4Type Band5 Band6 Band7 Band6 Band5 Band4 Cutoff Band2 Cutoff –18.0...+18.0dB –18.0...+18.0dB –18.0...+18.0dB –18.0...+18.0dB –18.0...+18.0dB –18.0...+18.0dB –18.0...+18.0dB D -mod –100...+100 – 15.0 Wet /Dry Wet /Dry 0...100 broader rangesettings. tage wahpedalsimulationtoauto-wahsimulation,andmuch This stereo waheffect allowsyou tocreate soundsfrom vin- 009: St.Wah/Auto Wah a settingof 18kHz ifyouroute three Graphic7BandEQeffects inseries,with You cancon the LCD. each band.Eachcenterfrequency isshownontherightedgeof This parameterselectsacombinationofcenterfrequencies for a: Type Stereo In-Out e a d b g Right c f Left P/IISn Off, On –20.00...+20.00Hz 0...100 the tempoandnotes Off...Tempo Switches between usingthefrequencyofLFOspeedand BPM/MIDI Sync Sets themodulationamountofLFOspeed Amt Selects themodulationsourceofLFOspeed Src Sets thesensitivityofauto-wah Envelope Sens (Envelope Sensitivity) Sets theresponsespeedwhenSweep Mode=Auto orD-mod Response mod Selects themodulationsourcefor thewah whenSweep Mode=D- Src Selects MIDIClock andassignstempo BPM Sets thelower limitofthewah center frequency Frequency Bottom Sets theLFOspeed LFO Frequency [Hz] Auto, D-mod,LFO Selects thecontrolfromauto-wah, modulationsource, andLFO Sweep Mode r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Switches the Wah Low Pass Filteronandoff Low Pass Filter Sets theresonanceamount Resonance Sets theupperlimitofwah centerfrequency Frequency Top ie x1...x16 Sets thenumber of notesthatspecifytheLFOspeed Times Selects thetypeofnotesthatspecifyLFOspeed Base Note Sets thesweep curve ofauto-wah Envelope Shape (Stereo Wah/Auto Wah) 7:Low ﬁ + gure a21-BandGraphicEQrangingfrom 80Hzto Envelope Sens , 9:Mid D Envelope Shape -mod LFO , and Response 11:High D-mod LFO Auto Sweep Mode foreachEQ. , Wah Wah , , 0.02...20.00Hz MIDI, 40...240 , –100...+100 –100...+100 Off...Tempo , , Wet /Dry , , Wet /Dry Off, On 0...100 0...100 0...100 0...100 159 , ,

Effect 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 Frequency This stereo band pass ﬁlter uses a step-shape waveform and random LFO for modulation. You can create a special effect Top=75 Wah

Bottom=60 Higher from ﬁlter oscillation. Wah Woo Higher Stereo In - Stereo Out Top=30 Bottom=25 Woo Left -mod -mod Wet / Dry Higher D Higher D Zero Max Zero Max Filter

Sweep Mode=Auto Filter Frequency Frequency

Right Wah Wah Wah Top=75 Bottom=75 Wet / Dry LFO Phase LFO: Step-Tri/Random Envelope Higher Higher Woo Woo Bottom=25 Top=25 Woo LFO Waveform Step-Tri, Random a Envelope Time Envelope Time Selects LFO Waveform LFO Phase [degree] –180...+180 b b: Sweep Mode Sets the LFO phase difference between the left and right This parameter changes the wah control mode. Setting “Sweep LFO Frequency [Hz] 0.02...20.00Hz Mode” to Auto will select an auto-wah that sweeps according to Sets the LFO speed , envelope changes in the input signal level. Auto-wah is frequently Src Off...Tempo used for funk guitar parts and clav sounds. c Selects the modulation source used for both LFO speed and step When “Sweep Mode” is set to D-mod, you can control the ﬁlter speed directly via the modulation source in the same way as a wah Amt –20.00...+20.00Hz pedal. Sets the modulation amount of LFO speed When “Sweep Mode” is set to LFO, the effect uses LFO to sweep LFO Step Freq (Frequency) [Hz] 0.05...50.00Hz in cycle. Sets the LFO step speed (speed that changes in steps) , d c: Envelope Sens (Envelope Sensitivity) Amt –50.00...+50.00Hz 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 BPM/MIDI Sync Off, On Switches between using the frequency of the LFO speed and using input signal is so high that the ﬁlter is stopped temporarily. the tempo and notes Fx:009, c: Envelope Shape BPM MIDI, 40...240 This parameter determines the sweep curve for auto-wah. e Selects MIDI Clock and assigns tempo Fx:009,

Envelope Shape Base Note Level Selects the type of notes that specify the LFO speed Fx:009

Envelope Times x1...x16 Sets the number of notes that specify the LFO speed Fx:009

value = 0...+100 Step Base Note value = 0...–100 Selects the type of notes to specify the LFO step speed , Time f 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 g When “BPM/MIDI Sync”=Off, the LFO speed uses the LFO Fre- Sets the filter center frequency quency parameter setting. When “BPM/MIDI Sync”=On, the Depth 0...100 LFO speed follows the “BPM”, “Base Note”, and “Times” settings. Sets the modulation depth of filter center frequency e: BPM, e: Base Note, e: Times Src Off...Tempo One cycle of LFO sweep is obtained by multiplying the length of a h Selects the modulation source of filter modulation note ( …) (selected for “Base Note”, in relation to the tempo specified in (“BPM”, or the MIDI Clock tempo if “BPM” is set to Amt –100...+100 Sets the modulation amount of filter modulation MIDI) by the number specified in the Times parameter. Resonance 0...100 i 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 j 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, triangle waveform. The “LFO Frequency” parameter sets the original triangle waveform speed. Changing the “LFO Step Freq” parameter enables you to adjust the width of the steps.

160 When “LFO Waveform” is set to Random, the “LFO Step Freq” Enhancer Depth 0...100 parameter uses a random LFO cycle. Sets the determines to what degree the Enhancer effect is applied

Random Filter LFO LFO Frequency e Src Off...Tempo Selects the modulation source of the Enhancer width

Amt –100...+100 LFO Step Freq Sets the modulation amount of the Enhancer width LFO Step Freq Step-Tri Random EQ Trim 0...100 f Sets the 2-band EQ input level b: LFO Phase [degree] Pre LEQ Gain [dB] –15.0...+15.0dB Sets the gain of Low EQ Offsetting the left and right phases alters how modulation is g applied to the left and right channels, creating a swelling affect. Pre HEQ Gain [dB] –15.0...+15.0dB Sets the gain of High EQ LFO Phase 0 +90 +180 [degree] Wet/Dry Dry, 1:99...99:1, Wet Sets the balance between the effect and dry sounds Src Off...Tempo h Selects the modulation source of the effect balance

–180 –90 0 [degree] Amt –100...+100 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 e: BPM, f: Step Base Note, f: Times from negative values.

The width of an LFO step, or a cycle of random LFO, is obtained b: Emphatic Point by multiplying the length of a note ( …) (selected for “Step Base This parameter sets the frequency to be emphasized. Higher val- Note”, in relation to the tempo speciﬁed in “BPM,” or the MIDI ues will emphasize lower frequencies. Clock tempo if “BPM” is set to MIDI) by the number speciﬁed in the “Times” parameter. c: Enhancer Dly L [msec], d: Enhancer Dly R [msec] j: Wet/Dry These parameters set the delay time for the Enhancer left and right channel. Specifying a slightly different delay time for the left The effect sound’s phase will be reversed when you set this and right channel will add a stereo image, depth, and width to the parameter in the range of values from –Wet to –1:99. sound.

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 This effect adds very low frequencies to the input signal. It is to the sound and the Enhancer, which adds spread and very useful when simulating a roaring drum sound or presence. emphasizing powerful low range. This effect is different from Stereo In - Stereo Out the equalizer in that you can add very low range harmonics. Left Wet / Dry You can also adjust the oscillator frequency to match a partic- LEQ HEQ Exciter ular note number, for use as an octaver. EQ Trim Delay Depth Stereo In - Stereo Out

EQ Trim Delay Left Wet / Dry Exciter Envelope Shape Enhancer Envelope Sens Pre LPF Right Wet / Dry Sine Oscillator -mod Fixed Frequency Fixed D Pitch -mod OSC Mode D Note No. Note Interval, Fine Note (Key Follow)

Envelope Sens Pre LPF Envelope Shape Exciter Blend –100...+100 Right Sets the intensity (depth) of the Exciter effect , Wet / Dry Src Off...Tempo a Selects the modulation source of the Exciter intensity OSC Mode Note (Key Follow), Fixed Amt –100...+100 a Determines whether the oscillator frequency follows the note number Sets the modulation amount of the Exciter intensity or whether it is ﬁxed Emphatic Point 0...70 Note Interval –48...0 Sets the frequency to be emphasized , Sets the pitch difference from the note number when OSC Src Off...Tempo Mode=Note (Key Follow) b b Selects the modulation source of the frequency to be emphasized

Note Fine –100...+100 Effect Amt –70...+70 Fine adjustment of the oscillator frequency Sets the amount of modulation of the frequency to be emphasized Enhancer Dly L (Enhancer Delay L) [msec] 0.0...50.0msec c Sets the delay time for the Enhancer left channel Enhancer Dly R (Enhancer Delay R) [msec] 0.0...50.0msec d Sets the delay time for the Enhancer right channel

161 Fixed Frequency [Hz] 10.0...80.0Hz LFO Frequency [Hz] 0.02...20.00Hz Sets the oscillator frequency when OSC Mode=Fixed Sets the LFO speed Fx:009, Src Off...Tempo Src Off...Tempo f Selects the modulation source for the oscillator frequency when OSC Selects the modulation source of LFO speed c Mode=Fixed Amt –20.00...+20.00Hz Amt –80...+80Hz Sets the modulation amount of LFO speed Sets the oscillator frequency modulation amount when OSC Mode=Fixed BPM/MIDI Sync Off, On Switches between using the frequency of the LFO speed and using Envelope Pre LPF 1...100 the tempo and notes Fx:009, d Sets the upper limit of the frequency range for which very low har- BPM MIDI, 40...240 monics are added g Selects MIDI Clock and assigns tempo Fx:009 Envelope Sens (Envelope Sensitivity) 0...100 Sets the sensitivity with which very low harmonics are added Base Note e Selects the type of notes that specify the LFO speed Fx:009 Envelope Shape –100...+100 Sets the oscillator’s volume envelope curve Times x1...x16 Sets the number 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 Formant Shift –100...+100 Sets the frequency to which the effect is applied Src Off...Tempo h f Selects the modulation source of the effect balance Resonance 0...100 Sets the Level of resonance of the voice pattern 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 a: OSC Mode, b: Note Interval, b: Note Fine i 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 Amt –100...+100 Sets the modulation amount of the effect balance determined based on the note number, allowing you to use it as an octaver. The “Note Interval” parameter sets the pitch offset c: Voice Top, d: Voice Center, e: Voice Bottom from the original note number by semitone steps. The “Note Fine” These parameters assign vowels to the top, center, and bottom parameter allows you to ﬁne-tune in steps of cents. position of the controller. d: Envelope Pre LPF E.g.: When “Voice Top”=A, “Voice Center”=I, and “Voice Bot- This parameter sets the upper limit of the frequency range to tom”=U: which very low harmonics are added. Adjust this parameter if If “Sweep Mode ”is set to D-mod and Ribbon is selected as the you do not want to add lower harmonics to the higher range. modulation source, moving your ﬁnger from the right to left of the ribbon controller will change the sound from “a” to “i,” then “u.” If Sweep Mode is set to LFO, the sound will change cyclically 013: Talking Modulator from “a” to “i,” “u,” “i,” then “a.” Talking Modulator Control This effect adds an unusual character, like a human voice, to Voice Bottom Voice Center Voice Top the input signal. Modulating the tone via dynamic modula- A A tion, you can create an interesting effect that sounds as if the I guitar or synthesizer is talking. U

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out E Left Wet / Dry O

-mod JS X + Max D Ribbon – Max Zero JS +Y + Max JS –Y + Talking Modulator A - I - U - E - O Zero etc…

h: Formant Shift Right Wet / Dry This parameter adjusts the frequency level to which the effect is Sweep Mode Voice Top: A -mod Voice Center: I applied. If you wish to apply the effect to a higher-range sound, D D-mod Voice Bottom: U LFO LFO set this parameter to a higher value; to apply the effect to a lower- range sound, set this to a lower value.

h: Resonance Sweep Mode D-mod, LFO a Switches between modulation source control and LFO control This parameter sets the intensity of resonance for the voice pattern. A larger value will add more character to the sound. Manual Voice Control Bottom, 1...49, Center, 51...99, Top Voice pattern control b Src Off...Tempo Selects the modulation source that controls the voice pattern Voice Top A, I, U, E, O c Selects a vowel sound at the top end of control Voice Center A, I, U, E, O d Selects a vowel sound in the center of control Voice Bottom A, I, U, E, O e Selects a vowel sound at the bottom end of control

162 Use sound maybedistorted.Thevolumelevelalsochanged. If yousetasmallervalueforthe e: Resolution, f: OutputLevel Set could generatepitchnoisethatisunrelated totheoriginalsound. high-pitched soundthatcouldnotbeheard duringplayback,it If asamplerwithverylowsamplingfrequency receives very a: PreLPF also simulatenoiseuniquetoasampler(aliasing). ering thesamplingfrequency anddatabitlength. You can This effect creates arough soundlikeacheapsamplerbylow- 014: StereoDecimator If yousetthe OFF Right g e d b a c Stereo In-Out f Left D “ , youcancreate asoundlikeringmodulator. “ LFO -mod Pre LPF Output Level Sets themodulationamountofoutputlevel Amt Selects themodulationsourcefor theoutputlevel Src r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry m –20.00...+20.00Hz Off...Tempo –48.00k...+48.00kHz Sets themodulationamountofLFOspeed Amt Selects themodulationsourceofLFOspeed Src Sets theLFOspeed LFO Frequency [Hz] Sets themodulationamountofsamplingfrequency Amt Selects themodulationsourceofsamplingfrequency Src Sets theratio ofcutthehighrange High Damp[%] m –100...+100 Off...Tempo 0...100 Sets thedatabitlength Resolution Sets the LFO modulation amountofthesamplingfrequency Amt Selects the LFO modulation source ofthesamplingfrequency Src Sets the depthofthesamplingfrequencyLFOmodulation Depth Sets thesamplingfrequency Sampling Freq (SamplingFrequency) [Hz] r P Off, On pling frequencyisgenerated ornot Selects whethertheharmonic noise causedby adecreaseinsam- Pre LPF Sets theoutputlevel Output Level ” “ Pre LPF Pre LPF to Sampling Frequency Sampling Freq ON ” Resolution Resolution toadjustthelevel. toprevent thisnoisefrom beinggenerated. ” toabout Decimator Decimator “ Resolution 3kHz ihDm OutputLevel High Damp ihDm OutputLevel High Damp ” andset parameter, the 1.00k...48.00kHz 0.02...20.00Hz “ Pre LPF –100...+100 –100...+100 Off...Tempo Off...Tempo 0...100% Wet /Dry , Wet /Dry 0...100 4...24 ” to caused byawarpedturntable. on analogrecords. Italsoreproduces someofthemodulation This effect simulatesthenoisecausedbyscratchesanddust 015: St.AnalogRecord vinyl record duces record noise,andthenoisegeneratedaftermusic ona occurs onceeveryrotation oftheturntable.Thissimulationrepro- This parameterenablesyoutosetthelevelofclicknoisethat e: Click Level caused byawarpedturntable. This parameterenablesyoutosetthedepthofmodulation b: Flutter h g e d b a Right c Stereo In-Out f Left r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Sets theEQgain Gain [dB] Sets theEQbandwidth Q Sets theEQcenterfrequency Pre EQCutoff[Hz] m –100...+100 Off...Tempo Sets theEQinputlevel EQ Trim Sets themodulationamountofclick noiselevel Amt Selects themodulationsourcefor theclick noiselevel Src Sets theclick noiselevel Click Level Sets themodulationamountofnoiselevel Amt Selects themodulationsourcefor thenoiselevel Src Sets thenoiselevel Noise Level Sets thenoisetone Noise Tone Sets thenoisedensity Noise Density Sets themodulationdepth Flutter Sets ther.p.m. ofarecord Speed [RPM] (Stereo AnalogRecord) ﬁ EQ Trim EQ Trim nishes. Pre EQ Pre EQ Simulation Analog Record –18.0...+18.0dB 300...10.00kHz 33 1/3,45,78 –100...+100 –100...+100 Off...Tempo 0.5...10.0 Wet /Dry , Wet /Dry 0...100 0...100 0...100 0...100 0...100 0...100 163

Effect e: L Pre Delay [msec], f: R Pre Delay [msec] Pitch/Phase Mod. Setting the left and right delay time individually allows you to control the stereo image. 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- This effect applies chorus only to higher frequencies. This can lating the delay time of the input signal. You can add spread be used to apply a chorus effect to a bass sound without mak- to the sound by offsetting the phase of the left and right LFOs ing the sound thinner. You can also use this chorus block with from each other. feedback as a ﬂanger.

Stereo In - Stereo Out Stereo In - Stereo Out Left Left Wet / Dry Low Level Wet / Dry LEQ HEQ Chorus EQ Trim Chorus/Flanger High Level High Damp High/Low Split Point Feedback LEQ HEQ High Damp High Level Chorus Chorus/Flanger EQ Trim Low Level Right Right Wet / Dry Wet / Dry LFO Phase LFO Phase LFO: Tri / Sine LFO: Tri / Sine

LFO Waveform Triangle, Sine a LFO Waveform Triangle, Sine Selects LFO Waveform a Selects LFO Waveform LFO Phase [degree] –180...+180 b LFO Phase [degree] –180...+180 Sets the LFO phase difference between the left and right Fx:010 b Sets the LFO phase difference between the left and right Fx:010 LFO Frequency [Hz] 0.02...20.00Hz LFO Frequency [Hz] 0.02...20.00Hz Sets the LFO speed Fx:009, Sets the LFO speed Fx:009, Src Off...Tempo c Src Off...Tempo Selects the modulation source of LFO speed c Selects the modulation source of LFO speed Amt –20.00...+20.00Hz Amt –20.00...+20.00Hz Sets the modulation amount of LFO speed Sets the modulation amount of LFO speed BPM/MIDI Sync Off, On BPM/MIDI Sync Off, On Switches between using the frequency of the LFO speed and using Switches between using the frequency of the LFO speed and using the tempo and notes Fx:009, the tempo and notes Fx:009, BPM MIDI, 40...240 BPM MIDI, 40...240 d Selects MIDI Clock and assigns tempo Fx:009 d Selects MIDI Clock and assigns tempo Fx:009 Base Note Base Note 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 Times x1...x16 Sets the number of notes that specify the LFO speed Fx:009 Sets the number of notes that specify the LFO speed Fx:009 L Pre Delay [msec] 0.0...50.0msec e Pre Delay [msec] 0.0...50.0msec Sets the delay time for the left channel e Sets the delay time from the original sound R Pre Delay [msec] 0.0...50.0msec f Depth 0...100 Sets the delay time for the right channel Sets the depth of LFO modulation Depth 0...100 Src Off...Tempo Sets the depth of LFO modulation f Selects the modulation source of the LFO modulation depth Src Off...Tempo g 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 1...100 Sets the modulation amount of the LFO modulation depth g Sets the frequency split point between the low and high range EQ Trim 0...100 h Feedback –100...+100 Sets the EQ input level Sets the feed back amount of the chorus block Pre LEQ Gain [dB] –15.0...+15.0dB h High Damp [%] 0...100% Sets the gain of Low EQ i Sets the high range damping amount of the chorus block Pre HEQ Gain [dB] –15.0...+15.0dB Low Level 0...100 Sets the gain of High EQ Sets the low range output level Wet/Dry –Wet...–1:99, Dry, 1:99...Wet i High Level 0...100 Sets the balance between the effect and dry sounds Sets the high range (chorus) output level Fx:010, Wet/Dry Dry, 1:99...99:1, Wet j 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 j 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

164 delay effects. also delay time,depth,outputlevel,andpanindividually. You can You cancreate acomplexstereo imagebysettingeachblock This effect hasfourchorus blockswithadifferent LFOphase. 018: MultitapCho/Delay back willallowyoutousetheeffect asa Sets thefeedbackamountofchorus block.Increasing thefeed- h: Feedback range. Onlythehighrangewillbesenttochorus block. This parametersetsthefrequency thatsplitsthehighandlow g: High/Low SplitPoint Wet:MonoIn-StereoOut/Dry:-Stereo b a d e Right c Left ﬁ Sets the Tap1 chorusdepth Depth Sets the Tap1 (LFOphase=0degrees) delay time Tap1(000) [msec] Sets theLFOspeed LFO Frequency [Hz] a L6...L1,C, R1...R6 L6...L1,C, R1...R6 0...570msec Sets the Tap2 stereoimage Pan Sets the Tap2 outputlevel Level Sets the Tap2 chorusdepth Depth Sets the Tap2 (LFOphase=180degrees) delay time Tap2(180) [msec] Sets the Tap1 stereoimage Pan Sets the Tap1 outputlevel Level a300 me]0...570msec Sets the Tap3 chorusdepth Depth Sets the Tap3 (LFOphase=90degrees) delay time Tap3(090) [msec] a L6...L1,C, R1...R6 Sets the Tap3 stereoimage Pan Sets the Tap3 outputlevel Level a420 me]0...570msec Sets the Tap4 chorusdepth Depth Sets the Tap4 (LFOphase=270degrees) delay time Tap4(270) [msec] a L6...L1,C, R1...R6 Sets the Tap4 stereoimage Pan Sets the Tap4 outputlevel Level LFO: Triangle x someofthechorus blockstocombinethechorus and (Multitap Chorus/Delay) + Feedback Tap2 Delay Tap1 Delay Tap3 Delay Tap4 Delay 270 [degree] 180 [degree] 90 [degree] 0 [degree] Level Level Level Level ﬂ anger. Pan Pan Pan Pan 0.02...13.00Hz 0...570msec Wet /Dry Wet /Dry 0...30 0...30 0...30 0...30 0...30 0...30 0...30 0...30 ’ s left, right,andcenter. and spread tothesound,becausesignalisoutputfrom the create subtleshimmering,andgivesthree dimensionaldepth This Ensembleeffect hasthree chorus blocksthatuseLFOto 019: Ensemble chorus effect more complexandricher. form. Increasing thisvalue adds more shimmering,makingthe This parametersetstheamountofshimmeringLFOwave- c: Shimmer d b a g Right c f Wet: MonoIn-StereoOut/Dry: Left r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry hme 0...100 –100...+100 Off...Tempo Sets theamountofshimmering oftheLFOwaveform Shimmer Sets themodulationamountofLFOdepth Amt Selects themodulationsourceofLFOdepth Src Sets thedepthofLFOmodulation Depth Sets themodulationamountofLFOspeed Amt Selects themodulationsourceofLFOspeed Src Sets theLFOspeed Speed m –100...+100 Dry, 1:99...99:1, Wet Off...Tempo Sets themodulationamountofeffect balance Amt Sets thebalancebetween theeffect sounds anddry Wet/Dry Sets the Tap1 feedback amountandmodulation Amt balance Selects themodulationsourceof Tap1 feedback amountandeffect Src Sets the Tap1 feedback amount Tap1 Feedback Shimmer LFO + Level Ensemble Ensemble LFO Shimmer Time –100...+100 –100...+100 –100...+100 –100...+100 Off...Tempo Wet /Dry Wet /Dry 0...100 1...100 165

Effect 020: Stereo Flanger both “Feedback” and “Wet/Dry”, and if you set a negative value for both “Feedback” and “Wet/Dry”. This effect gives a signiﬁcant swell and movement of pitch to g: High Damp [%] the sound. It is more effective when applied to a sound with a This parameter sets the amount of damping of the feedback in the lot of harmonics. This is a stereo ﬂanger. You can add spread high range. Increasing the value will cut high-range harmonics. to the sound by offsetting the phase of the left and right LFOs from each other.

Stereo In - Stereo Out

Left 021: St. Random Flanger Wet / Dry

Flanger (Stereo Random Flanger)

Feedback The stereo effect uses a step-shape waveform and random

High Damp LFO for modulation, creating a unique ﬂanging effect. Flanger

Stereo In - Stereo Out Right Wet / Dry Left LFO Phase Wet / Dry LFO: Tri / Sine LFO Shape Flanger

Feedback

Delay Time [msec] 0.0...50.0msec High Damp a Sets the delay time from the original sound Flanger

LFO Waveform Triangle, Sine Right Wet / Dry Selects LFO Waveform LFO Phase b LFO: Step-Tri/Random LFO Shape –100...+100 Determines how much the LFO waveform is changed LFO Phase [degree] –180...+180 c Delay Time [msec] 0.0...50.0msec Sets the LFO phase difference between the left and right Fx:010 a Sets the delay time from the original sound LFO Frequency [Hz] 0.02...20.00Hz LFO Waveform Step-Tri, Random Sets the LFO speed Fx:009, b Selects LFO Waveform Fx:010 Src Off...Tempo d LFO Phase [degree] –180...+180 Selects the modulation source of LFO speed c Sets the LFO phase difference between the left and right Fx:010 Amt –20.00...+20.00Hz Sets the modulation amount of LFO speed LFO Frequency [Hz] 0.02...20.00Hz Sets the LFO speed Fx:010, BPM/MIDI Sync Off, On Switches between using the frequency of the LFO speed and using Src Off...Tempo the tempo and notes Fx:009, d Selects the modulation source used for both LFO speed and step speed BPM MIDI, 40...240 Selects MIDI Clock and assigns tempo Fx:009 Amt –20.00...+20.00Hz e Sets the modulation amount of LFO speed Base Note Selects the type of notes that specify the LFO speed Fx:009 LFO Step Freq (Frequency) [Hz] 0.05...50.00Hz Sets the LFO step speed (speed that changes in steps) Times x1...x16 e Fx:010, Sets the number of notes that specify the LFO speed Fx:009 Amt –50.00...+50.00Hz Depth 0...100 f Sets the modulation amount of LFO step speed Sets the depth of LFO modulation BPM/MIDI Sync Off, On Feedback –100...+100 Switches between using the frequency of the LFO speed and using Sets the feedback amount the tempo and notes Fx:009, g High Damp [%] 0...100% BPM MIDI, 40...240 Sets the feedback damping amount in the high range f Selects MIDI Clock and assigns tempo Fx:009, 010 Wet/Dry –Wet...–1:99, Dry, 1:99...Wet Base Note Sets the balance between the effect and dry sounds Selects the type of notes that specify the LFO speed Fx:009 Fx:010, Times x1...x16 h Src Off...Tempo Sets the number of notes that specify the LFO speed Fx:009 Selects the modulation source of the effect balance Step Base Note Amt –100...+100 Selects the type of notes to specify the LFO step speed Sets the modulation amount of the effect balance g Fx:010, Times x1...x32 b: LFO Shape Sets the number of notes to specify the LFO step speed Fx:010 Changing the LFO waveform shape controls the peak sweep of Depth 0...100 h ﬂanging effects. Sets the depth of LFO modulation LFO Shape Feedback –100...+100 Sets the feedback amount Fx:020 LFO Shape = 0...+100 LFO Shape = 0...–100 i High Damp [%] 0...100% Sets the feedback damping amount in the high range Fx:020 LFO Waveform=Sine Wet/Dry –Wet...–1:99, Dry, 1:99...Wet Sets the balance between the effect and dry sounds Fx:010, 020, j Src Off...Tempo g: Feedback, h: Wet/Dry Selects the modulation source of the effect balance The peak shape of the positive and negative “Feedback” value is Amt –100...+100 different. The harmonics will be emphasized when the effect Sets the modulation amount of the effect balance sound is mixed with the dry sound if you set a positive value for

166 this EG. Attack andDecayspeedare theonlyadjustableparameters on d: EGAttack, d: EGDecay Mode This parameterswitchesthe c: Sweep Mode, c: Src tion source. You canalsocontrol theFlangerdirectly usingthemodula- will obtainthesamepatternof This Flangerusesanenvelopegeneratorformodulation. You 022: St.Env. Flanger “ trol the When will startwhenthenote-onmessageisreceived. generator. Ifyouselect,forexample, The not related tothePitchEG,Filteror Amp EG. This envelopegeneratorisincludedinthe Src Right g b e d a c D Stereo In-Out f Left -mod ” “ parameter. Src we oeEG,D-mod tor orby themodulationsource whether theflangerDetermines iscontrolledby theenvelope genera- Sweep Mode Sets theEGdecay speed EG Decay l o me]( ea o)0.0...50.0msec 0.0...50.0msec Sets theupperlimitofdelay timeontheright channel R Dly Top [msec](RDelay Top) Sets theupperlimitofdelay timeontheleftchannel L Dly Top [msec](LDelay Top) e/r –Wet...–1:99, Dry, 1:99...Wet Sets thebalancebetween theeffect sounds anddry Wet/Dry 0.0...50.0msec Sets thelower limitofthedelay timeontheright channel R DlyBottom[msec](RDelay Bottom) r Off...Tempo Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src r Off...Tempo flanger tosweep (whenD-modisselectedfor Sweep Mode) selected for Sweep Mode),ormodulationsourcethatcausesthe Selects themodulationsourcethattriggers theEG(whenis Src Sets thefeedback amount Feedback Sets theEGattack speed EG Attack 0.0...50.0msec Sets thelower limitofthedelay timeontheleftchannel L DlyBottom[msec](LDelay Bottom) ihDm % 0...100% Sets thefeedback dampingamountinthehighrange High Damp[%] ” speci The effect isoff whenavalueforthemodulationsource smaller to64orhigher. Generator istriggered whenthevalue changesfrom 63or effect isonwhenthevalue64orhigher. TheEnvelope “ = Sweep Mode fl ” (Stereo EnvelopeFlanger) anger directly. Selectthemodulationsource usingthe EG parameterselectsthesource thatstartstheenvelope EG Attack/Decay fi ed forthe , the fl anger willsweepusingtheenvelopegenerator. D-mod ” EG = “ Sweep Mode Src D-mod ” parameterissmallerthan64,andthe fl Flanger Flanger anger control mode.With , themodulationsource cancon- fl Feedback anging eachtimeyouplay. Gate , theenvelopegenerator High Damp 010, 020, fl anger, and –100...+100 –100...+100 “ Sweep Wet /Dry , Wet /Dry Fx:009 Fx:009 Fx:009 Fx:009 Fx:020 Fx:020 1...100 1...100 each other. sound byoffsetting thephaseofleftandrightLFOsfrom effective onelectricpianosounds. You canaddspread tothe This effect creates aswellbyshifting thephase.Itisvery 023: StereoPhaser ics. the highrange.Increasing thevaluewillcuthigh-range harmon- This parametersetstheamountofdamping oftheresonance in g: HighDamp[%] “ is mixedwiththedrysound,ifyousetapositivevalueforboth ferent. Theharmonicswillbeemphasizedwhentheeffect sound The peakshapeofthepositiveandnegativeFeedbackvalueisdif- g: Resonance, h: Wet/Dry both Resonance Right e b g a h d c Stereo In-Out f Left “ P MIDI,40...240 Selects MIDIClock andassignstempo BPM F rqec H]0.02...20.00Hz Sets theLFOspeed LFO Frequency [Hz] m –100...+100 Off...Tempo x1...x16 Sets theresonanceamount Resonance Sets themodulationamountofLFOdepth Amt Selects themodulationsourcefor theLFOmodulationdepth Src Sets thedepthofLFOmodulation Depth Sets thefrequencytowhicheffect isapplied Manual Sets thenumber ofnotesthatspecifytheLFOspeed Times Base Note –180...+180 Sets theLFOphasedifference between theleftandright LFO Phase[degree] F hp –100...+100 howDetermines much theLFOwaveform ischanged LFO Shape Selects LFO Waveform LFO Waveform e/r –Wet...–1:99, Dry, 1:99...Wet Sets thebalancebetween theeffect sounds anddry Wet/Dry ihDm % 0...100% Sets theresonancedampingamountinhighrange High Damp[%] Selects thetypeofnotesthatspecifyLFOspeed P/IISn Off, On –20.00...+20.00Hz the tempoandnotes Switches between usingthefrequencyofLFOspeedand BPM/MIDI Sync Sets themodulationamountofLFOspeed Amt Selects themodulationsourceofLFOspeed Src r Off...Tempo Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Resonance LFO: Tri/Sine ” and ” “ and Wet/Dry LFO Shape “ Wet/Dry ” , andifyousetanegativevaluefor Phaser Phaser LFO Phase ” . Resonance High Damp

Fx:009, Fx:009, Fx:010, Triangle, Sine –100...+100 –100...+100 Off...Tempo Wet /Dry Wet /Dry Fx:010 Fx:020 Fx:009 Fx:009 Fx:009 0...100 0...100 167

Effect 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 This stereo phaser uses an envelope generator for modula- and random LFO for modulation, creating a unique phasing tion. You will obtain the same pattern of phasing each time effect. 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 Phaser Resonance Resonance High Damp Phaser High Damp Phaser Right Wet / Dry LFO Phase Right Wet / Dry LFO: Step-Tri/Random D-mod D-mod EG Attack/Decay Sweep Mode EG

LFO Waveform Step-Tri, Step-Sin, Random a Selects LFO Waveform Fx:010 L Manu Bottom (L Manual Bottom) 0...100 LFO Phase [degree] –180...+180 Sets the lower limit of the frequency range for the effect on the left b Sets the LFO phase difference between the left and right Fx:010 channel Fx:009 a LFO Frequency [Hz] 0.02...20.00Hz L Manu Top (L Manual Top) 0...100 Sets the LFO speed Fx:010, Sets the upper limit of the frequency range for the effect on the left channel Fx:009 Src Off...Tempo c Selects the modulation source commonly used for LFO speed and R Manu Bottom (R Manual Bottom) 0...100 step speed Sets the lower limit of the frequency range for the effect on the right channel Fx:009 Amt –20.00...+20.00Hz b Sets the modulation amount of LFO speed R Manu Top (R Manual Top) 0...100 Sets the upper limit of the frequency range for the effect on the right LFO Step Freq (Frequency) [Hz] 0.05...50.00Hz channel Fx:009 Sets the LFO step speed Fx:010, d Sweep Mode EG, D-mod Amt –50.00...+50.00Hz Determines whether the ﬂanger is controlled by the envelope genera- Sets the modulation amount of LFO step speed tor or by the modulation source Fx:022, BPM/MIDI Sync Off, On c Src Off...Tempo Switches between using the frequency of the LFO speed and using Selects the modulation source that triggers the EG (when EG is the tempo and notes Fx:009, selected for Sweep Mode), or modulation source that causes the ﬂanger to sweep (when D-mod is selected for Sweep Mode) BPM MIDI, 40...240 e Selects MIDI Clock and assigns tempo 009, 010 EG Attack 1...100 Sets the EG attack speed Fx:022 Base Note d Selects the type of notes that specify the LFO speed Fx:009 EG Decay 1...100 Sets the EG decay speed Fx:022 Times x1...x16 Sets the number of notes that specify the LFO speed Fx:009 Resonance –100...+100 e Sets the resonance amount Fx:023 Step Base Note Selects the type of notes to specify the LFO step speed High Damp [%] 0...100% f f Fx:010, Sets the resonance damping amount in the high range Fx:023 Times x1...x32 Wet/Dry –Wet...–1:99, Dry, 1:99...Wet Sets the number of notes to specify the LFO step speed Fx:010 Sets the balance between the effect and dry sounds Fx:010, 023, Manual 0...100 g Sets the frequency to which the effect is applied g Src Off...Tempo Selects the modulation source of the effect balance Depth 0...100 h 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 i High Damp [%] 0...100% Sets the resonance damping amount in the high range Fx:023 Wet/Dry –Wet...–1:99, Dry, 1:99...Wet Sets the balance between the effect and dry sounds Fx:010, 023, j Src Off...Tempo Selects the modulation source of the effect balance Amt –100...+100 Sets the modulation amount of the effect balance

168 modulated sound. very complexwaveformswillcreate ananalog-type,unstable LFO individually. DependingonthesettingoftheseLFOs, You cansettheFrequency andDepthparametersforeach This stereo chorus effect addstwodifferent LFOstogether. 026: St.BiphaseMod. Stereo In-Out a h b d e g Right c f j i Left LFO1: Tri/Sine LFO2: Tri/Sine e/r –Wet...–1:99, Dry, 1:99...Wet Sets thebalancebetween theeffect sounds anddry Wet/Dry Sets thedampingamountinhighrange High Damp[%] Sets thefeedback amount Feedback r Off...Tempo Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Selects LFO2waveform LFO2 Waveform Selects LFO1waveform LFO1 Waveform Sets thedelay timefor therightchannel R PreDelay [msec] Sets themodulationamountofLFO1speed Amt Selects themodulationsourceofLFO1&2speed Src Sets theLFO1speed LFO1 Frequency [Hz] F hs w0degree, 180degree Switches theLFOphasedifference between leftandright LFO PhaseSw Sets themodulationamountofLFO2speed Amt Sets theLFO2speed LFO2 Frequency [Hz] Sets thedepthofLFO1modulation Depth1 m –100...+100 –100...+100 Off...Tempo Sets themodulationamountofLFO2depth Amt Sets thedepthofLFO2modulation Depth2 Sets themodulationamountofLFO1depth Amt Selects themodulationsourceofLFO1&2depth Src Sets thedelay timefor theleftchannel L PreDelay [msec] (Stereo BiphaseModulation) LFO2 LFO1 Chorus/Flanger Chorus/Flanger 180 [degree] Feedback Depth2 Depth1 + High Damp High Damp Bi-Phase ModulationLFO Fx:010, –30.00...+30.00 –30.00...+30.00 0.0...50.0msec 0.0...50.0msec 0.02...30.00Hz 0.02...30.00Hz Triangle, Sine Triangle, Sine –100...+100 –100...+100 Off...Tempo 0...100% Wet /Dry Wet /Dry Fx:017 Fx:016 Fx:016 0...100 0...100 shimmering speed. Using the AutoFade allowsyoutoincrease ordecrease the This effect causesthepitchofinputsignaltoshimmer. 027: StereoVibrato the modulationsource selectedin When b: Fade-In Delay [msec] d: LFOFrequency Mod, a: AUTOFADE Src, a: Fade-In Rate MIDI Sync to automaticallyfadeinthemodulationamount.When increased from The followingisanexampleoffade-in where theLFOspeedis modulation source ONuntilthefade-instarts. “ The received. Fade-in Delay h g d b a e Right c Stereo In-Out f Left “ AutoFade Fade-in Rate Selects MIDIClock andassignstempo BPM r Off...Tempo –100...+100 Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Sets themodulationamountofLFOdepth Amt Selects themodulationsourceofLFOdepth Src Sets thedepthofLFOmodulation Depth ie x1...x16 Sets thenumber ofnotesthatspecifytheLFOspeed Times D-mod,AUTOFADE modulation Switches between D-modandAUTOFADE for theLFOfrequency LFO Frequency Mod F hp –100...+100 howDetermines much theLFOwaveform ischanged LFO Shape Selects LFO Waveform LFO Waveform UOAEScOff...Tempo Selects themodulationsourcethatstarts AutoFade AUTOFADE Src F rqec H]0.02...20.00Hz Sets theLFOspeed LFO Frequency [Hz] Sets thefade-in delay time Fade-In Delay [msec] Selects thetypeofnotesthatspecifyLFOspeed P/IISn Off, On –20.00...+20.00Hz the tempoandnotes Switches between usingthefrequencyofLFOspeedand BPM/MIDI Sync Sets themodulationamountofLFOspeed Amt Selects themodulationsourceofLFOspeed Src Base Note Sets therate offade-in Fade-In Rate LFO: Tri/Sine “ LFO Frequency Mod ” issetto ” “ parameterdeterminesthetimefrom AutoFade 1.0Hz ” parameterspeci Fade-In Delay LFO Shape On ” to , youcannotusethis. “ 4.0Hz ” issetto LFO Frequency Vibrato Vibrato ” “ whenanote-onmessageis AUTO FADE Src ﬁ es therateoffade-in.The AUTOFADE Fx:009, Fx:009, , youcanuse ” 00...2000msec MIDI, 40...240 asatrigger Triangle, Sine –100...+100 Off...Tempo “ BPM/ , Wet /Dry Wet /Dry Fx:020 Fx:009 Fx:009 Fx:009 0...100 1...100 169

Effect “AUTOFADE Src”=Gate1, “LFO Frequency [Hz]”=1.0 Feedback –100...+100 “LFO Frequency Mod”=AUTOFADE, “Amt”=3.0 Sets the feedback amount Fx:020 h The effect is off when a value for the dynamic modulation High Damp [%] 0...100% Sets the feedback damping amount in the high range Fx:020 source specified for the “AUTOFADE Src” parameter is smaller than 64, and the effect is on when the value is 64 or Wet/Dry Mod D-mod, AUTOFADE i Switches between D-mod and AUTOFADE for the effect balance higher. The AutoFade function is triggered when the value modulation Fx:027 changes from 63 or smaller to 64 or higher. Wet/Dry –Wet...–1:99, Dry, 1:99...Wet AUTOFADE AutoFade Sets the balance between the effect and dry sounds AUTOFADE Src=Gate1 Fx:010, 020, LFO Frequency[Hz]=1.0 Gate1 Signal LFO Freq. Mod=AUTOFADE Amt=+3.0 j Src Off...Tempo Selects the modulation source of the effect balance Note On All Note Off Amt –100...+100 LFO Frequency Fade-In Rate Sets the modulation amount of the effect balance AUTOFADE =1.0+3.0=4.0Hz Fade-In Dealy LFO Frequency =1.0Hz 029: 2Voice Resonator This effect resonates the input signal at a specified pitch. You 028: St. Auto Fade Mod. can set the pitch, output level, and pan settings for two reso- (Stereo Auto Fade Modulation) nators individually. You can control the resonance intensity via an LFO. This stereo chorus/flanger effect enables you to control the LFO speed and effect balance using auto fade, and you can Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry spread the sound by offsetting the phase of the left and right High Damp LFOs from each other. Resonator Trim Level Pan

Stereo In - Stereo Out + Resonance Left Wet / Dry Resonator Trim Level Pan Delay High Damp Right Wet / Dry Feedback D-mod Invert: On/Off High Damp Delay LFO Pitch, Fine [cent] Control Mode Manual Right Wet / Dry LFO Phase LFO: Tri / Sine LFO Shape Control Mode Manual, LFO, D-mod AutoFade LFO Frequency Wet / Dry Switches the controls of resonance intensity , a LFO/D-mod Invert Off, On Reverses the Voice 1 and 2 control when LFO/D-mod is selected AUTOFADE Src Off...Tempo Selects the modulation source that starts AutoFade LFO Frequency [Hz] 0.02...20.00Hz Fx:027, Sets the LFO speed b a Rate 1...100 D-mod Src Off...Tempo Sets the rate of fade-in Fx:027 Selects the modulation source that controls resonance intensity Fade-In Dly (Fade-In Delay) [msec] 00...2000msec Mod. Depth –100...+100 Sets the fade-in delay time Fx:027 Sets the amount of resonance intensity control via LFO/D-mod c LFO Waveform Triangle, Sine Tr im 0...100 Selects LFO Waveform Sets the input level at the resonator b LFO Shape –100...+100 Voice1: Pitch C0...B8 Determines how much the LFO waveform is changed Fx:020 Sets the voice1 Pitch for resonance d LFO Phase [degree] –180...+180 c Fine [cent] –50...+50 Sets the LFO phase difference between the left and right Fx:010 Fine-adjusts the voice 1 pitch for resonance LFO Frequency Mod D-mod, AUTOFADE Voice1: Resonance –100...+100 d Switches between D-mod and AUTOFADE for the LFO frequency Sets the intensity of resonance when Control Mode = Manual modulation Fx:027 e High Damp [%] 0...100% LFO Frequency [Hz] 0.02...20.00Hz Sets the damping amount of resonant sound in the high range Sets the LFO speed Voice1: Level 0...100 Src Off...Tempo e Sets the Voice1 output level Selects the modulation source of LFO speed f Pan L6...R6 Amt –20.00...+20.00Hz Sets the Voice1 stereo image Sets the modulation amount of LFO speed Voice2: Pitch C0...B8 L Delay Time [msec] 0.0...500.0msec Sets the Voice2 Pitch for resonance Sets the left channel delay time g f Fine [cent] –50...+50 R Delay Time [msec] 0.0...500.0msec Fine-adjusts the voice 2 pitch for resonance Sets the right channel delay time Voice2: Resonance –100...+100 Depth 0...200 g Sets the intensity of resonance when Control Mode = Manual Sets the depth of LFO modulation h High Damp [%] 0...100% Sets the damping amount of resonant sound in the high range

170 This effect simulates the 030: Doppler higher rangeofharmonics. high range.Lowervalueswillmakeametallicsoundwith This parametersetsthedampingamountofresonant soundinthe e: High Damp[%], h: HighDamp[%] name. The The Pitchparameterspeci d: Voice1: Pitch, d: Fine[cent], g: Voice2: Pitch, g: Fine[cent] When a: LFO/D-modInvert When This parameterdeterminestheresonance intensity. a: Control Mode, e: Voice1: Resonance, h: Voice2: Resonance create auniquechorus effect. ambulance. Mixingtheeffect soundwiththedrywill with achangingpitch,similartothesiren ofanpassing cents. nate atapitchanoctavebelow(Resonancehasnegativevalue). set forVoice 1(Resonancehasapositivevalue),Voice 2willreso- either Voice 1or2willbereversed. Whentheresonance pitchis sets theintensityofresonance. Ifthe When occur atapitchoneoctavelower. negative value,harmonicswillbechanged,andresonance will When an octaveapartinturn. tive values,causingresonance tooccurbetweenspeci according totheLFO.TheLFOswaysbetweenpositiveandnega- be controlled, similartowhenLFOisselectedforControl Mode. the modulationsource, thepitchanoctavehigherandlowercan the dynamicmodulationsource. If a b Right Wet: MonoIn-StereoOut/Dry: j i Left D r Off...Tempo LFO When LFOModeissetto1-Shot,thismodulationsourcetriggers the Src r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Sets the Voice2 stereoimage Pan Sets the Voice2 outputlevel Voice2: Level Switches LFOoperation mode LFO Mode F ycOff, On Loop Switches between LFOresetonandoffwhen LFOModeissetto LFO Sync “ “ “ “ -mod Control Mode Control Mode Control Mode Control Mode + “ Fine Trigger ” parameterallowsfor ” ” ” ” = = = = LFO Manual LFO D-mod LFO fi “ LFO Mode=1-Shot es thepitchofresonance bynote Doppler effect Doppler or , theintensityofresonance varies , theresonance iscontrolled by D-mod , the JS X “ Resonance “ fi or Resonance , thecontrolled phaseof ne adjustmentinstepsof Ribbon ” ofamovingsound Pan Depth ” parameterhasa ” isassignedas parameter fi Loop, 1-Shot ed pitches –100...+100 Wet /Dry Wet /Dry , L6...R6 0...100 left. left toright;withnegativevalues,thesoundmovesfrom rightto much furtheraway. With positivevalues,thesoundmovesfrom sound. With larger values,thesoundseemstocomeandgofrom This parametersetsthewidthofstereo imageoftheeffect f: Pan Depth This parametersetsthispitchvariation. approaches, andthepitchislowered whenthesoundgoesaway. With the Dopplereffect, thepitchisraisedwhensound e: Pitch Depth The a: LFO Mode, a: Src, b: LFOSync tion source speci “ Loop When put. Doppler effect willnotbecreated, andnoeffect soundwillbeout- is turnedon. At thistimeifyoudonotsetthe only oncewhenthemodulationsource speci LFO Sync e g d c f “ isselected,theDopplereffect willbecreated repeatedly. If LFO Mode Selects MIDIClock andassignstempo BPM ie x1...x16 Sets thepitchvariation ofthemoving sound Pitch Depth Sets thenumber ofnotesthatspecifytheLFOspeed Times r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Sets themodulationamountofpanning Amt Selects themodulationsourceofpanning Src Sets thepanningofmoving sound Pan Depth Sets themodulationamountofpitchvariation Amt Selects themodulationsourceofpitchvariation Src F rqec H]0.02...20.00Hz Sets theLFOspeed LFO Frequency [Hz] Selects thetypeofnotesthatspecifyLFOspeed P/IISn Off, On –20.00...+20.00Hz the tempoandnotes Switches between usingthefrequencyofLFOspeedand BPM/MIDI Sync Sets themodulationamountofLFOspeed Amt Selects themodulationsourceofLFOspeed Src Base Note speci The effect isoff whenavalueforthemodulationsource smaller to64orhigher. effect istriggered whenthevaluechangesfrom 63or effect isonwhenthevalue64orhigher. TheDoppler “ LFO Mode ” fi Original Pitch issetto ed forthe ” fi parameterswitchesLFOoperationmode.When Pitch ed withthe ” issetto

Lower Higher On “ Left < <<<<<<>>>>>>> Src , theLFOwillbereset whenthemodula- = (+)value Pan Depth Louder ” parameterissmallerthan64,andthe 1-Shot “ Src Pan Depth Volume Center ” , theDopplereffect iscreated parameteristurnedon. = ( Pan Depth Doppler -Pitch/PanDepth Louder – ) value ﬁ Right “ ed inthe Src Pitch Depth ” parameter, the Fx:009, Fx:009, MIDI, 40...240 –100...+100 –100...+100 –100...+100 –100...+100 “ Off...Tempo Off...Tempo Off...Tempo Src , , Fx:009 Fx:009 Fx:009 ” 0...100 171

ﬁ eld

Effect 031: Scratch f: Direct Mix With Always On, a dry sound is usually output. With Always This effect is applied by recording the input signal and mov- Off, dry sounds are not output. With Cross Fade, a dry sound is ing the modulation source. It simulates the sound of scratches usually output, and it is muted only when scratching. you can make using a turntable. Set Wet/Dry to Wet to use this parameter effectively.

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry

Direct + Scratch Mix Rec Control Scratch

Right Wet / Dry -mod D-mod D Envelope Control Input Envelope Select D-mod

Scratch Source Off...Tempo a Selects the modulation source for simulation control , Response 0...100 b 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 , c Src Off...Tempo Selects the modulation source that controls recording when Enve- lope Select is set to D-mod Threshold 0...100 d Sets the recording start level when Envelope Select is set to Input

Response 0...100 e Sets the speed of the response to the end of recording Direct Mix Always On, Always Off, Cross Fade f Selects how a dry sound is mixed Wet/Dry Dry, 1:99...99:1, Wet Sets the balance between the effect and dry sounds Src Off...Tempo g 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 modulation 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! -mod JS X D Ribbon – Max Zero + Max JS+Y JS–Y Zero + Max etc… 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 recording only one note.

172 This parameterselectstheLFOwaveform. a:LFO Waveform and right. phases from eachotherproduces a tremolo effect betweenleft The effect isstereo, andoffsetting theLFOofleftandright This effect modulatesthevolumelevelofinputsignal. 032: StereoTremolo Other modulationandpitchshifteffects realistic, vintagetremolo ampli ﬁ lates thecharacteristicsoftremolo created onaguitarampli- er. Combiningthiseffect withthe Amp Simulationwillmakea Right d e b a c Stereo In-Out f Left LFO: Tri/Sin/Vintage/Up/Down P/IISn Off, On –20.00...+20.00Hz Selects MIDIClock andassignstempo BPM the tempoandnotes Switches between usingthefrequencyofLFOspeedand BPM/MIDI Sync Sets themodulationamountofLFOspeed Amt Selects themodulationsourceofLFOspeed Src Base Note F rqec H]0.02...20.00Hz Sets theLFOspeed LFO Frequency [Hz] Selects thetypeofnotesthatspecifyLFOspeed –100...+100 howDetermines much theLFOwaveform ischanged LFO Shape ie x1...x16 Sets thedepthofLFOmodulation Depth Sets thenumber ofnotesthatspecifytheLFOspeed Times –180...+180 Sets theLFOphasedifference between theleftandright LFO Phase[degree] r Off...Tempo –100...+100 Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Sets themodulationamountofdepth Amt Selects themodulationsourceofdepth Src F aeomTriangle, Sine, Vintage, Up, Down Selects LFO Waveform LFO Waveform Triangle Mod./P.Shift Sine LFO Shape Vintage ﬁ Tremolo Tremolo er sound. LFO Phase Up Vintage Tremolo -LFOWaveform Fx:009, Fx:009, wavesimu- Down MIDI, 40...240 –100...+100 Off...Tempo Wet /Dry Wet /Dry Fx:020 Fx:009 Fx:009 Fx:009 0...100 deeper asitfadesoutwhilethelevelgetslower. tremolo. You cansimulateatremolo effect thatbecomes This effect usestheinputsignalleveltomodulateastereo 033: St.Env. Tremolo in whichthesoundispannedbetweenleftandright. right LFOphases. A highervaluewillsimulatetheauto-paneffect This parameterdeterminesthedifference betweentheleftand b: LFOPhase[degree] The nal level). These parameterssetthemodulationviaanenvelope(inputsig- e: Depth, e: Envelope Amount d: LFOFrequency [Hz], d: Envelope Amount[Hz], value tothe • input signallevel. Depth valuetothe signal. TheLFOmodulationdepthisobtainedbyaddingthe Right Stereo In-Out d b a e c f Left The followingexampleindicatesthatthe “ input. that the an LFOFrequencyof1.0Hzandthemaximuminput, “ LFO Frequency [Hz] LFO speed Sets theLFOspeed LFO Frequency [Hz] F hs dge]–180...+180 Sets theLFOphasedifference between theleftandright LFO Phase[degree] F hp –100...+100 Triangle,Sine, Vintage howDetermines much theLFOwaveform ischanged LFO Shape Selects LFO Waveform LFO Waveform Sets theenvelope curve shapeoftheinputsignal Envelope Shape Sets theenvelope sensitivityoftheinputsignal Envelope Sens(Envelope Sensitivity) Sets thedepthofLFOmodulation Depth r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry neoeAon –100...+100 –20.00...+20.00Hz nal level Sets thechangesofmodulationdepthaccordingtoinputsig- Envelope Amount level Sets thechangesofLFOspeedaccordingtoinputsignal Envelope Amount[Hz] (Stereo EnvelopeTremolo) + “ “ Depth Envelope Amount Envelope LFO: Tri/Sin/Vintage ” isobtainedbyaddingthe ” “ is Envelope Amount 100 Envelope Sens ” = withaFrequencyof8.0Hzzero 8.0 Envelope Shape , LFO Shape “ ” Envelope Amount [Hz] Envelope Amount valuemultipliedbytheinput ” valuemultipliedbythe Tremolo Tremolo LFO Phase “ “ LFO Frequency Depth ” 0.02...20.00Hz is –100...+100 –100...+100 0 ” with = Wet /Dry Wet /Dry – Fx:032 Fx:020 0...100 0...100 173 7.0 ”

Effect “Depth”=100, “Envelope Amount”=–100 from the left and right channels will chase each other around. If

Shimmer you set the parameter to +180 or –180, the sound from each chan-

Level Dry Envelope LFO Frequency[Hz]=8.0 nel will cross over each other. Envelope Amount[Hz]= –7.0Hz Depth=100 You need to input different sounds to each channel in order for Envelope Amount= –100 this parameter to be effective. Louder Stereo Auto Pan - LFO Phase

LFO Phase = 0 degrees LFO Phase = 90 degrees LFO Phase = 180 degrees Time L-In L-In L-In

R-In R-In R-In

L-In L-In L-In

R-In R-In R-In 034: Stereo Auto Pan L-In L-In L-In

R-In R-In R-In This Auto Pan effect pans sound between left and right. It is L-In L-In L-In stereo, and shifting the left and right LFO phases from each R-In R-In R-In other will simulate the sound of the left and right channels L-In L-In L-In crossing over each other by turns, or chasing each other. R-In R-In R-In

Left Center Right Stereo In - Stereo Out Output Stereo Image Left Wet / Dry

Pan Depth 035: St. Phaser + Trml Pan (Stereo Phaser + Tremolo) Right Wet / Dry This effect has a stereo phaser and tremolo LFOs linked LFO Phase LFO: Tri / Sin LFO Shape together. Swelling phaser modulation and tremolo effects synchronize with each other, creating a soothing modulation effect. It is suitable for electric piano type sounds.

LFO Waveform Triangle, Sine Stereo In - Stereo Out Selects LFO Waveform Left a Wet / Dry LFO Shape –100...+100 Phaser Tremolo Determines how much the LFO waveform is changed Phaser Wet / Dry

LFO Phase [degree] –180...+180 Resonance b Sets the LFO phase difference between the left and right Phaser Wet / Dry LFO Frequency [Hz] 0.02...20.00Hz Phaser Tremolo Sets the LFO speed Fx:009, Right Wet / Dry Src Off...Tempo c LFO Type Selects the modulation source of LFO speed LFO LFO Shape Amt –20.00...+20.00Hz LFO Phase Sets the modulation amount of LFO speed

BPM/MIDI Sync Off, On Type: Phs - Trml...Phs LR - Trml LR Switches between using the frequency of the LFO speed and using Selects the type of the tremolo and phaser LFOs the tempo and notes Fx:009, a LFO Phase [degree] –180...+180 BPM MIDI, 40...240 Sets the phase difference between the tremolo and phaser LFOs d Selects MIDI Clock and assigns tempo Fx:009 Base Note LFO Frequency [Hz] 0.02...20.00Hz Selects the type of notes that specify the LFO speed Fx:009 Sets the LFO speed Fx:009, Times x1...x16 Src Off...Tempo b Sets the number of notes that specify the LFO speed Fx:009 Selects the modulation source of LFO speed Depth 0...100 Amt –20.00...+20.00Hz Sets the depth of LFO modulation Sets the modulation amount of LFO speed Src Off...Tempo BPM/MIDI Sync Off, On e Selects the modulation source of the depth of modulation Switches between using the frequency of the LFO speed and using Amt –100...+100 the tempo and notes Fx:009, Sets the modulation amount of the depth of mod- BPM MIDI, 40...240 ulation c Selects MIDI Clock and assigns tempo Fx:009 Wet/Dry Dry, 1:99...99:1, Wet Base Note Sets the balance between the effect and dry sounds Selects the type of notes that specify the LFO speed Fx:009 Src Off...Tempo f Times x1...x16 Selects the modulation source of the effect balance Sets the number of notes that specify the LFO speed Fx:009 Amt –100...+100 Phaser Manual 0...100 Sets the modulation amount of the effect balance Sets the phaser frequency range d Resonance –100...+100 a: LFO Shape Sets the phaser resonance amount You can change the panning curve by modifying the LFO waveform. b: LFO Phase This parameter determines the difference in the left and right LFO phases. When you change the value gradually from 0, the sound

174 a ringmodulationeffect inspeci ing theoscillatorfrequency withanotenumberwillproduce modulate theoscillatortocreate aradicalmodulation.Match- to theinputsignal.UseLFOorDynamicModulation This effect creates ametallicsoundbyapplyingtheoscillators 036: St.RingModulator the drysound. the balancebetween phaser outputandthedrysound.The The f: Phaser WetDry, i: Wet/Dry type ofLFO.Selecting parameter. Howtheeffect soundmovesorrotates dependsonthe Select thetypeofphaserLFOandtremolo LFOforthe a: Type, a: LFOPhase[degree] tion ofthesound. ing ofthephaserpeakandcontrol asubtle movementandrota- a b g e h Right Stereo In-Out f i Left Note No. Fixed Frequency “ Phaser Wet/Dry r Off...Tempo Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src r P 0...100 tor Sets thedampingamountofhighrange inputtothering modula- Pre LPF S oeFixed, Note(Key Follow) note number Switching between specifyingtheoscillatorfrequencyandusinga OSC Mode Sets thedegree ofthetremoloLFOshaping Tremolo Shape Sets thephasermodulationdepth Phaser Depth m –100...+100 Off...Tempo –Wet...–2:99, Dry, 2:99...Wet Sets thebalancebetween thephasereffect sounds anddry Phaser Wet/Dry Sets themodulationamountfor thephasermodulationdepth Amt Selects themodulationsourcefor thephasermodulation depth Src Sets thetremolomodulationdepth Tremolo Depth m –100...+100 Off...Tempo Dry, 1:99...99:1, Wet Sets thebalancebetween theeffect sounds anddry Wet/Dry Sets themodulationamountoftremolodepth Amt Selects themodulationsourcefor thetremolomodulation depth Src (Stereo RingModulator) LFO Note Offset,Fine ” “ Note (KeyFollow) parametersetsthebalancebetween LFO Phase ﬁ Fixed nal phaserandtremolo outputleveland Pre LPF Pre LPF OSC Mode Sine Oscillator ﬁ ” enablesyoutooffset thetim- c keyranges. Pitch “ Ring Modulator Ring Modulator Wet/Dry ” parametersets “ –100...+100 –100...+100 Type , Wet /Dry Wet /Dry Fx:020 0...100 0...100 ”

effect inthecorrect key. lator frequency withthenotenumberproduces aringmodulation parameter ence from theoriginalnoteinsemitonesteps.The set to These parametersfortheoscillatorare usedwhen d: NoteOffset, d: NoteFine This parametersetstheoscillatorfrequency when c: Fixed Frequency [Hz] quency followsthenotenumber. This parameterdetermineswhetherornottheoscillatorfre- b: OSC Mode cut acertainamountofhighrange. contains lotsofharmonics,theeffect maysounddirty. Inthiscase, high rangesoundinputtotheringmodulator. Iftheinputsound This parameterenablesyoutosetthedampingamountof a: Pre LPF set to h g d e c f Selects MIDIClock andassignstempo BPM r Off...Tempo –100...+100 Off...Tempo Dry, 1:99...99:1, Wet 0...100 x1...x16 Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Sets themodulationamountofdepth Amt Selects themodulationsourceofdepth Src Sets thedepthofLFOmodulationfor theoscillatorfrequency LFO Depth Sets thenumber ofnotesthatspecifytheLFOspeed Times oeOfe –48...+48 –12.00...+12.00kHz Off...Tempo set toNote(Key Follow) Sets thepitchdifference fromtheoriginal notewhenOSC Modeis Note Offset Mode issettoFixed Sets themodulationamountofoscillatorfrequencywhenOSC Amt Mode issettoFixed Selects themodulationsourcefor theoscillatorfrequencywhenOSC Src ie rqec H]0...12.00kHz Sets theoscillatorfrequencywhenOSCModeissettoFixed Fixed Frequency [Hz] F rqec H]0.02...20.00Hz Sets theLFOspeedofoscillatorfrequencymodulation LFO Frequency [Hz] Selects thetypeofnotesthatspecifyLFOspeed Fine-adjusts theoscillatorfrequency Note Fine P/IISn Off, On –20.00...+20.00Hz the tempoandnotes Switches between usingthefrequencyofLFOspeedand BPM/MIDI Sync Sets themodulationamountofLFOspeed Amt Selects themodulationsourceofLFOspeed Src Base Note Note (KeyFollow) Fixed ﬁ . ne-adjusts thepitchincentsteps.Matchingoscil- . The “ Note Offset ” setsthepitchdiffer- “ “ “ Fx:009, Fx:009, OSC Mode OSC Mode Note Fine MIDI, 40...240 –100...+100 –100...+100 Off...Tempo , Fx:009 Fx:009 Fx:009 175 ” ” ”

is is

Effect Mode Slow, Medium, Fast 037: Detune a Switches Pitch Shifter mode Using this effect, you can obtain a detune effect that offsets Pitch Shift [1/2tone] –24...+24 the pitch of the effect sound slightly from the pitch of the Sets the pitch shift amount by steps of a semitone , input signal. Compared to the chorus effect, a more natural Src Off...Tempo b sound thickness will be created. Selects the modulation source of pitch shift amount Amt –24...+24 Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Sets the modulation amount of pitch shift amount Left Wet / Dry Fine [cent] –100...+100cent Sets the pitch shift amount by steps of a cent , Input Level c High Damp Amt –100...+100cent + Delay Detune Sets the modulation amount of pitch shift amount Feedback Delay Time [msec] 0...1000msec Input Level d Sets the delay time Right Wet / Dry Feedback Position Pre, Post e Switches the feedback connection. Feedback –100...+100 Pitch Shift [cent] –100...+100cent Sets the feedback amount Sets the pitch difference from the input signal f High Damp [%] 0...100% Src Off...Tempo a Sets the damping amount in the high range Selects the modulation source of the pitch shift Input Level Dmod [%] –100...+100 Amt –100...+100cent Sets the modulation amount of the input level Fx:037, Sets the modulation amount of the pitch shift g Src Off...Tempo Delay Time [msec] 0...1000msec b Selects the modulation source for the input level Fx:037 Sets the delay time Wet/Dry Dry, 1:99...99:1, Wet Feedback –100...+100 Sets the balance between the effect and dry sounds Sets the feedback amount Src Off...Tempo c h High Damp [%] 0...100% Selects the modulation source of the effect balance Sets the damping amount in the high range Amt –100...+100 Input Level Dmod [%] –100...+100 Sets the modulation amount of the effect balance Sets the modulation amount of the input level , d Src Off...Tempo a: Mode Selects the modulation source for the input level This parameter switches the pitch shifter operating mode. With Wet/Dry Dry, 1:99...99:1, Wet Slow, tonal quality will not be changed too much. With Fast, the Sets the balance between the effect and dry sounds effect becomes a Pitch Shifter that has a quick response, but may Src Off...Tempo change the tone. Medium is in between these two. If you do not e Selects the modulation source of the effect balance need to set too much pitch shift amount, set this parameter to Amt –100...+100 Slow. If you wish to change the pitch signiﬁcantly, use Fast. Sets the modulation amount of the effect balance b: Pitch Shift [1/2tone], b: Src, b: Amt, c: Fine [cent], c: Amt d: Input Level Dmod [%], d: Src 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: This parameter sets the dynamic modulation of the input level. Amt value plus d: “Amt.” Input Level D-mod Input Level Input Level Modulation Source is used both for “Pitch Shift” and “Fine.” x1.0 Amt= +50 x1.0 Amt= –50 Amt= +100 Amt= –100 e: Feedback Position, f: Feedback Pre x0.5 x0.5 When “Feedback Position” is set to , the pitch shifter output is

Louder Louder again input to the pitch shifter. Therefore, if you specify a higher -mod -mod value for the Feedback parameter, the pitch will be raised (or low- Higher D Higher D Zero Max Zero Max 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 038: Pitch Shifter repeated at the same pitch. 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 / Dry: Stereo In - Stereo Out Left Wet / Dry

Input Level High Damp + Pitch Shifter Delay Post Pre Feedback Position Feedback Input Level

Right Wet / Dry

176 and drysoundwillbeoutputinaproportion of1:1. sound ispannedright.With aWet/Dry = and right.With The Panparameterpanstheeffect soundanddryto theleft f: Pan, g: Wet/Dry modulation bymeansoftheLFO. These parameterssettheamountofpitchshiftand a: Pitch Shift[cent], e: Depth output from stereo speakersare mixed. is especiallyeffective whentheeffect soundanddry ning theeffect soundanddrytotheleftright.This LFO, addingaclearspread andwidthtothesoundbypan- This effect modulatesthedetunedpitchshiftamountusingan 039: PitchShiftMod. d e g b a c Right Wet: MonoIn-StereoOut/Dry: f Left F rqec H]0.02...20.00Hz Sets theLFOspeed LFO Frequency [Hz] P/IISn Off, On –20.00...+20.00Hz Selects MIDIClock andassignstempo BPM the tempoandnotes Switches between usingthefrequencyofLFOspeedand BPM/MIDI Sync Sets themodulationamountofLFOspeed Amt Selects themodulationsourceofLFOspeed Src Base Note Selects thetypeofnotesthatspecifyLFOspeed et –100...+100 x1...x16 Sets theLFOmodulationdepthfor pitchshiftamount Depth Sets thenumber ofnotesthatspecifytheLFOspeed Times r Off...Tempo 1:99...99:1,R L, –100...+100 Off...Tempo Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thepanningeffect soundseparately soundanddry Pan Sets themodulationamountofdepth Amt Selects themodulationsourceofdepth Src e/r Dry, 1:99...99:1, Wet Sets thebalancebetween theeffect sounds anddry Wet/Dry Selects LFO Waveform LFO Waveform Sets thepitchdifference fromtheinputsignal Pitch Shift[cent] LFO: Tri/Sqr (Pitch ShiftModulation) + Original Pitch L , theeffect sound ispannedleft,andthedry Pitch

Lower Higher Pitch Shifter Pitch ShiftMod-/Depth Depth ( LFO Waveform=Square Depth (+value) LFO Waveform=Triangle Pitch Shift(+value) Pan Wet – value) setting,theeffect Fx:009, Fx:009, Triangle, Square –100...+100cent MIDI, 40...240 –100...+100 Off...Tempo , , Wet /Dry Wet /Dry Fx:009 Fx:009 Fx:009 stereo microphone settings. horn inthehighrangeseparately. Theeffect alsosimulatesthe istic soundbysimulatingtherotor inthelowrangeand This effect simulatesarotary speaker, andobtainsamore real- Speaker 040: Rotary When rotation andstop. This parametersetshowthemodulationsource switchesbetween a: Sw time youpress thepedaloroperatejoystick. b a h g e d Right c Wet: MonoIn-StereoOut/Dry: f Left D D D -mod -mod -mod aulSedCr Mna pe oto)Off...Tempo directly Selects themodulationsourceincaserotationspeedischanged Manual SpeedCtrl(Manual SpeedControl) wToggle, Moment Off...Tempo Slow, Fast Toggle, Moment Off...Tempo between slow andfast Selects switching modeofthemodulationsourcethattoggles Sw Selects themodulationsourcethattogglesbetween slow andfast Src Switches thespeaker rotationspeedbetween slow and fast Speed Switch between rotationandstop Selects switching modeofthemodulationsourcethattoggles Sw stop Selects themodulationsourcethattogglesbetween rotationand Src Switches between speaker rotationandstop Mode Switch r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry i itne0...100 Stop, 0.50...2.00 Rotor, 1...99,Horn 0...100 Sets theangleofleftandright microphones Mic Spread Stop, 0.50...2.00 Sets thedistancebetween themicrophoneandrotary speaker Mic Distance rotor Sets thelevel balancebetween thehigh-range andlow-range horn Balance Horn/Rotor 1.00. Selecting “Stop” willstoptherotation Adjusts the(low-range side)rotorrotationspeed. Standardvalue is Rotor Ratio switched howDetermines quickly therotorrotationspeedinlow range is Rotor Acceleration 1.00. Selecting “Stop” willstoptherotation Adjusts the(high-range side)hornrotationspeed. Standardvalue is Ratio Horn onAclrto 0...100 How quickly rotationspeedinthehighrange thehorn isswitched Acceleration Horn the speakerrotates orstopsalternately. Each timethevalueformodulation source exceeds64, “ Sw + ” Mode Switch:Rotate/Stop Speed Switch:Slow/Fast = Manual SpeedControl Toggle , thespeakerrotates orstopsalternately each Rotary Speaker Rotor Horn Speaker Simulation Horn/Rotor Balance Mic Distance Mic Spread Rotate, Stop –100...+100 , Wet /Dry Wet /Dry 0...100 177

Effect 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 Early reflection and delay effects greater. b: Sw This parameter sets how the rotation speed (slow and fast) is 041: Early Reflections switched via the modulation source. When “Sw” = Toggle, the speed is switched between slow and This effect is only the early reflection part of a reverberation fast each time you press the pedal or operate the joystick. 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 modulation source exceeds 64. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry When “Sw” = Moment, the speed is usually slow. It becomes fast only when you press the pedal or operate the joystick. EQ Trim LEQ HEQ When a value for the modulation source is less than 64, + Pre Delay Early Reflections “slow” speed is selected, and when the value is 64 or higher, “fast” is selected. EQ Trim Right c: Manual Speed Ctrl Wet / Dry If you wish to control the speaker rotation speed manually, not switching between Slow and Fast, select the modulation source in Type Sharp, Loose, Modulated, Reverse the “Manual Speed Ctrl” field. If manual control is not necessary, a Selects the decay curve for the early reflection set this field to Off. ER Time [msec] 10...800msec b d: Horn Acceleration, e: Rotor Acceleration Sets the time length of early reflection On a real rotary speaker, the rotation speed is accelerated or decel- Pre Delay [msec] 0...200msec c erated gradually after you switch the speed. The “Horn Accelera- Sets the time taken from the original sound to the first early reflection tion” parameter sets the speed at which the rotation is accelerated EQ Trim 0...100 d or decelerated. Sets the input level of EQ applied to the effect sound Pre LEQ Gain [dB] –15.0...+15.0dB g: Mic Distance, g: Mic Spread Sets the gain of Low EQ This is a simulation of stereo microphone settings. e Pre HEQ Gain [dB] –15.0...+15.0dB Rotary Speaker - Mic Placement Sets the gain of High EQ Mic Spread Microphone Microphone Wet/Dry Dry, 1:99...99:1, Wet Sets the balance between the effect and dry sounds Mic Distance Mic Distance Src Off...Tempo f 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 Pre Delay ER Time

178 When recording. These parametersselectthesource tocontrol thestartandendof c: Envelope Select, c: Src, d: Threshold When the playbackwillbeinterrupted. “ When a: Rec Mode, b: Reverse Time in reverse (theeffect issimilartoa tapereverse sound). This effect records theinputsignalandautomaticallyplaysit 042: AutoReverse If youwishtorecord aphraseorrhythm pattern,set Time is limitedto660msec. ing duringthereverse playback.However, themaximumReverse to The playback ofsinglenotes,makethe played inreverse. Ifyouwishtoaddshortpiecesofthereverse of thereverse playback.Thepartinexcessofthislimitwillnotbe Reverse Time. g e d b a c Right Wet: MonoIn-Out/Dry:Stereo f Single Left “ Reverse Time neoeSlc D-mod,Input modulation sourceortheinputsignallevel Selects whetherthestartandendofrecordingiscontrolledvia Envelope Select ietMxAlways On,Always Off, CrossFade Selects how soundismixed adry Direct Mix r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry r Off...Tempo lope SelectissettoD-mod Selects themodulationsourcethatcontrolsrecordingwhenEnve- Src epne0...100 0...100 Sets thespeedofresponsetoendrecording Response 20...1320msec levelSets therecordingstart whenEnvelope SelectissettoInput Threshold Sets themaximum duration ofthereverse playback Reverse[msec] Time Sets therecordingmode Rec Mode ” “ “ Rec Mode=Multi Rec Mode=Single Rec Mode Envelope Select Rec Mode . Ifyourecord onlyonenote,set + Input D Rec -mod ” If recording startsduringthereverse playback, “ ” Input Envelope Select issetto issetto ” D-mod parameterspeci Reverse ” issetto Envelope Control Reverse Time Single Multi Rec/Reverse Play Auto Reverse Rec Control D-mod , youcanmakeanotherrecord- , youcansetupto1320msecfor “ Reverse Time ﬁ es themaximumduration Reverse , theinputsignalwillbe Reverse Time “ Rec Mode Rec Mode/ReverseTime Envelope Select=Input Direct Mix Time ” shorter. “ ” Rec Mode to Single, Multi –100...+100 Multi Wet /Dry , Wet /Dry Fx:031 Fx:031 . ”

spread ofthedelaysound. and centerrespectively. You canalsoadjusttheleftandright This multitapdelayoutputsthree Tap signalstotheleft,right, 043: L/C/RDelay image iswidestwithavalueof This parametersetsthepanwidthofeffect sound.Thestereo g: Spread as itfeedsback. range. Thetoneofthedelayedsoundbecomesdarkerandlighter These parameterssetthedampingamountofhighrangeandlow e: HighDamp[%], e: Low Damp[%] channels isoutputfrom thecenterwithavalueof When by theSrc parameteris64orhigher. recorded onlywhenthevalueofmodulationsource selected ately. When recording iscompleted,reverse playbackstartsimmedi- recorded onlywhenitslevelexceedstheThreshold level. Wet:MonoIn-StereoOut/Dry:-Stereo e d b a h g c Right f Left m –100...+100 Off...Tempo Sets thedampingamountinhighrange High Damp[%] Sets themodulationamountof TapC feedback amount Amt Selects themodulationsourceof TapC feedback amount Src Sets thefeedback amountof TapC Feedback (CDelay) Sets theoutputlevel of TapR Level Sets thedelay timeof TapR R Delay Time [msec] Sets theoutputlevel of TapC Level Sets thedelay timeof TapC C Delay Time [msec] Sets theoutputlevel of TapL Level Sets thedelay timeof TapL L Delay Time [msec] r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry nu ee md[]–100...+100 Sets themodulationamountofinputlevel Input Level Dmod[%] Sets thedampingamountinlow range Low Damp[%] Selects themodulationsourcefor theinputlevel Src ped0...50 Sets thewidthofstereoimageeffect sound Spread “ Envelope Select + Input LevelD-mod Input LevelD-mod High Damp Low Damp ” issetto R Delay C Delay L Delay 50 Input , andtheeffect sound ofboth Feedback , theinputsignalwillbe Level Level Level Spread 0 F:3, Fx:037, . 0...1360msec 0...1360msec 0...1360msec –100...+100 –100...+100 Off...Tempo 0...100% 0...100% Wet /Dry Wet /Dry Fx:037 179 0...50 0...50 0...50

Effect 044: Stereo/Cross Delay 045: St. Multitap Delay This is a stereo delay, and can by used as a cross-feedback (Stereo Multitap Delay) delay effect in which the delay sounds cross over between the left and right by changing the feedback routing. The left and right Multitap Delays have two taps respectively. Changing the routing of feedback and tap output allows you

Stereo In - Stereo Out to create various patterns of complex effect sounds. Left Wet / Dry High Damp Low Damp Stereo In - Stereo Out Delay Left Input Level D-mod Wet / Dry Feedback Stereo/Cross Feedback Spread Delay (2) Input Level D-mod High Damp Low Damp Input Level D-mod High Damp Low Damp (1) Tap1=(1) Delay Mode Tap1 Level Mode Spread Stereo/Cross Tap2=(2) Input Level D-mod High Damp Low Damp (1) (2) Right Delay Wet / Dry Feedback Right Wet / Dry

Stereo/Cross Stereo, Cross a Switches between stereo delay and cross-feedback delay Mode: Normal Mode: Cross Feedback Mode: Cross Pan1 Mode: Cross Pan2 L Delay Time [msec] 0.0...680.0msec b Sets the delay time for the left channel R Delay Time [msec] 0.0...680.0msec c Sets the delay time for the right channel Mode Normal, Cross Feedback, Cross Pan1, Cross Pan2 a L Feedback –100...+100 Switches the left and right delay routing Sets the feedback amount for the left channel Tap1 Time [msec] 0.0...680.0msec b Src Off...Tempo Sets the Tap1 delay time d Selects the modulation source of feedback amount Tap2 Time [msec] 0.0...680.0msec c Amt L –100...+100 Sets the Tap2 delay time Sets the modulation amount of the left channel feedback Tap1 Level 0...100 d R Feedback –100...+100 Sets the Tap1 output level Sets the feedback amount for the right channel Feedback (Tap2) –100...+100 e Amt R –100...+100 Sets the Tap2 feedback amount Sets the modulation amount of the right channel feedback Src Off...Tempo e High Damp [%] 0...100% Selects the modulation source of the Tap2 feedback amount f Sets the damping amount in the high range Fx:043 Amt –100...+100 Low Damp [%] 0...100% Sets the modulation amount of the Tap2 feedback amount g Sets the damping amount in the low range Fx:043 High Damp [%] 0...100% f Input Level Dmod [%] –100...+100 Sets the damping amount in the high range Fx:043 Sets the modulation amount of the input level Fx:037, Low Damp [%] 0...100% h g Src Off...Tempo Sets the damping amount in the low range Fx:043 Selects the modulation source for the input level Fx:037 Input Level Dmod [%] –100...+100 Spread –50...+50 Sets the modulation amount of the input level Fx:037, i h Sets the width of the stereo image of the effect sound Fx:043 Src Off...Tempo Wet/Dry Dry, 1:99...99:1, Wet Selects the modulation source for the input level Fx:037 Sets the balance between the effect and dry sounds Spread –100...+100 Src Off...Tempo Sets the width of the stereo image of the effect sound j Selects the modulation source of the effect balance Fx:043, Src Off...Tempo Amt –100...+100 i Sets the modulation amount of the effect balance Selects the modulation source of the effect sound’s stereo image width 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 j 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.

180 reverses theleftandrightmodulation direction. When themodulationsource isusedforcontrol, thisparameter b: D-modModulation modulation source. and shimmering. You canalsocontrol thedelaytimeusinga pitch alsovaries. You willobtainadelaysoundwithswell This stereo delayusesanLFOtosweepthetime.The 046: St.ModulationDelay e d g b a h c Right Stereo In-Out f j i Left D LFO Sync e/r –Wet...–1:99, Dry, 1:99...Wet Sets thebalancebetween theeffect sounds anddry Wet/Dry F hp –100...+100 howDetermines much theLFOwaveform ischanged LFO Shape Selects LFO Waveform LFO Waveform epne0...30 Off...Tempo Sets therate ofresponsetothemodulationsource Response Selects themodulationsourcethatcontrolsdelay time Src r Off...Tempo –180...+180 Sets thephaseobtainedwhenleftLFOisreset L LFOPhase[degree] Selects themodulationsourcethatresetsLFO Src F hs dge]–180...+180 Sets thephaseobtainedwhenright LFOisreset R LFOPhase[degree] r Off...Tempo Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Switches LFOresetoff/on LFO Sync Sets theLFOspeed LFO Frequency [Hz] Sets thedepthofleftLFOmodulation L Depth LFO, D-mod Reversed L/Rcontrolby modulationsource D-mod Modulation control Switches between LFOmodulationcontrolandsource Modulation Mode Sets thefeedback amountofrightdelay R Feedback Sets thefeedback amountofleftdelay L Feedback Sets thedepthofright LFOmodulation R Depth Sets therightdelay time R Delay Time [msec] Sets theleftdelay time L Delay Time [msec] -mod (Stereo ModulationDelay) LFO: Tri/Sine Response LFO Shape Delay Delay Feedback L/R: +/++/ LFO Phase – LFO D-mod Modulation Mode Fx:010, L/R:+/+, L/R:+/– 0.02...20.00Hz Triangle, Sine –100...+100 –100...+100 –100...+100

0.0...500.0 0.0...500.0 Wet /Dry Wet /Dry , , Fx:020 Off, On 0...200 0...200 velocity oronlywhenthevolumelevelislow. applies delaytothesoundonlywhenyouplaykeysatahigh input signallevel. You canusethisasaduckingdelaythat This stereo delaycontrols thelevel ofdelayaccording tothe 047: St.DynamicDelay The The LFOcanbereset viaamodulationsource. f: LLFOPhase[degree], f: RLFOPhase[degree] e: LFOSync, e: Src, “ that thesweepalwaysstartsfrom thespeci LFO. Forexample,youcanassignGateasamodulationsource so ally. changes inpitchsweepfortheleftandrightchannelsindividu- the leftandrightLFOsare reset. Inthisway, youcancreate L LFOPhase h g e d b a Right c Stereo In-Out f i j Left “ Src Sets theattack timeoflevel control Attack Sets thedampingamountinhighrange High Damp[%] Sets thefeedback amount Feedback Sets thedelay timefor therightchannel R Delay Time [msec] Sets thedelay timefor theleftchannel L Delay Time [msec] Sets thereleasetimeoflevel control Release Sets thelevel towhichtheeffect isapplied Threshold Selects fromnocontrol,output,andfeedback Control Target Sets theoffsetoflevel control Offset Reverses level control Polarity ped–100...+100 Sets thewidthofstereoimageeffect sound Spread Sets thedampingamountinlow range Low Damp[%] r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry i The effect isoff whenavalueofthemodulationsource spec- reset tothe on whenthevalueis64orhigher. TheLFOistriggered and when thevaluechangesfrom 63orsmallerto64higher. ﬁ ed inthe ” (Stereo DynamicDelay) parametersetsthemodulationsource thatresets the + ” and Envelope “ “ Src L LFOPhase “ R LFOPhase ” parameteris63orsmaller, andtheeffect is Delay Delay Threshold FB Feedback High Damp ihDm LowDamp High Damp Attack, Release ” and ” setthephaseobtainedwhen Low Damp “ R LFOPhase ﬁ ed point. Control Target Out Spread 0.0...680.0msec 0.0...680.0msec ” settings None, Out,FB –100...+100 –100...+100 0...100% 0...100% Wet /Dry Wet /Dry Fx:043 Fx:043 Fx:043 1...100 1...100 0...100 0...100 181 +, –

Effect a: Control Target Panning Frequency [Hz] 0.02...20.00Hz f This parameter selects no level control, delay output control Sets the panning speed (effect balance), or feedback amount control. Panning Depth 0...100 Sets the panning width a: Polarity, b: Threshold, b: Offset, c: Attack, d: Release Src Off...Tempo The “Offset” parameter speciﬁes the value for the “Control Tar- g Selects the modulation source for the panning width get” parameter (that is set to None), expressed as the ratio relative to the parameter value (the “Wet/Dry” value with “Control Tar- Amt –100...+100 Set the modulation amount of the panning width get”=Out, or the “Feedback” value with “Control Target”=FB). When “Polarity” is positive, the “Control Target” value is Wet/Dry Dry, 1:99...99:1, Wet Sets the balance between the effect and dry sounds obtained by multiplying the parameter value by the “Offset” Src Off...Tempo value (if the input level is below the threshold), or equals the h parameter value if the input level exceeds the threshold. Selects the modulation source of the effect balance When “Polarity” is negative, Control Target value equals the Amt –100...+100 parameter value if the input level is below the threshold, or is Sets the modulation amount of the effect balance obtained by multiplying the parameter value by the “Offset” value if the level exceeds the threshold. 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 Dry Threshold the arpeggiator or sequencer. If you program the tempo before performance, you can achieve a delay effect that syn- Release Envelope Attack chronizes with the song in real-time. Delay time is set by notes.

Wet (Ducking Delay) Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out

Control Target=Out Left Wet / Dry Polarity= (–) Delay Time Input Level D-mod L Delay Wet Level

Control Target=Out + High Damp Low Damp C Delay Spread Polarity= (+) Level Time Feedback Input Level D-mod R Delay Level

Right Wet / Dry Tempo BPM BPM Base Note x Times 048: St. Auto Panning Dly Base Note x Times Base Note x Times (Stereo Auto Panning Delay)

This stereo delay effect pans the delay sound left and right BPM MIDI, 40...240 using the LFO. Selects MIDI Clock and assigns tempo , a Stereo In - Stereo Out Time Over? > ----, OVER!! Left Displays an error message when the delay time exceeds the upper Wet / Dry limit High Damp Low Damp Delay Pan L Delay Base Note Selects the type of notes to specify the delay time for TapL Feedback Depth , b Times x1...x16 Delay Pan High Damp Low Damp Sets the number of notes to specify the delay time for TapL Right Wet / Dry Level 0...50 LFO Phase Sets the output level of TapL LFO: Tri / Sin LFO Shape C Delay Base Note Selects the type of notes to specify the delay time for TapC , L Delay Time [msec] 0.0...680.0msec c Times x1...x16 Sets the delay time for the left channel Sets the number of notes to specify the delay time for TapC a L Feedback –100...+100 Level 0...50 Sets the feedback amount for the left channel Sets the output level of TapC R Delay Time [msec] 0.0...680.0msec R Delay Base Note Sets the delay time for the right channel Selects the type of notes to specify the delay time for TapR b , R Feedback –100...+100 Sets the feedback amount for the right channel d Times x1...x16 Sets the number of notes to specify the delay time for TapR High Damp [%] 0...100% Sets the damping amount in the high range Fx:043 Level 0...50 c Sets the output level of TapR Low Damp [%] 0...100% Sets the damping amount in the low range Fx:043 Feedback (C Delay) –100...+100 Sets the feedback amount of TapC LFO Waveform Triangle, Sine Selects LFO Waveform Src Off...Tempo e d Selects the modulation source for the TapC feedback LFO Shape –100...+100 Determines how much the LFO waveform is changed Fx:020 Amt –100...+100 Sets the modulation amount of the TapC feedback LFO Phase [degree] –180...+180 e Sets the LFO phase difference between the left and right Fx:034

182 the songtempo. This stereo delay enablesyoutosetthedelaytimematch 050: St.BPMDelay appear. play. Setthedelaytimeparameterssothatthismessagewillnot exceeds thislimit,theerror message You cansetthedelaytimeupto1365msec.If thedelaytime a: Time Over?> tempo speci the The delaytimeisthelengthofnoteobtainedbymultiplying c: Times, d: RDelay BaseNote, d: Times a: BPM, b: LDelay BaseNote, b: Times, c: CDelay BaseNote, tempo if Right a b h g c Stereo In-Out f Tempo i Left BPM “ Base Note ie x1...x16 x1...x16 Sets thenumber ofnotestospecifytheright channel delay time Times ----,OVER!! Sets thenumber of notestospecifytheleftchanneldelay time Times upper limit Display theerrormessageifleftchanneldelay timeexceeds the Time Over? L> Sets thedampingamountinlow range Low Damp[%] Fine-adjust theright channel delay time Adjust [%] ----,OVER!! Selects thetypeofnotestospecifyright channeldelay time Selects thetypeofnotestospecifyleftchanneldelay time upper limit Display theerrormessageifright channeldelay timeexceeds the R > Selects themodulationsourcefor theinputlevel Src R Delay BaseNote Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry P MIDI,40...240 Fine-adjust theleftchanneldelay time Adjust [%] Selects MIDIClock andassignstempo BPM L Delay BaseNote Sets thedampingamountinhighrange High Damp[%] ped0...50 –100...+100 Sets thewidthofstereoimageeffect sound Spread Sets themodulationamountofinputlevel Input Level Dmod[%] “ “ Time Over?> Input LevelD-mod Input LevelD-mod BPM BPM ﬁ ed bythe Base NotexTimes Base NotexTimes ” ” parameterbytheTimes value,inrelation tothe issetto ” “ isonlyadisplayparameter. BPM MIDI Adjust [%] Adjust [%] ” parameter(ortheMIDIClock ). Delay Delay (StereoBPMDelay) “ OVER!! High Damp ihDm LowDamp High Damp Feedback ” Low Damp appears in thedis- Fx:049, Fx:049, Fx:049, Fx:037, –2.50...+2.50% –2.50...+2.50% –100...+100 Off...Tempo 0...100% 0...100% Wet /Dry Wet /Dry Fx:043 Fx:049 Fx:037 Fx:043 Fx:043 Fx:049 appear. "Time Over?>"isonlyadisplayparameter. play. Setthedelaytimeparameterssothatthismessagewillnot exceeds thislimit,theerror message You cansetthedelaytimeupto682msec.If a: Time Over?L>, a: R> pattern tosetupeachtap. This four-tap delay enablesyoutoselectatempoandrhythm 051: SequenceDelay Right d e d h g a b c Wet: MonoIn-StereoOut/Dry:-Stereo f i Left r Off...Tempo Sets themodulationamountoffeedback Amt Selects themodulationsourceoffeedback amount Src Sets thefeedback amount Feedback Sets thepanningof Tap4 Tap4 Pan Sets thepanningof Tap3 Tap3 Pan Sets thepanningof Tap2 Tap2 Pan Sets thepanningof Tap1 Tap1 Pan m –100...+100 –100...+100 Off...Tempo Sets thedampingamountinhighrange High Damp[%] Sets themodulationamountofright channelfeedback Amt R Sets thefeedback amountfor therightchannel R Feedback Sets themodulationamountofleftchannelfeedback Amt L Selects themodulationsourceoffeedback amount Src Sets thefeedback amountfor theleftchannel L Feedback Selects themodulationsourcefor theinputlevel Src nu ee md[]–100...+100 Sets themodulationamountofinputlevel Input Level Dmod[%] Sets thedampingamountinlow range Low Damp[%] r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Selects MIDIClock andassignstempo BPM Selects arhythm pattern Rhythm Pattern + Input LevelD-mod Input LevelD-mod Tempo BPM Rythm Pattern ihDm LowDamp High Damp BPM Delay Feedback “ OVER!! ” appears in thedis- Pan F:3, Fx:037, –... MIDI, 44...240 –100...+100 –100...+100 –100...+100 –100...+100 –100...+100 Off...Tempo L, 1...99,R L, 1...99,R L, 1...99,R L, 1...99,R , , 0...100% 0...100% Wet /Dry Wet /Dry Fx:037 Fx:043 Fx:043 183 3

Effect High Damp [%] 0...100% Sets the damping amount in the high range Fx:043 e Reverb Low Damp [%] 0...100% Sets the damping amount in the low range Fx:043 Reverb effects Input Level Dmod [%] –100...+100 These effects simulate the ambience of reverberation in con- Sets the modulation amount of the input level Fx:037, f cert halls. Src Off...Tempo Selects the modulation source for the input level Fx:037 Wet/Dry Dry, 1:99...99:1, Wet 052: Reverb Hall Sets the balance between the effect and dry sounds This hall-type reverb simulates the reverberation of mid-size Src Off...Tempo g Selects the modulation source of the effect balance concert halls or ensemble halls. Amt –100...+100 Sets the modulation amount of the effect balance 053: Reverb SmoothHall a: BPM, b: Rhythm Pattern This hall-type reverb simulates the reverberation of larger With the tempo speciﬁed by the “BPM” parameter (or the MIDI halls and stadiums, and creates a smooth release. Clock tempo if “BPM” is set to MIDI), the length of one beat equals the feedback delay time, and the interval between taps 054: Reverb Wet Plate becomes equal. Selecting a rhythm pattern will automatically turn the tap outputs on and off. When “BPM” is set to MIDI, the lower This plate reverb simulates warm (dense) reverberation. limit of the “BPM” is 44. 055: Reverb Dry Plate This plate reverb simulates dry (light) reverberation.

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry

Pre Delay Thru EQ Trim LEQ HEQ + Pre Delay Reverb

EQ Trim

Right Wet / Dry

Reverb Time [sec] 0.1...10.0sec Sets the reverberation time a High Damp [%] 0...100% Sets the damping amount in the high range Pre Delay [msec] 0...200msec Sets the delay time from the dry sound b Pre Delay Thru [%] 0...100% Sets the mix ratio of non-delay sound EQ Trim 0...100 c Sets the EQ input level Pre LEQ Gain [dB] –15...+15dB Sets the gain of Low EQ d 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 e 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 Louder Time

Pre Delay Reverb Time

184 wall, andalarger of wallsintheroom. Thatis,alarger Changing theseparametervaluesallowsyoutosimulatethetype These parameterssettheearlyre c: ER Level, d: Reverb Level make thesoundbrighter. See056: Reverb Room. This room-type reverb emphasizes theearlyre 057: ReverbBrightRoom nuances, suchasthetypeofwallsaroom. early re make thesoundtighter. Changing thebalancebetween This room-type reverb emphasizes theearlyre 056: ReverbRoom e d a b g c Right Wet: MonoIn-StereoOut/Dry: f Left Sets themixratio ofnon-delay sound Pre Delay [%] Thru Sets thelevel ofearlyreflections ER Level Sets theEQinputlevel EQ Trim Sets thereverberation level Reverb Level Sets thereverberation time Reverb[sec] Time Sets thedampingamountinhighrange High Damp[%] Sets thedelay timefromthedrysound Pre Delay [msec] Sets thegainofHighEQ Pre HEQGain[dB] Sets thegainofLow EQ Pre LEQGain[dB] r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry fl + ections andreverb soundallowsyoutosimulate EQ Trim EQ Trim E HEQ LEQ Pre DelayThru Level “ Reverb Level Louder Dry Pre Delay Pre Delay (Early Reflections) ER ” fl Pre DelayThru simulatesasoftwall. ection levelandreverb level. Reverb Time ERs ERs “ Reverb Reverb Reverb -RoomType ER Level Time ” simulatesahard fl fl ER Level ER Level ections that ections that Reverb Level 0...200msec –15...+15dB –15...+15dB –100...+100 0.1...3.0sec 0...100% 0...100% Wet /Dry Wet /Dry Fx:052 Fx:052 0...100 0...100 0...100 equalizer andanexciter. This effect combinesamono-typefour-band parametric 058: P4EQ series connectedin thatcombinetwomonoeffects Effects Right b a h g e d c Wet: MonoIn-Out/Dry:Stereo f Left Sets thebandwidthofBand1 Q Sets thecenterfrequencyofBand1 [E] Band1Cutoff[Hz] Sets theparametric EQinputlevel [E] Trim Sets thebandwidthofBand2 Q Sets thecenterfrequencyofBand2 [E] Band2Cutoff[Hz] Sets thegainofBand1 Gain [dB] r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Sets thebandwidthofBand4 Q Sets thecenterfrequencyfor Band4 [E] Band4Cutoff[Hz] Sets thebandwidthofBand3 Q Sets thecenterfrequencyfor Band3 [E] Band3Cutoff[Hz] Sets thefrequencyrange tobeemphasized [X] EmphaticPoint Sets theintensity(depth)ofExcitereffect [X] ExciterBlend Sets thegainofBand4 Gain [dB] Sets thegainofBand3 Gain [dB] Sets thegainofBand2 Gain [dB] + (Parametric 4-BandEQ Mono aaerc4adE Exciter Parametric 4BandEQ Trim – Exciter – MonoChain Exciter – Exciter) 500...20.00kHz 300...10.00kHz 20...1.00kHz 50...5.00kHz –18...+18dB –18...+18dB –18...+18dB –18...+18dB –100...+100 –100...+100 0.5...10.0 0.5...10.0 0.5...10.0 0.5...10.0 Wet /Dry Wet /Dry Fx:006 Fx:011 Fx:011 Fx:006 Fx:006 Fx:006 0...100 185 0...70

Effect 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 This effect combines a mono-type four-band parametric equalizer and a wah. You can change the order of the equalizer and a chorus/ﬂanger. connection. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry Left Wet / Dry Parametric 4Band EQ Chorus/Flanger Routing Parametric 4Band EQ Wah/Auto Wah

+ Chorus/Flanger Trim Normal + Wah + Output Mode Trim – Feedback Wet Invert Cho/Flng Wet / Dry

Right Wet / Dry Right LFO: Tri / Sine Sweep Mode Wet / Dry Envelope Auto -mod D-mod D LFO LFO [E] Trim 0...100 a Sets the parametric EQ input level [E] Band1 Cutoff [Hz] 20...1.00kHz [E] Trim 0...100 Sets the center frequency of Band 1 a Sets the parametric EQ input level Q 0.5...10.0 b [E] Band1 Cutoff [Hz] 20...1.00kHz Sets the bandwidth of Band 1 Fx:006 Sets the center frequency of Band 1 Gain [dB] –18...+18dB Q 0.5...10.0 Sets the gain of Band 1 b Sets the bandwidth of Band 1 Fx:006 [E] Band2 Cutoff [Hz] 50...5.00kHz Gain [dB] –18...+18dB Sets the center frequency of Band 2 Sets the gain of Band 1 Q 0.5...10.0 c [E] Band2 Cutoff [Hz] 50...5.00kHz Sets the bandwidth of Band 2 Fx:006 Sets the center frequency of Band 2 Gain [dB] –18...+18dB Q 0.5...10.0 Sets the gain of Band 2 c Sets the bandwidth of Band 2 Fx:006 [E] Band3 Cutoff [Hz] 300...10.00kHz Gain [dB] –18...+18dB Sets the center frequency for Band 3 Sets the gain of Band 2 Q 0.5...10.0 d [E] Band3 Cutoff [Hz] 300...10.00kHz Sets the bandwidth of Band 3 Fx:006 Sets the center frequency for Band 3 Gain [dB] –18...+18dB Q 0.5...10.0 Sets the gain of Band 3 d Sets the bandwidth of Band 3 Fx:006 [E] Band4 Cutoff [Hz] 500...20.00kHz Gain [dB] –18...+18dB Sets the center frequency for Band 4 Sets the gain of Band 3 Q 0.5...10.0 e [E] Band4 Cutoff [Hz] 500...20.00kHz Sets the bandwidth of Band 4 Fx:006 Sets the center frequency for Band 4 Gain [dB] –18...+18dB Q 0.5...10.0 Sets the gain of Band 4 e Sets the bandwidth of Band 4 Fx:006 [F] Delay Time [msec] 0.0...50.0msec f Gain [dB] –18...+18dB Sets the delay time Sets the gain of Band 4 [F] LFO Frequency [Hz] 0.02...20.00Hz [W] Frequency Bottom 0...100 Sets the LFO speed Sets the lower limit of the wah center frequency Fx:009 g f LFO Waveform Triangle, Sine Frequency Top 0...100 Selects LFO Waveform Sets the upper limit of the wah center frequency Fx:009 [F] Depth 0...100 [W] Sweep Mode Auto, D-mod, LFO Sets the depth of LFO modulation Selects the control from auto-wah, modulation source, and LFO h Feedback –100...+100 Fx:009, g Sets the feedback amount Fx:020 Src Off...Tempo [F] Cho/Flng Wet/Dry –Wet...–2:98, Dry, 2:98...Wet Selects the modulation source for the wah when Sweep Mode=D- Sets the effect balance of the chorus/flanger Fx:010, 020 mod i Output Mode Normal, Wet Invert [W] LFO Frequency [Hz] 0.02...20.00Hz Selects the output mode for the chorus/flanger Sets the LFO speed Wet/Dry Dry, 1:99...99:1, Wet Resonance 0...100 h Sets the balance between the effect and dry sounds Sets the resonance amount Src Off...Tempo LPF Off, On j 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 i 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 i: Output Mode Sets the balance between the effect and dry sounds When Wet Invert is selected, the right channel phase of the cho- Src Off...Tempo j rus/flanger effect sound is inverted. This creates pseudo-stereo Selects the modulation source of the effect balance effects and adds spread. Amt –100...+100 However, if a mono-input type effect is connected after this effect, Sets the modulation amount of the effect balance the left and right sounds may cancel each other, eliminating the chorus/flanger effects.

186 equalizer andaphaser. This effect combinesamono-typefour-band parametric 061: P4EQ Right a d e b g h c Wet: MonoIn-StereoOut/Dry: f i j Left Sets thegainofBand2 Gain [dB] Sets thegainofBand1 Gain [dB] P hsrWtDy–Wet...–2:98, Dry, 2:98...Wet Sets thephasereffect balance [P] Phaser Wet/Dry Sets thegainofBand4 Gain [dB] Sets thegainofBand3 Gain [dB] Sets thebandwidthofBand2 Q Sets thecenterfrequencyofBand2 [E] Band2Cutoff[Hz] Output Mode Normal, Normal, Wet Invert Selects thephaseroutputmode Output Mode r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Sets theparametric EQinputlevel [E] Trim Sets thecenterfrequencyfor Band3 [E] Band3Cutoff[Hz] Selects LFO Waveform LFO Waveform Sets theLFOspeed [P] LFOFrequency [Hz] Sets thebandwidthofBand3 Q Sets thecenterfrequencyfor Band4 [E] Band4Cutoff[Hz] Sets thebandwidthofBand4 Q Sets thebandwidthofBand1 Q Sets thecenterfrequencyofBand1 [E] Band1Cutoff[Hz] Sets thefrequencytowhicheffect isapplied [P] Manual Sets thedepthofLFOmodulation [P] Depth Sets theresonanceamount Resonance + (Parametric 4-BandEQ aaerc4adE Phaser Parametric 4BandEQ Trim – Phaser LFO: Tri/Sine Resonance Phaser – Phaser) Phaser Wet/Dry – + Wet Invert 300...10.00kHz 500...20.00kHz 0.02...20.00Hz Triangle, Sine Normal 50...5.00kHz 20...1.00kHz Fx:010,023 –18...+18dB –18...+18dB –18...+18dB –18...+18dB –100...+100 –100...+100 Output Mode 0.5...10.0 0.5...10.0 0.5...10.0 0.5...10.0 Wet /Dry Wet /Dry Fx:060 Fx:006 Fx:006 Fx:023 Fx:006 Fx:006 0...100 0...100 0...100 equalizer andamultitapdelay. This effect combinesamono-typefour-band parametric 062: P4EQ b a d h g e Right c Wet: MonoIn-Out/Dry:Stereo f i Left Sets thebandwidthofBand1 Q Sets thecenterfrequencyofBand1 [E] Band1Cutoff[Hz] Sets theparametric EQinputlevel [E] Trim Sets thebandwidthofBand3 Q Sets thecenterfrequencyfor Band3 [E] Band3Cutoff[Hz] D tDlyWtDyDry, 2:98...98:2, Wet Sets thedampingamountinhighrange High Damp[%] Sets themultitap delay effect balance [D] Mt.Delay Wet/Dry Sets thegainofBand2 Gain [dB] Sets thebandwidthofBand2 Q Sets thecenterfrequencyofBand2 [E] Band2Cutoff[Hz] Sets thegainofBand1 Gain [dB] r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Sets the Tap2 feedback amount Feedback Sets the Tap2 delay time [D] Tap2[msec] Time Sets thebandwidthofBand4 Q Sets thecenterfrequencyfor Band4 [E] Band4Cutoff[Hz] Sets the Tap1 outputlevel Tap1 Level Sets the Tap1 delay time [D] Tap1[msec] Time Sets thegainofBand4 Gain [dB] Sets thegainofBand3 Gain [dB] + (Parametric 4-BandEQ aaerc4adE MultitapDelay Parametric 4BandEQ Trim – Mt.Delay High Damp Feedback (1) Delay – MultitapDelay) (2) Mt.Dly Wet/Dry 300...10.00kHz 500...20.00kHz 20...1.00kHz 50...5.00kHz 0...680msec 0...680msec –18...+18dB –18...+18dB –18...+18dB –18...+18dB –100...+100 –100...+100 0.5...10.0 0.5...10.0 0.5...10.0 0.5...10.0 0...100% Wet /Dry Wet /Dry Fx:006 Fx:006 Fx:043 Fx:045 Fx:006 Fx:006 0...100 0...100 187

Effect 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 This effect combines a mono-type compressor and an amp can change the order of the connection. simulation. You can change the order of the effect connection.

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Left Routing Wet / Dry Routing Wet / Dry Compressor Wah/Auto Wah Compressor Amp Simulation

EQ Trim LEQ HEQ EQ Trim LEQ HEQ + Comp Wah + Comp Amp Simulation Filter Output Level Output Level

Right Sweep Mode Wet / Dry Right Envelope - Control Envelope Wet / Dry Auto Envelope - Control -mod D-mod D LFO LFO

[C] Sensitivity 1...100 a Sets the sensitivity Fx:002 [C] Sensitivity 1...100 a Sets the sensitivity Fx:002 [C] Attack 1...100 Sets the attack level Fx:002 [C] Attack 1...100 b Sets the attack level Fx:002 Output Level 0...100 b Sets the compressor output level Fx:002 Output Level 0...100 [C] EQ Trim 0...100 Sets the compressor output level Fx:002 c Sets the EQ input level [C] EQ Trim 0...100 c Sets the EQ input level [C] Pre LEQ Gain [dB] –15...+15dB Sets the gain of Low EQ [C] Pre LEQ Gain [dB] –15...+15dB d Sets the gain of Low EQ Pre HEQ Gain [dB] –15...+15dB d Sets the gain of High EQ Pre HEQ Gain [dB] –15...+15dB [A] Amplifier Type SS, EL84, 6L6 Sets the gain of High EQ e Selects the type of guitar amplifier [W] Frequency Bottom 0...100 → → Sets the lower limit of the wah center frequency Fx:009 Routing CMP AMP, AMP CMP e f Switches the order of the compressor and amp simulation connec- Frequency Top 0...100 tion Sets the upper limit of the wah center frequency Fx:009 Wet/Dry Dry, 1:99...99:1, Wet [W] Sweep Mode Auto, D-mod, LFO Sets the balance between the effect and dry sounds Selects the control from auto-wah, modulation source, and LFO Src Off...Tempo Fx:009, g f Selects the modulation source of the effect balance Src Off...Tempo Selects the modulation source for the wah when Sweep Mode=D- Amt –100...+100 mod Sets the modulation amount of the effect balance [W] LFO Frequency [Hz] 0.02...20.00Hz g Sets the LFO speed [W] Resonance 0...100 Sets the resonance amount 065: Comp – OD/HiGain h Low Pass Filter Off, On (Compressor – Overdrive/Hi.Gain) Switches the wah low pass filter on and off Routing CMP → WAH, WAH → CMP This effect combines a mono-type compressor and an over- i Switches the order of the compressor and wah connection drive/high-gain distortion. You can change the order of the Wet/Dry Dry, 1:99...99:1, Wet effect connection. Sets the balance between the effect and dry sounds Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Src Off...Tempo j Left 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 Output Level

Mode: Overdrive / Hi-Gain Drive

Right Wet / Dry Envelope - Control

[C] Sensitivity 1...100 a Sets the sensitivity Fx:002 [C] Attack 1...100 Sets the attack level Fx:002 b Output Level 0...100 Sets the compressor output level Fx:002

188 effect connection. band parametricequalizer. You canchangetheorder ofthe This effect combines amono-typecompressor andafour- 066: Comp Right a e h g d d b c c Wet: MonoIn-Out/Dry:Stereo f i Left r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Switches theorderofcompressorandoverdrive connection Sets thesensitivity [C] Sensitivity Sets thegainofMid/HighEQ2 Gain [dB] Sets thegainofMid/HighEQ1 Gain [dB] Sets thegainofBand1 Gain [dB] Sets theparametric EQinputlevel [E] Trim Sets thecompressoroutputlevel Output Level O rv oeOverdrive, Hi-Gain Sets thedegree ofdistortion Drive Switches between overdrive andhigh-gaindistortion [O] Drive Mode m –50...+50 Off...Tempo Sets themodulationamountofoverdrive outputlevel Amt Selects themodulationsourcefor theoverdrive outputlevel Src O o uof[z 20...1.00kHz Sets thegainofLow EQ Gain [dB] Sets thecenterfrequencyfor Low EQ(shelvingtype) [O] Low Cutoff[Hz] otn CMP 500...20.00kHz Routing Sets thebandwidthofMid/HighEQ2 Q Sets thecenterfrequencyfor Mid/HighEQ2(peakingtype) [O] Mid2Cutoff[Hz] 0...50 Sets theoverdrive outputlevel [O] OutputLevel Sets thebandwidthofBand1 Q Sets thecenterfrequencyofBand1 [E] Band1Cutoff[Hz] Sets theattack level [C] Attack O i1Ctf H]300...10.00kHz Sets thebandwidthofMid/HighEQ1 Q Sets thecenterfrequencyfor Mid/HighEQ1(peakingtype) [O] Mid1Cutoff[Hz] + (Compressor Envelope -Control Compressor – Param4EQ Comp Output Level – Parametric4-BandEQ) Routing Trim Parametric 4BandEQ → OD, OD F:0, Fx:006, 20...1.00kHz –18...+18dB –18...+18dB –18...+18dB –18...+18dB –100...+100 0.5...10.0 0.5...10.0 0.5...10.0 Wet /Dry Wet /Dry → Fx:006 Fx:006 Fx:006 Fx:006 Fx:002 Fx:002 Fx:002 0...100 0...100 1...100 1...100 1...100 CMP 067: Comp ﬂ This effect combines amono-typecompressor andachorus/ anger. You canchangetheorder oftheeffect connection. a e h g g e d b Right c Wet: MonoIn-StereoOut/Dry: f f i Left r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Switches theorderofcompressorandparametric EQconnection Sets thesensitivity [C] Sensitivity Sets thebandwidthofBand2 Q Sets thecenterfrequencyofBand2 [E] Band2Cutoff[Hz] Sets thebandwidthofBand4 Q Sets thecenterfrequencyfor Band4 [E] Band4Cutoff[Hz] otn CMP Routing Sets thegainofBand4 Gain [dB] Sets thegainofBand3 Gain [dB] Sets thebandwidthofBand3 Q Sets thecenterfrequencyfor Band3 [E] Band3Cutoff[Hz] Sets thegainofBand2 Gain [dB] Sets thefeedback amount Feedback Sets thedepthofLFOmodulation [F] Depth Sets thegainofHighEQ Pre HEQGain[dB] Sets thegainofLow EQ [C] PreLEQGain[dB] Sets theattack level [C] Attack Selects LFO Waveform LFO Waveform Sets theLFOspeed [F] LFOFrequency [Hz] Sets thedelay time [F] Delay Time [msec] Sets theEQinputlevel [C] EQ Trim Sets thecompressoroutputlevel Output Level + (Compressor EQ Trim Envelope -Control E HEQ LEQ Compressor – Cho/Flng Comp Output Level – Chorus/Flanger) LFO: Tri/Sine Routing Feedback Chorus/Flanger Chorus/Flanger Cho/Flng Wet/Dry → PEQ,PEQ + – Wet Invert 500...20.00kHz 300...10.00kHz 0.0...50.0msec 0.02...20.00Hz Triangle, Sine Normal 50...5.00kHz –18...+18dB –18...+18dB –18...+18dB –15...+15dB –15...+15dB –100...+100 –100...+100 Output Mode 0.5...10.0 0.5...10.0 0.5...10.0 Wet /Dry Wet /Dry → Fx:006 Fx:006 Fx:006 Fx:020 Fx:002 Fx:002 Fx:002 1...100 0...100 1...100 0...100 0...100 189 CMP

Effect [F] Cho/Flng Wet/Dry –Wet...–2:98, Dry, 2:98...Wet Routing CMP→PHS, PHS→CMP Sets the effect balance of the chorus/flanger Fx:010, 020 i Switches the order of the compressor and phaser connection h Fx:067 Output Mode Normal, Wet Invert Selects the output mode for the chorus/flanger Wet/Dry Dry, 1:99...99:1, Wet Sets the balance between the effect and dry sounds Routing CMP → FLNG, FLNG → CMP i Switches the order of the compressor and chorus/flanger connection Src Off...Tempo j Selects the modulation source of the effect balance Wet/Dry Dry, 1:99...99:1, Wet Amt –100...+100 Sets the balance between the effect and dry sounds Sets the modulation amount of the effect balance Src Off...Tempo j Selects the modulation source of the effect balance Amt –100...+100 Sets the modulation amount of the effect balance 069: Comp – Mt. Delay (Compressor – Multitap Delay) h: Output Mode, i: Routing When Wet Invert is selected, the right channel phase of the cho- This effect combines a mono-type compressor and a multitap rus/flanger effect sound is inverted. This creates pseudo-stereo delay. You can change the order of the effect connection. effects and adds spread. However, if a mono-input type effect is connected after this effect, Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left the left and right sounds may cancel each other, eliminating the Routing Wet / Dry chorus/flanger effects. Compressor Multitap Delay When “Routing” is set to FLNG→CMP, “Output Mode” will be EQ Trim LEQ HEQ Feedback + Comp Delay set to Normal. (2) High Damp (1) Output Level Mt.Dly Wet / Dry

Right Wet / Dry 068: Comp – Phaser Envelope - Control (Compressor – Phaser)

This effect combines a mono-type compressor and a phaser. [C] Sensitivity 1...100 a You can change the order of the effect connection. Sets the sensitivity Fx:002 [C] Attack 1...100 Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Sets the attack level Fx:002 Left b Routing Wet / Dry Output Level 0...100 Compressor Phaser Sets the compressor output level Fx:002 [C] EQ Trim 0...100 EQ Trim LEQ HEQ c + Comp Phaser Sets the EQ input level Normal Output Level + Output Mode – [C] Pre LEQ Gain [dB] –15...+15dB Resonance Wet Invert Phaser Wet / Dry Sets the gain of Low EQ d Right Wet / Dry Pre HEQ Gain [dB] –15...+15dB Envelope - Control LFO: Tri / Sine Sets the gain of High EQ [D] Tap1 Time [msec] 0...680msec Sets the Tap1 delay time e [C] Sensitivity 1...100 a Tap1 Level 0...100 Sets the sensitivity Fx:002 Sets the Tap1 output level Fx:045 [C] Attack 1...100 [D] Tap2 Time [msec] 0...680msec Sets the attack level Fx:002 Sets the Tap2 delay time b f Output Level 0...100 Feedback –100...+100 Sets the compressor output level Fx:002 Sets the Tap2 feedback amount [C] EQ Trim 0...100 [D] High Damp [%] 0...100% c g Sets the EQ input level Sets the damping amount in the high range Fx:043 [C] Pre LEQ Gain [dB] –15...+15dB [D] Mt.Delay Wet/Dry Dry, 1:99...99:1, Wet h Sets the gain of Low EQ Sets the multitap delay effect balance d Pre HEQ Gain [dB] –15...+15dB Routing CMP→DLY, DLY→CMP i Sets the gain of High EQ Switches the order of the compressor and multitap delay connection [P] LFO Frequency [Hz] 0.02...20.00Hz Wet/Dry Dry, 1:99...99:1, Wet Sets the LFO speed Sets the balance between the effect and dry sounds e LFO Waveform Triangle, Sine Src Off...Tempo j Selects LFO Waveform Selects the modulation source of the effect balance [P] Manual 0...100 f Amt –100...+100 Sets the frequency to which the effect is applied Sets the modulation amount of the effect balance [P] Depth 0...100 Sets the depth of LFO modulation g 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 h Output Mode Normal, Wet Invert Selects the phaser output mode Fx:067

190 connection. parametric equalizer. You canchangetheorder oftheeffect This effect combinesamono-typelimiterandfour-band 070: Limiter Right b a d h g e c Wet: MonoIn-Out/Dry:Stereo f j i Left Sets thereleasetime Release r Off...Tempo Dry, 1:99...99:1, Wet LMT Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Switches theorderoflimiterandparametric EQconnection Routing Sets thegainofBand4 Gain [dB] Sets thegainofBand3 Gain [dB] Sets thegainofBand2 Gain [dB] Sets thegainofBand1 Gain [dB] Sets thelimiteroutputgain [L] GainAdjust[dB] hehl d]–40...0dB Sets thelevel above whichthecompressorisapplied Threshold [dB] Sets theattack time [L] Attack L ai 1.0:1...50.0:1,Inf:1 Sets thesignalcompressionratio [L] Ratio Sets theparametric EQinputlevel [E] Trim Sets thebandwidthofBand2 Q Sets thecenterfrequencyofBand2 [E] Band2Cutoff[Hz] Sets thecenterfrequencyfor Band4 [E] Band4Cutoff[Hz] Sets thecenterfrequencyfor Band3 [E] Band3Cutoff[Hz] Sets thebandwidthofBand4 Q Sets thebandwidthofBand3 Q Sets thebandwidthofBand1 Q Sets thecenterfrequencyofBand1 [E] Band1Cutoff[Hz] + (Limiter Envelope -Control Limiter – Parametric4-BandEQ) – Limiter P4EQ Gain Adjust Routing Trim Parametric 4BandEQ → PEQ, PEQ –Inf, –38...+24dB 500...20.00kHz 300...10.00kHz 50...5.00kHz 20...1.00kHz –18...+18dB –18...+18dB –18...+18dB –18...+18dB –100...+100 0.5...10.0 0.5...10.0 0.5...10.0 0.5...10.0 Wet /Dry Wet /Dry Fx:003 Fx:003 Fx:003 Fx:003 Fx:003 Fx:006 Fx:006 Fx:006 Fx:006 1...100 1...100 0...100 → LMT fl This effect combinesamono-typelimiterandchorus/ 071: Limiter anger. You canchangetheorder oftheeffect connection. Right b a e d h g c Wet: MonoIn-StereoOut/Dry: f j i Left hehl d]–40...0dB Sets theattack time [L] Attack Sets thelevel above whichthecompressorisapplied Threshold [dB] L ai 1.0:1...50.0:1,Inf:1 Sets thesignalcompressionratio [L] Ratio Output Mode Normal, Normal, Wet Invert Selects theoutputmodefor thechorus/flanger Output Mode Sets thefeedback amount Feedback Sets thedepthofLFOmodulation Depth Sets thedelay time [F] Delay Time [msec] Selects LFO Waveform LFO Waveform Sets theLFOspeed [F] LFOFrequency [Hz] Sets thelimiteroutputgain [L] GainAdjust[dB] Sets thereleasetime Release F h/lgWtDy–Wet...–2:98, Dry, 2:98...Wet Sets theeffect balanceofthechorus/flanger [F] Cho/Flng Wet/Dry Sets thegainofHighEQ Pre HEQGain[dB] Sets thegainofLow EQ [F] PreLEQGain[dB] Sets theEQinputlevel [F] EQ Trim Switches theorderoflimiterandchorus/flanger connection r Off...Tempo Dry, 1:99...99:1, Wet LMT Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Routing + (Limiter Envelope -Control Limiter Limiter Gain Adjust – Chorus/Flanger) – EQ Trim Cho/Flng Routing LEQ HEQ LFO: Tri/Sine Chorus/Flanger Chorus/Flanger Feedback Cho/Flng Wet/Dry → FLNG, FLNG + – Wet Invert –Inf, –38...+24dB 0.0...50.0msec 0.02...20.00Hz Triangle, Sine Normal Fx:010,020 –15...+15dB –15...+15dB –100...+100 –100...+100 Output Mode Wet /Dry Wet /Dry Fx:003 Fx:003 Fx:067 Fx:067 Fx:003 Fx:003 Fx:003 Fx:020 1...100 0...100 1...100 0...100 → 191 LMT

Effect 072: Limiter – Phaser 073: Limiter – Mt. Delay This effect combines a mono-type limiter and a phaser. You (Limiter – Multitap Delay) can change the order of the effect connection. This effect combines a mono-type limiter and a multitap

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out delay. You can change the order of the effect connection. Left Routing Wet / Dry Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Limiter Phaser Left Routing Wet / Dry Limiter Multitap Delay + Limiter Phaser Normal Gain Adjust + Output Mode Feedback – Wet Invert + Limiter Delay Resonance (2) Phaser Wet / Dry Gain Adjust High Damp(1) 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 a [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 a Threshold [dB] –40...0dB [L] Attack 1...100 Sets the level above which the compressor is applied Fx:003 Sets the attack time Fx:003 b [L] Attack 1...100 Release 1...100 Sets the attack time Fx:003 Sets the release time Fx:003 b Release 1...100 [L] Gain Adjust [dB] –Inf, –38...+24dB c Sets the release time Fx:003 Sets the limiter output gain Fx:003 [L] Gain Adjust [dB] –Inf, –38...+24dB [P] LFO Frequency [Hz] 0.02...20.00Hz c Sets the limiter output gain Fx:003 Sets the LFO speed d [D] Tap1 Time [msec] 0...680msec LFO Waveform Triangle, Sine Sets the Tap1 delay time Selects LFO Waveform d Tap1 Level 0...100 [P] Manual 0...100 e Sets the Tap1 output level Fx:045 Sets the frequency to which the effect is applied [D] Tap2 Time [msec] 0...680msec [P] Depth 0...100 Sets the Tap2 delay time Sets the depth of LFO modulation e f Feedback (Tap2) –100...+100 Resonance –100...+100 Sets the Tap2 feedback amount Sets the resonance amount Fx:023 [D] Mt.Delay Wet/Dry Dry, 1:99...99:1, Wet [P] Phaser Wet/Dry –Wet...–2:98, Dry, 2:98...Wet Sets the multitap delay effect balance Sets the phaser effect balance Fx:010, 023 f g High Damp [%] 0...100% Output Mode Normal, Wet Invert Sets the damping amount in the high range Fx:043 Selects the phaser output mode Fx:067 Routing LMT→DLY, DLY→LMT Routing LMT→PHS, PHS→LMT g h 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 Sets the balance between the effect and dry sounds Src Off...Tempo Src Off...Tempo h i Selects the modulation source of the effect balance Selects the modulation source of the effect balance Amt –100...+100 Amt –100...+100 Sets the modulation amount of the effect balance Sets the modulation amount of the effect balance

192 can changetheorder oftheeffect connection. This effect combines amono-typeexciterandlimiter. You 075: Exciter You canchangetheorder oftheeffect connection. This effect combinesamono-typeexciterandcompressor. 074: Exciter a g b d b d a h e e c c Right Right Wet: MonoIn-Out/Dry:Stereo Wet: MonoIn-Out/Dry:Stereo f Left Left Sets thecompressoroutputlevel Output Level Sets theEQinputlevel [X] EQ Trim Sets theEQinputlevel [X] EQ Trim Sets theintensity(depth)ofExcitereffect [X] ExciterBlend otn XCT Routing Sets thefrequencyrange tobeemphasized [X] EmphaticPoint Sets theattack level [C] Attack Sets thegainofHighEQ Pre HEQGain[dB] Sets thegainofLow EQ [X] PreLEQGain[dB] Sets thefrequencyrange tobeemphasized [X] EmphaticPoint Sets thegainofHighEQ Pre HEQGain[dB] Sets thegainofLow EQ [X] PreLEQGain[dB] Switches theorderofexciter andcompressorconnection Sets theintensity(depth)ofExcitereffect [X] ExciterBlend Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry L ai 1.0:1...50.0:1,Inf:1 Sets thesignalcompressionratio [L] Ratio Sets thesensitivity [C] Sensitivity + + EQ Trim EQ Trim E HEQ LEQ E HEQ LEQ Exciter Exciter – – Exciter Limiter Comp Exciter Routing Envelope -Control Routing Envelope -Control (Exciter Compressor Limiter Limiter Comp – Gain Adjust Output Level Compressor) → CMP, CMP –15...+15dB –15...+15dB –15...+15dB –15...+15dB –100...+100 –100...+100 –100...+100 Wet /Dry Wet /Dry Wet /Dry Wet /Dry Fx:003 Fx:002 Fx:002 Fx:002 Fx:011 Fx:011 Fx:011 Fx:011 0...100 0...100 0...100 1...100 1...100 → 0...70 0...70 XCT fl This effect combinesamono-typelimiterandchorus/ 076: Exciter anger. Right g h h g e d b a c Wet: MonoIn-StereoOut/Dry: f f j i i Left Sets theattack time [L] Attack Output Mode Normal, Normal, Wet Invert Selects theoutputmodefor thechorus/flanger Output Mode L hehl d]–40...0dB Sets thelevel above whichthecompressorisapplied [dB] [L] Threshold Sets thelimiteroutputgain [L] GainAdjust[dB] Sets thereleasetime Release F h/lgWtDy–Wet...–2:98, Dry, 2:98...Wet Sets theeffect balanceofthechorus/flanger [F] Cho/Flng Wet/Dry Sets thefeedback amount Feedback Sets thedepthofLFOmodulation [F] Depth Sets thegainofHighEQ Pre HEQGain[dB] Sets thegainofLow EQ [X] PreLEQGain[dB] Off...Tempo Dry, 1:99...99:1, Wet XCT Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Switches theorderofexciter andlimiterconnection Routin Selects LFO Waveform LFO Waveform Sets theLFOspeed [F] LFOFrequency [Hz] Sets thedelay time [F] Delay Time [msec] Sets theEQinputlevel [X] EQ Trim Sets thefrequencyrange tobeemphasized [X] EmphaticPoint Sets theintensity(depth)ofExcitereffect [X] ExciterBlend r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry + EQ Trim (Exciter E HEQ LEQ Exciter – Chorus/Flanger) – Cho/Flng Exciter LFO: Tri/Sine Feedback Chorus/Flanger Chorus/Flanger Cho/Flng Wet/Dry + – → Wet Invert –Inf, –38...+24dB LMT, LMT 0.0...50.0msec 0.02...20.00Hz Triangle, Sine Normal Fx:010,020 –15...+15dB –15...+15dB –100...+100 –100...+100 –100...+100 –100...+100 Output Mode Wet /Dry Wet /Dry Fx:003 Fx:060 Fx:003 Fx:003 Fx:003 Fx:020 Fx:011 Fx:011 1...100 1...100 0...100 0...100 → 193 0...70 XCT

Effect 077: Exciter – Phaser 078: Exciter – Mt. Delay This effect combines a mono-type limiter and a phaser. (Exciter – Multitap Delay)

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out This effect combines a mono-type exciter and a multitap Left Wet / Dry delay. Exciter Phaser Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out EQ Trim LEQ HEQ Left + Exciter Phaser Wet / Dry Normal Exciter Multitap Delay + Output Mode – Resonance Wet Invert EQ Trim LEQ HEQ Feedback Phaser Wet / Dry + Exciter Delay (2) Right High Damp (1) Wet / Dry LFO: Tri / Sine Mt.Dly Wet / Dry

Right Wet / Dry [X] Exciter Blend –100...+100 a Sets the intensity (depth) of the Exciter effect Fx:011 [X] Emphatic Point 0...70 [X] Exciter Blend –100...+100 b a Sets the frequency range to be emphasized Fx:011 Sets the intensity (depth) of the Exciter effect Fx:011 [X] EQ Trim 0...100 [X] Emphatic Point 0...70 c b Sets the EQ input level Sets the frequency range to be emphasized Fx:011 [X] EQ Trim 0...100 [X] Pre LEQ Gain [dB] –15...+15dB c Sets the gain of Low EQ Sets the EQ input level d Pre HEQ Gain [dB] –15...+15dB [X] Pre LEQ Gain [dB] –15...+15dB Sets the gain of High EQ Sets the gain of Low EQ d [P] LFO Frequency [Hz] 0.02...20.00Hz Pre HEQ Gain [dB] –15...+15dB Sets the LFO speed Sets the gain of High EQ e LFO Waveform Triangle, Sine [D] Tap1 Time [msec] 0...680msec Selects LFO Waveform Sets the Tap1 delay time e [P] Manual 0...100 Tap1 Level 0...100 f Sets the frequency to which the effect is applied Sets the Tap1 output level Fx:045 [P] Depth 0...100 [D] Tap2 Time [msec] 0...680msec Sets the depth of LFO modulation Sets the Tap2 delay time g f Resonance –100...+100 Feedback (Tap2) –100...+100 Sets the resonance amount Fx:023 Sets the Tap2 feedback amount [D] High Damp [%] 0...100% [P] Phaser Wet/Dry –Wet...–2:98, Dry, 2:98...Wet g Sets the phaser effect balance Fx:010, 023 Sets the damping amount in the high range Fx:043 h [D] Mt.Delay Wet/Dry Dry, 1:99...99:1, Wet Output Mode Normal, Wet Invert h Selects the phaser output mode Fx:060 Sets the multitap delay effect balance 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 Sets the balance between the effect and dry sounds Src Off...Tempo Src Off...Tempo i i Selects the modulation source of the effect balance Selects the modulation source of the effect balance Amt –100...+100 Amt –100...+100 Sets the modulation amount of the effect balance Sets the modulation amount of the effect balance

194 the effect connection. tortion andanampsimulation. You canchangetheorder of This effect combinesamono-typeoverdrive/high-gain dis- 079: OD/HG a b g e h d Right c Wet: MonoIn-Out/Dry:Stereo f Left Sets thegainofMid/HighEQ2 Gain [dB] Sets thegainofMid/HighEQ1 Gain [dB] m –50...+50 Off...Tempo 20...1.00kHz Sets thegainofLow EQ Gain [dB] Sets thecenterfrequencyfor Low EQ(shelvingtype) [O] Low Cutoff[Hz] Sets themodulationamountofoverdrive outputlevel Amt Selects themodulationsourcefor theoverdrive outputlevel Src O rv oeOverdrive, Hi-Gain Sets thedegree ofdistortion Drive Switches between overdrive andhigh-gaindistortion [O] Drive Mode O uptLvl0...50 Sets theoverdrive outputlevel [O] OutputLevel Selects thetypeofguitaramplifier [A] Amplifier Type otn OD 500...20.00kHz Routing Sets thebandwidthofMid/HighEQ2 Q Sets thecenterfrequencyfor Mid/HighEQ2(peakingtype) [O] Mid2Cutoff[Hz] Switches theorderofoverdrive andampsimulation connection r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry O i1Ctf H]300...10.00kHz Sets thebandwidthofMid/HighEQ1 Q Sets thecenterfrequencyfor Mid/HighEQ1(peakingtype) [O] Mid1Cutoff[Hz] + (Overdrive/Hi.Gain Driver Overdrive /Hi-Gain Drive Mode: Overdrive/Hi-Gain Output Level 3 BandPEQ – AmpSim Routing Amp SimulationFilter Amp Simulation – AmpSimulation) → AMP, AMP F:0, Fx:006, SS, EL84,6L6 –18...+18dB –18...+18dB –18...+18dB –100...+100 0.5...10.0 0.5...10.0 Wet /Dry Wet /Dry Fx:006 Fx:006 Fx:006 1...100 → OD tortion andachorus/ This effect combinesamono-typeoverdrive/high-gain dis- 080: OD/HG effect connection. Right a d b h g e c Wet: MonoIn-StereoOut/Dry: f j i Left O rv oeOverdrive, Hi-Gain Sets thedegree ofdistortion Drive Switches between overdrive andhigh-gaindistortion [O] Drive Mode Output Mode Normal, Normal, Wet Invert Selects theoutputmodefor thechorus/flanger Output Mode O i1Ctf H]300...10.00kHz Sets thebandwidthofMid/HighEQ1 Q Sets thecenterfrequencyfor Mid/HighEQ1(peakingtype) [O] Mid1Cutoff[Hz] m –50...+50 Off...Tempo 20...1.00kHz Sets thegainofLow EQ Gain [dB] Sets thecenterfrequencyfor Low EQ(shelvingtype) [O] Low Cutoff[Hz] Sets themodulationamountofoverdrive outputlevel Amt Selects themodulationsourcefor theoverdrive outputlevel Src O uptLvl0...50 Sets theoverdrive outputlevel [O] OutputLevel F h/lgWtDy–Wet...–2:98, Dry, 2:98...Wet Sets theeffect balanceofthechorus/flanger [F] Cho/Flng Wet/Dry Sets thefeedback amount Feedback Sets thedepthofLFOmodulation Depth Sets thedelay time [F] Delay Time [msec] 500...20.00kHz Sets thebandwidthofMid/HighEQ2 Q Sets thecenterfrequencyfor Mid/HighEQ2(peakingtype) [O] Mid2Cutoff[Hz] Selects LFO Waveform LFO Waveform Sets theLFOspeed [F] LFOFrequency [Hz] Sets thegainofMid/HighEQ2 Gain [dB] Sets thegainofMid/HighEQ1 Gain [dB] Switches theorderofoverdrive andchorus/flanger connection r Off...Tempo Dry, 1:99...99:1, Wet OD Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Routing + (Overdrive/Hi.Gain Overdrive /Hi-Gain Driver Drive Mode: Overdrive/Hi-Gain Output Level 3 BandPEQ fl – anger. You canchangetheorder ofthe Cho/Flng Routing LFO: Tri/Sine Feedback Chorus/Flanger Chorus/Flanger – Chorus/Flanger) Cho/Flng Wet/Dry → FLNG,FLNG + – Wet Invert Fx:006, 0.0...50.0msec 0.02...20.00Hz Triangle, Sine Fx:010,020 Normal –18...+18dB –18...+18dB –18...+18dB –100...+100 –100...+100 Output Mode 0.5...10.0 0.5...10.0 Wet /Dry Wet /Dry Fx:067 Fx:067 Fx:006 Fx:020 Fx:006 Fx:006 1...100 0...100 195 → OD

Effect 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- This effect combines a mono-type overdrive/high-gain distortion and a phaser. You can change the order of the effect tortion and a multitap delay. connection. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Wet / Dry Overdrive / Hi-Gain Multitap Delay Left Wet / Dry Routing Overdrive / Hi-Gain Phaser 3 Band PEQ Feedback + Driver Delay (2) 3 Band PEQ Output Level High Damp (1) + Driver Phaser Mt.Dly Wet / Dry Normal Output Level Mode: Overdrive / Hi-Gain + Output Mode Drive – Wet Invert Mode: Overdrive / Hi-Gain Resonance Right Drive Phaser Wet / Dry Wet / Dry Right Wet / Dry LFO: Tri / Sine

[O] Drive Mode Overdrive, Hi-Gain Switches between overdrive and high-gain distortion a [O] Drive Mode Overdrive, Hi-Gain Drive 1...100 Switches between overdrive and high-gain distortion Sets the degree of distortion Fx:006 a Drive 1...100 [O] Output Level 0...50 Sets the degree of distortion Fx:006 Sets the overdrive output level Fx:006, [O] Output Level 0...50 Src Off...Tempo b Sets the overdrive output level Fx:006, Selects the modulation source for the overdrive output level Src Off...Tempo b 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] 20...1.00kHz Sets the modulation amount of the overdrive output level Sets the center frequency for Low EQ (shelving type) c [O] Low Cutoff [Hz] 20...1.00kHz Gain [dB] –18...+18dB Sets the center frequency for Low EQ (shelving type) Sets the gain of Low EQ c Gain [dB] –18...+18dB [O] Mid1 Cutoff [Hz] 300...10.00kHz Sets the gain of Low EQ Sets the center frequency for Mid/High EQ 1 (peaking type) [O] Mid1 Cutoff [Hz] 300...10.00kHz Q 0.5...10.0 d Sets the center frequency for Mid/High EQ 1 (peaking type) Sets the band width of Mid/High EQ 1 Fx:006 Q 0.5...10.0 d Gain [dB] –18...+18dB Sets the band width of Mid/High EQ 1 Fx:006 Sets the gain of Mid/High EQ 1 Gain [dB] –18...+18dB [O] Mid2 Cutoff [Hz] 500...20.00kHz Sets the gain of Mid/High EQ 1 Sets the center frequency for Mid/High EQ 2 (peaking type) [O] Mid2 Cutoff [Hz] 500...20.00kHz Q 0.5...10.0 e Sets the center frequency for Mid/High EQ 2 (peaking type) Sets the band width of Mid/High EQ 2 Fx:006 Q 0.5...10.0 e Gain [dB] –18...+18dB Sets the band width of Mid/High EQ 2 Fx:006 Sets the gain of Mid/High EQ 2 Gain [dB] –18...+18dB [D] Tap1 Time [msec] 0...680msec Sets the gain of Mid/High EQ 2 Sets the Tap1 delay time f [P] LFO Frequency [Hz] 0.02...20.00Hz Tap1 Level 0...100 Sets the LFO speed Sets the Tap1 output level Fx:045 f LFO Waveform Triangle, Sine [D] Tap2 Time [msec] 0...680msec Selects LFO Waveform Sets the Tap2 delay time g [P] Manual 0...100 Feedback –100...+100 Sets the frequency to which the effect is applied Sets the Tap2 feedback amount Depth 0...100 g [D] Mt.Delay Wet/Dry Dry, 2:98...98:2, Wet Sets the depth of LFO modulation Sets the multitap delay effect balance h Resonance –100...+100 High Damp [%] 0...100% Sets the resonance amount Fx:023 Sets the damping amount in the high range Fx:043 [P] Phaser Wet/Dry –Wet...–2:98, Dry, 2:98...Wet Wet/Dry Dry, 1:99...99:1, Wet Sets the phaser effect balance Fx:010, 023 Sets the balance between the effect and dry sounds h Output Mode Normal, Wet Invert Src Off...Tempo i Selects the phaser output mode Fx:067 Selects the modulation source of the effect balance → → Routing OD PHS, PHS OD Amt –100...+100 i 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 j Selects the modulation source of the effect balance Amt –100...+100 Sets the modulation amount of the effect balance

196 ulation. You canchangetheorder oftheeffect connection. This effect combines amono-typedecimatorandanampsim- 084: Decimator tion. You canchangetheorder oftheeffect connection. This effect combinesamono-typewahandanampsimula- 083: Wah d a g b a e b e d c c Wet: MonoIn-Out/Dry:Stereo f Right Left r Off...Tempo Sets theLFOspeed [W] LFOFrequency [Hz] mod Selects themodulationsourcefor thewah whenSweep Mode=D- Src Sets theresonanceamount [W] Resonance Switches theorderofwah andampsimulation connection Switches thewah low passfilter onandoff Low Pass Filter D r P Off, On Off...Tempo Turn noisecausedby theharmonic lowered samplingonandoff [D] PreLPF Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Sets theupperlimitofwah centerfrequency Frequency Top Sets thedecimatoroutputlevel [D] OutputLevel Sets thedatabitlength Resolution Sets theratio ofhigh-range damping High Damp[%] Sets thesamplingfrequency [D] SamplingFreq [Hz](SamplingFrequency) Sets thelower limitofthewah centerfrequency [W] Frequency Bottom otn WAH Routing Selects thetypeofguitaramplifier [A] Amplifier Type W we oeAuto, D-mod,LFO Selects thecontrolfromauto-wah, modulationsource, andLFO [W] Sweep Mode otn DECI Switches theorderofwah andampsimulation connection Routing Selects thetypeofguitaramplifier [A] Amplifier Type + (Decimator (Wah/Auto Wah D Envelope Wah/Auto Wah -mod LFO – D-mod Sweep Mode Wah LFO Auto AmpSim – AmpSimulation) – Amp Routing – AmpSimulation) Amp SimulationFilter Amp Simulation → → AMP, AMP AMP, AMP 1.00k...48.00kHz Fx:009, 0.02...20.00Hz SS, EL84,6L6 SS, EL84,6L6 –100...+100 0...100% Wet /Dry Wet /Dry → → Fx:009 Fx:009 Fx:014 Fx:014 Fx:014 Off, On 0...100 0...100 0...100 0...100 WAH 4...24 DECI sor. You canchangetheorder oftheeffect connection. This effect combinesamono-typedecimatorandcompres- 085: Decimator a b g e d c Right Wet: MonoIn-Out/Dry:Stereo f f Left D r P Off, On Turn noisecausedby theharmonic lowered samplingonandoff [D] PreLPF r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Sets thedatabitlength Resolution Sets thesamplingfrequency [D] SamplingFreq [Hz](Sampling Frequency) Sets theratio ofhigh-range damping High Damp[%] r Off...Tempo Dry, 1:99...99:1, Wet DECI Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Switches theorderofdecimatorandcompressorconnection Routing Sets theattack level [C] Attack Sets thecompressoroutputlevel Output Level Sets thesensitivity [C] Sensitivity Sets thedecimatoroutputlevel [D] OutputLevel + Pre LPF (Decimator Resolution Decimator Decimator – High Damp Compressor) Output Level – Comp Routing Envelope -Control Compressor Comp Output Level → CMP, CMP 1.00k...48.00kHz –100...+100 –100...+100 0...100% Wet /Dry Wet /Dry → Fx:014 Fx:002 Fx:002 Fx:002 Fx:014 Fx:014 1...100 0...100 1...100 0...100 197 4...24 DECI

Effect 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 This effect combines a mono-type chorus/ﬂanger and a mult- tremolo. itap delay.

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Left Wet / Dry Wet / Dry Amp Simulation Tremolo Chorus/Flanger Multitap Delay

Feedback + Amp Simulation Filter Tremolo + Chorus/Flanger Delay (2) EQ LEQ HEQ Cho/Flng (1) Mt.Dly Trim Wet / Dry High Damp Wet / Dry Feedback

Right Right Wet / Dry Wet / Dry LFO: Tri/Sin/Vintage/Up/Down LFO Shape LFO: Tri / Sine

[A] Amplifier Type SS, EL84, 6L6 [F] Delay Time [msec] 0.0...50.0msec a a Selects the type of guitar amplifier Sets the delay time [T] LFO Waveform Triangle, Sine, Vintage, Up, Down [F] LFO Frequency [Hz] 0.02...20.00Hz Selects LFO Waveform Fx:032 Sets the LFO speed b b LFO Shape –100...+100 LFO Waveform Triangle, Sine Determines how much the LFO waveform is changed Fx:020 Selects LFO Waveform [T] LFO Frequency [Hz] 0.02...20.00Hz [F] Depth 0...100 c Sets the LFO speed Sets the depth of LFO modulation c [T] Depth 0...100 Feedback –100...+100 d Sets the depth of LFO modulation Sets the feedback amount Fx:020 Wet/Dry Dry, 1:99...99:1, Wet [F] EQ Trim 0...100 d Sets the balance between the effect and dry sounds Sets the EQ input level Src Off...Tempo [F] Pre LEQ Gain [dB] –15...+15dB e Selects the modulation source of the effect balance Sets the gain of Low EQ e Amt –100...+100 Pre HEQ Gain [dB] –15...+15dB Sets the modulation amount of the effect balance Sets the gain of High EQ [F] Cho/Flng Wet/Dry –Wet...–2:98, Dry, 2:98...Wet f Sets the effect balance of the chorus/flanger Fx:010, 020 [D] Tap1 Time [msec] 0...680msec Sets the Tap1 delay time g Tap1 Level 0...100 Sets the Tap1 output level Fx:045 [D] Tap2 Time [msec] 0...680msec Sets the Tap2 delay time h Feedback (Tap2) –100...+100 Sets the Tap2 feedback amount [D] Mt.Delay Wet/Dry Dry, 1:99...99:1, Wet Sets the multitap delay effect balance i 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 j Selects the modulation source of the effect balance Amt –100...+100 Sets the modulation amount of the effect balance

198 fl This effect combinesamono-typephaserandchorus/ 088: Phaser anger. Right a d b g e h c Wet: MonoIn-StereoOut/Dry: f i Left P hsrWtDy–Wet...–2:98, Dry, 2:98...Wet Sets thephasereffect balance [P] Phaser Wet/Dry Output Mode Normal, Normal, Wet Invert Selects theoutputmodefor thechorus/flanger Output Mode r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Selects LFO Waveform LFO Waveform Sets theLFOspeed [P] LFOFrequency [Hz] Sets theEQinputlevel [F] EQ Trim Selects LFO Waveform LFO Waveform Sets theLFOspeed [F] LFOFrequency [Hz] Sets thefrequencytowhicheffect isapplied [P] Manual Sets theresonanceamount Resonance Sets thedepthofLFOmodulation Depth Sets thegainofHighEQ Pre HEQGain[dB] Sets thegainofLow EQ [F] PreLEQGain[dB] Sets thedepthofLFOmodulation Depth Sets thedelay time [F] Delay Time [msec] Sets thefeedback amount Feedback F h/lgWtDy–Wet...–2:98, Dry, 2:98...Wet Sets theeffect balanceofthechorus/flanger [F] Cho/Flng Wet/Dry + LFO: Tri/Sine (Phaser Resonance Phaser Phaser – Wet /Dry Phaser Chorus/Flanger) – Cho/Flng Trim EQ LEQ HEQ LFO: Tri/Sine Chorus/Flanger Feedback Chorus/Flanger Wet /Dry Cho/Flng + – Wet Invert 0.0...50.0msec 0.02...20.00Hz 0.02...20.00Hz Triangle, Sine Triangle, Sine Normal Fx:010,020 Fx:010,023 –15...+15dB –15...+15dB –100...+100 –100...+100 –100...+100 Output Mode Wet /Dry Wet /Dry Fx:060 Fx:023 Fx:020 0...100 0...100 0...100 0...100 This effect combinesamono-typereverb andagate. 089: Reverb When tion source. Off controlled directly bythemodulationsource. You canselectfrom turning thegateonandoff istriggered bytheinputsignallevelor The f: Envelope Select, f: Src, g: InputReverb Mix, g: Threshold Normally, set gate opensandthereverb soundisoutput. the reverb sound.Whenthesignallevelexceedsthreshold, the the levelofsignalsthatare thecombinationofdrysoundand value. “ only bythedrysound).Ifyouwishtoextendgatetime,set Input ReverbMix Right e d b a h g Wet: MonoIn-Out/Dry:Stereo c f j i Left to “ Envelope Select Sets thegainofHighEQ Pre HEQGain[dB] Sets thegainofLow EQ [R] PreLEQGain[dB] Sets thedampingamountinhighrange High Damp[%] Sets thereverberation time [R] Reverb Time [sec] G oaiy+,– Dry, 1:99...99:1, Wet Switches between non-invert andinvert ofthegateon/offstate D-mod,Input [G] Polarity trol signal. Dry, 1:99...99:1, WetSets thebalancebetween andreverb thedry soundsofthegatecon- [G] InputReverb Mix Switches between modulationsourcecontrolandinputsignal 0...200msec [G] Envelope Select Sets thereverb effect balance [R] Reverb Balance Sets theEQinputlevel [R] EQ Trim Sets thedelay timeofthereverb soundandgatecontrolsignal [R] PreDelay [msec] r Off...Gate2+Dmpr Sets thegatethresholdlevel Threshold Select issettoD-mod Selects themodulationsourcethatcontrolsgatewhenEnvelope Src r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Sets theattack time [G] Attack Sets thereleasetime Release “ Gate2+Dmpr Envelope Select + Pre Delay “ Input ReverbMix ” Gate+Dmpr valuehigherandadjustthe fortheSrc parametertospecifythemodula- ” EQ Trim – parameterenablesyoutoselectwhether ” Gate LEQ Input ReverbMix issetto D-mod Input HEQ Reverb Envelope Select Reverb ” Input Envelope -Control to Dry , thegateiscontrolled by (thegateiscontrolled Gate “ Balance Threshold Reverb Gate 0.1...10.0sec –15...+15dB –15...+15dB –100...+100 0...100% Wet /Dry Wet /Dry Fx:005 Fx:005 Fx:005 0...100 0...100 1...100 1...100 199 ”

Effect Double Size 091: St. Mltband Limiter (Stereo Multiband Limiter) Double-size effects This is a stereo multiband limiter. (Available for Insert Effects IFX2, 3, and 4) Stereo In - Stereo Out Band-Pass Filters Left Low Wet / Dry Limiter Envelope - Control Mid Limiter Envelope - Control High Gain Adjust 090: Piano Body/Damper Limiter Envelope - Control Envelope - Control (Piano Body/Damper Simulation) Limiter Low Gain Adjust Envelope - Control Limiter This effect simulates the resonance of the piano sound board Mid Envelope - Control Limiter High caused by the string vibration, and also simulates the reso- Right Wet / Dry nance of other strings that are not being played when you Offset press the damper pedal. It will create a very realistic sound when applied to acoustic piano sounds. Ratio 1.0:1...50.0:1, Inf:1 a Sets the signal compression ratio Fx:003 Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Threshold [dB] –40...0dB Wet / Dry b Sets the level above which the compressor is applied Fx:003 Attack 1...100 c Sets the attack time Fx:003 + Piano Body/Damper Release 1...100 Simulation d Sets the release time Fx:003

Right Low Offset [dB] –40...0dB Wet / Dry e Sets the low range gain of trigger signal Fx:004 D-mod Damper Mid Offset [dB] –40...0dB f Sets the mid range gain of trigger signal Fx:004 High Offset [dB] –40...0dB g Sound Board Depth 0...100 Sets the high range gain of trigger signal Fx:004 a Sets the intensity of resonance of the sound board Gain Adjust [dB] –Inf, –38...+24dB Damper Depth 0...100 Sets the output gain Fx:003, Sets the intensity of the string resonance created when the damper Src Off...Tempo pedal is pressed , h b 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 c 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 0...36 d Src Off...Tempo Sets the mid range of tonal quality i Selects the modulation source of the effect balance Tune –50...+50 e Amt –100...+100 Fine tuning 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 f Selects the modulation source of the effect balance 092: OD/HyperGain Wah Amt –100...+100 (Overdrive/Hyper Gain Wah) Sets the modulation amount of the effect balance This distortion effect has two modes: overdrive and hyper- a: Sound Board Depth gain that produces a strong distortion. A higher high-gain set- This parameter sets the intensity of resonance of the piano sound ting is required for this effect relative to a normal-size effect. board. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left b: Damper Depth, b: Src Wet / Dry Mode: Overdrive / Hyper-Gain This parameter sets the resonance intensity of the other strings Drive created when the damper pedal is pressed. The “Src” parameter Pre Low-cut 4 Band PEQ + Wah Driver Amp Simulation selects the modulation source from which the damper effect is Output Level applied. Usually, select Damper #64 Pdl (Damper pedal). Direct Mix The effect is off when a value for the modulation source Right Wet / Dry speciﬁed for the “Src” parameter is 63 or smaller, and the D-mod effect is on when the value is 64 or higher. c: Tone, d: Mid Shape These parameters control the tonal quality of the effect sound. Wah Off, On Switches Wah on/off Fx:006, e: Tune Src Off...Tempo Since this effect simulates the resonance of the strings, the sound Selects the modulation source that switches the Wah on and off a varies depending on the pitch. If you have changed tuning using Fx:006 the Global P0 “Master Tune” (0–1a), adjust this parameter value. Sw Toggle, Moment Selects the switching mode for the modulation source that switches the Wah on and off Fx:006

200 of harmonicsare suitableasaCarrier. or effect sounds. Strings ordistortionguitarsoundswithalot microphone. A specialeffect isalsoachievedbyusingrhythm instruments byinputtingavoicetotheModulatorvia mon useofthiseffect istoproduce thesoundofvarious (Modulator) totheleftchannelsignalinput(Carrier). A com- This effect applies thecharacterofrightchannelsignal 093: Vocoder Right a d e b h g Trim Rch (Modulator) Trim Lch (Carrier) c Wet: StereoIn-MonoOut/Dry: Left f j i Generator Noise Sets thegainofMid/HighEQ2 Gain [dB] Sets thegainofMid/HighEQ1 Gain [dB] 0...10 Sets thelow range cutamountofthedistortioninput Pre Low-cut r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry Speaker simulation on/off Speaker Simulation soundmixedAmount ofthedry tothedistortion Direct Mix Sets theinputlevel ofleftchannel(Carrier) L (Carrier) Trim rv oeOverdrive, Hyper-Gain Off...Tempo Switching between overdrive andhyper-gain mode Drive Mode Selects themodulationsourcethatcontrols Wah Wah Sweep Src Sets thedegree ofdistortion Drive o uof[z 20...1.00kHz Sets thegainofLow EQ Gain [dB] Sets thecenterfrequencyfor Low EQ(shelvingtype) Low Cutoff[Hz] Sets themodulationamountofoutputlevel Amt Selects themodulationsourcefor theoutputlevel Src uptLvl0...50 Sets theoutputlevel Output Level a we ag –10...+10 Sets therange of Wah Wah Sweep Range i2Ctf H]500...20.00kHz Sets thebandwidthofMid/HighEQ2 Q Sets thecenterfrequencyfor Mid/HighEQ2(peakingtype) Mid2 Cutoff[Hz] i1Ctf H]300...10.00kHz Sets thebandwidthofMid/HighEQ1 Q Sets thecenterfrequencyfor Mid/HighEQ1(peakingtype) Mid1 Cutoff[Hz] Noise Level Modulator Carrier + Band PassFilter Envelope Modulator HighMix + F:0, Fx:006, Fx:006, –18...+18dB –18...+18dB –18...+18dB –100...+100 Off...Tempo Carrier Vocoder / –50...+50 0.5...10.0 0.5...10.0 Wet /Dry Wet /Dry Fx:006 Fx:006 Fx:006 Fx:006 Off, On 0...100 1...120 0...50 2 1 (Vocoder isselectedfor IFX2inProgram mode) Using avoice from amicrophone asamodulator vocoder soundandtheleftchannel(Carrier).The The make thewords more clear. nel sound(Modulator).Ifthemodulatorisahumanvoice,itwill This parametersetsthehigh-rangeoutputlevelofrightchan- f: Modulator HighMix This parameterenablesyoutomixwhitenoisewiththeCarrier. e: Noise Level quality willchangesigni quency rangetowhichthevocodereffect isapplied.Thetonal By offsetting theCarrier c: Formant Shift Carrier Wet If youwishtochangetheintensityofvocodereffect, select sound. Dry h g d b e c f i channel. You cancreate thesoundofa Now thevoicefrom themicrophone isinputto themodulator when youtalkintothemicrophone whileplaying. R127 For the Audio Inputparametersforthemicrophone, setPanto torted. so thatthelevelishighenough,butsoundwillnotbedis- While talkingintothemicrophone, adjustthe[LEVEL]knob To setuptheinput,use Set When OscillatorMode(Program P1:1 that theCarriersoundwillbeinputonlytoleftchannel. Pan for Amp2 Level/Panto tor, andsetthe[LEVEL]switchto Connect amicrophone to AUDIO INPUT1or INPUT2connec- P0: 0 ” for “ parametersetsthebalancebetweeneffect anddry Vocoder/Carrier m –100...+100 Off...Tempo Sets thehigh-range outputlevel ofthemodulator Modulator HighMix Sets themodulationamountfor thenoisemixlevel Amt Selects themodulationsourcefor thenoisemixlevel Src ooe/are Carrier, 1:99...99:1, Vocoder Sets thebalancebetween thevocoder outputandtheCarrier Vocoder/Carrier Sets thehigh-range outputlevel ofthevocoder High Gain[dB] Sets thelow-range outputlevel ofthevocoder Low Gain[dB] epne0...100 –2...+2 Sets thenoisemixlevel totheCarrier Noise Level Sets thespeedofresponsetomodulatorinput Response Sets theheightoffrequencyfor thevocoder effect Formant Shift Sets theinputlevel channel(Modulator) ofright R (Modulator) Trim r Off...Tempo –100...+100 Dry, 1:99...99:1, Wet Off...Tempo Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry put andthecarrier Sets themodulationamountofbalancebetween thevocoder out- Amt output andthecarrier Selects themodulationsourcefor thebalancebetween thevocoder Src “ ” “ Pan – parameter. andBUS(IFX/Indiv.) Selectto Wet/Dry 3a). ” (Program P4:4 ” , andadjustthebalanceusing ” parametersetsthebalancebetween ﬁ ﬁ cantly. lter, youcanadjust theheightoffre- – 1b) to “ L000 Audio Input L000 . MIC IFX2 for Amp1 Level/Pan so – “ 1a) issetto . talking . ” parameter(Global ” instrument “ Double Vocoder/ –100...+100 “ –12...+12 –12...+12 , , , Wet/ 0...100 0...100 0...100 201 , set

Effect 094: Multitap Cho/Delay Tap1 Feedback –100...+100 Sets the Tap1 feedback amount (Multitap Chorus/Delay) Src Off...Tempo i Selects the modulation source for the Tap output level, feedback This effect has six chorus blocks with different LFO phases. amount, and effect balance You can produce a complex stereo image by setting a different Amt –100...+100 delay time and depth for each block. You can control the delay Sets the modulation amount of Tap1 feedback amount output level via a modulation source. Wet/Dry Dry, 1:99...99:1, Wet Sets the balance between the effect and dry sounds Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out j Left Amt –100...+100 Feedback Wet / Dry Tap1 Delay Sets the modulation amount of the effect balance Tap2 Delay b: Status, c: Status, d: Status, e: Status, f: Status, g: Status + Tap3 Delay Tap4 Delay These parameters set the output status of each Tap. Tap5 Delay Always On: Output is always on. (No modulation) Tap6 Delay Always Off: Output is always off. (No modulation) Right 0 [degree] Wet / Dry On→Off (dm): Output level is switched from on to off depending 180 [degree] Panning Preset 60 [degree] on the modulation source. 240 [degree] 120 [degree] → 300 [degree] Off On (dm): Output level is switched from off to on depending LFO: Triangle on the modulation source. D-mod On/Off Control Combining these parameters, you can change from 4-phase chorus to two-tap delay by crossfading them gradually via the modulation source during a performance. LFO Frequency [Hz] 0.02...13.00Hz a Sets the LFO speed h: Panning Preset Tap1(000) [msec] 0...570msec This parameter selects combinations of stereo images of the tap Sets the Tap1 (LFO phase=0 degrees) delay time outputs. Depth 0...30 i: Src, i: Amt, l: Amt b Sets the Tap1 chorus depth Tap output level, feedback amount and effect balance are con- Status Always On, Always Off, On→Off(dm), Off→On(dm) trolled simultaneously via a modulation source. 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 c Sets the Tap2 chorus depth This is a stereo pitch shifter. The pitch shift amount for the left Status Always On, Always Off, On→Off(dm), Off→On(dm) and right channels can be reversed from each other. Selects on, off, or modulation source for the control of Tap2 output , Stereo In - Stereo Out Left Tap3(060) [msec] 0...570msec Wet / Dry High Damp Sets the Tap3 (LFO phase=60 degrees) delay time Pitch Shifter Delay Input Level Depth 0...30 Pre Post d Sets the Tap3 chorus depth Feedback Position Feedback Spread Input Level Pre 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] 0...570msec Sets the Tap4 (LFO phase=240 degrees) delay time Depth 0...30 Mode Slow, Medium, Fast e Sets the Tap4 chorus depth a 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 b Determines whether or not the L/R pitch shift amount is inverted , Pitch Shift [1/2tone] –24...+24 Tap5(120) [msec] 0...570msec Sets the pitch shift amount in steps of a semitone Fx:038, Sets the Tap5 (LFO phase=120 degrees) delay time Src Off...Tempo Depth 0...30 c Selects the modulation source of pitch shift amount Fx:038 f Sets the Tap5 chorus depth Amt –24...+24 Status Always On, Always Off, On→Off(dm), Off→On(dm) Sets the modulation amount of pitch shift amount Fx:038 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] 0...570msec d Sets the Tap6 (LFO phase=300 degrees) delay time Amt –100...+100cent Sets the modulation amount of pitch shift amount Fx:038 Depth 0...30 g Sets the Tap6 chorus depth Lch Delay [msec] 0...1000msec → → Sets the delay time for the left channel Status Always On, Always Off, On Off(dm), Off On(dm) e Selects on, off, or modulation source for the control of Tap6 output Rch Delay [msec] 0...1000msec , Sets the delay time for the right channel Panning Preset 1, 2, 3, 4 Feedback Position Pre, Post h f Speciﬁes the stereo image of each Tap Switches the feedback connection Fx:038

202 very realistic rotary speakersound. tion) andcharacteristicsoftherotary speaker, producing a simulator thatsimulatesoverdrive (recreating the amp distor- This isastereo rotary speakereffect. Ithasaninternal speaker SpeakerOD 096: Rotary pitch oftherightchannelislowered. amount ispositive,thepitchofleftchannelraised,and amount fortherightchannelwillbereversed. Ifthepitchshift When youselect b: L/RPitch h a b g d c Right Wet: MonoIn-StereoOut/Dry: i j Left D D D D nu ee md[]–100...+100 Sets themodulationamountofinputlevel Input Level Dmod[%] Sets thedampingamountinhighrange High Damp[%] ped–100...+100 Sets thewidthofstereoimageeffect sound Spread Selects themodulationsourcefor theinputlevel Src r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry wToggle, Moment Off...Tempo overdrive on/off Selects theswitching modeofthemodulationsourcethatswitches Sw Selects themodulationsourcethatswitches overdrive on/off Src Switches overdrive on/off. Overdrive Determines thedegreeDetermines ofdistortion Overdrive Gain Sets thefeedback amount Feedback Switches speaker simulation on/off Speaker Simulator Sets thetonalqualityofoverdrive Overdrive Tone Sets theoverdrive outputlevel Overdrive Level wToggle, Moment Off...Tempo between rotationandstop Selects theswitching modeofthemodulation sourcethattoggles Sw stop Selects themodulationsourcethattogglesbetween rotationand Src Switches between speaker rotationandstop Mode Switch -mod -mod -mod -mod (Rotary SpeakerOverdrive) (Rotary + Mode Switch:Rotate/Stop Speed Switch:Slow/Fast Manual SpeedControl On/Off Overdrive Up/Down Rotary Speaker Rotor forthisparameter, thepitchshift Horn Speaker Simulation Horn/Rotor Balance Mic Distance Mic Spread F:3, Fx:037, Rotate, Stop –100...+100 –100...+100 Off...Tempo 0...100% Wet /Dry Wet /Dry Fx:043 Fx:040 Fx:037 Fx:038 Off, On Off, On 0...100 0...100 0...15 When via amodulationsource. This parameterdetermineshowtoswitchon/off theoverdrive a: Sw pedal orjoystickisoperated. When the pedaloroperatejoystick. h e g f i j i itne0...100 Stop, 0.50...2.00 0...100 Stop, 0.50...2.00 Angle ofleftandright microphones Mic Spread Distance between themicrophoneandrotary speaker Mic Distance 1.0. Selecting “Stop” willstoptherotation Adjusts the(low-range side)rotorrotationspeed. Standardvalue is Off...Tempo Rotor Ratio switched howDetermines quickly therotorrotationspeedinlow range is Rotor Acceleration 1.00. Selecting “Stop” willstoptherotation Adjusts the(high-range side)hornrotationspeed. Standardvalue is Rotor, 1...99,Horn Ratio Horn directly Sets themodulationsourceincaserotationspeedischanged ManualSpeedCtrl range rotor Sets thevolume level balancebetween thehigh-range andlow- horn Balance Horn/Rotor wToggle, Moment Off...Tempo Slow, Fast between slow andfast Selects theswitching modeofthemodulationsourcethattoggles Sw Selects themodulationsourcethattogglesbetween slow andfast Src Switches thespeaker rotationspeedbetween slow andfast. Speed Switch onAclrto 0...100 How quickly rotationspeedinthehighrange thehorn isswitched Acceleration Horn r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt Selects themodulationsourceofeffect balance Src Sets thebalancebetween theeffect sounds anddry Wet/Dry the modulationsource exceeds64. Overdrive willbeswitchedon/off eachtimethevalueof higher, theoverdrive effect isapplied. Only whenthevalueformodulationsource is64or “ “ Sw Sw ” ” = = Moment Toggle , overdrive isturnedon/off eachtimethe , overdrive isappliedonlywhenyoupress Fx:040, –100...+100 Fx:040 Fx:040 Fx:040 Fx:040 Fx:040 0...100 203

Effect 097: Early Reflections High Damp [%] 0...100% Sets the damping amount in the high range Fx:043 e This early reflection effect has more precise early reflections Low Damp [%] 0...100% with twice the maximum length of a normal-size effect Sets the damping amount in the low range Fx:043 (Fx:041). You can create a very smooth and dense sound. Input Level Dmod [%] –100...+100 Sets the modulation amount of the input level Fx:037, Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out f Left Src Off...Tempo Wet / Dry Selects the modulation source for the input level Fx:037 EQ Trim Spread 0...50 g LEQ HEQ Sets the width of the stereo image of the effect sound Fx:043 + 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 h 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 a Selects the decay curve for the early reflection Fx:041 ER Time [msec] 10...1600msec b Sets the time length of early reflection 099: St/Cross Long Dly Pre Delay [msec] 0...200msec c Sets the time taken from the original sound to the first early reflection (Stereo/Cross Long Delay) EQ Trim 0...100 d This is a stereo delay, and can by used as a cross-feedback Sets the input level of EQ applied to the effect sound delay effect in which the delay sounds cross over between left Pre LEQ Gain [dB] –15.0...+15.0dB and right by changing the feedback routing. You can set a Sets the gain of Low EQ e maximum of 1,360msec for the delay time. Pre HEQ Gain [dB] –15.0...+15.0dB Sets the gain of High EQ Stereo In - Stereo Out Left Wet/Dry Dry, 1:99...99:1, Wet Wet / Dry High Damp Low Damp Sets the balance between the effect and dry sounds Delay Input Level D-mod Src Off...Tempo f Selects the modulation source of the effect balance Stereo/Cross Feedback Stereo/Cross Spread Input Level D-mod High Damp Low Damp Amt –100...+100 Delay Sets the modulation amount of the effect balance

Right Wet / Dry

098: L/C/R Long Delay Stereo/Cross Stereo, Cross a Switches between stereo delay and cross-feedback delay This multitap delay outputs three Tap signals to left, right and L Delay Time [msec] 0.0...1360.0msec center respectively. You can set a maximum of 2,730msec for b Sets the delay time for the left channel the delay time. R Delay Time [msec] 0.0...1360.0msec c Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out Sets the delay time for the right channel Left Wet / Dry L Feedback –100...+100 Sets the feedback amount for the left channel Input Level D-mod L Delay Level Src Off...Tempo d + C Delay Spread Selects the modulation source of feedback amount High Damp Low Damp Level Feedback Amt L –100...+100 Input Level D-mod R Delay Sets the modulation amount of the left channel feedback Level Right R Feedback –100...+100 Wet / Dry Sets the feedback amount for the right channel e Amt R –100...+100 Sets the modulation amount of the right channel feedback L Delay Time [msec] 0...2730msec High Damp [%] 0...100% Sets the delay time of TapL f a Sets the damping amount in the high range Fx:043 Level 0...50 Low Damp [%] 0...100% Sets the output level of TapL g Sets the damping amount in the low range Fx:043 C Delay Time [msec] 0...2730msec Sets the delay time of TapC Input Level Dmod [%] –100...+100 b Sets the modulation amount of the input level Fx:037, Level 0...50 h Sets the output level of TapC Src Off...Tempo Selects the modulation source for the input level Fx:037 R Delay Time [msec] 0...2730msec Spread –50...+50 Sets the delay time of TapR i c Sets the width of the stereo image of the effect sound Fx:043 Level 0...50 Sets the output level of TapR Wet/Dry Dry, 1:99...99:1, Wet Sets the balance between the effect and dry sounds Feedback (C Delay) –100...+100 Src Off...Tempo Sets the feedback amountof TapC j Selects the modulation source of the effect balance Src Off...Tempo d Selects the modulation source of the TapC feedback amount Amt –100...+100 Sets the modulation amount of the effect balance Amt –100...+100 Sets the modulation amount of the TapC feedback amount

204 the songtempo. You cansetthedelaytimeupto2,730msec. The L/C/Rdelayenablesyoutomatchthetimewith 100: LCRBPMLongDly Right d e b a h g c Wet: MonoIn-StereoOut/Dry:-Stereo f i Left Tempo BPM ie x1...x16 x1...x16 x1...x16 Sets thenumber ofnotestospecifythedelay timefor TapR Times Sets thenumber ofnotestospecifythedelay timefor TapC Times ----,OVER!! Sets thenumber ofnotestospecifythedelay timefor TapL Times limit Displays anerrormessagewhenthedelay timeexceeds theupper Time Over? > R Delay BaseNote Sets theoutputlevel of TapL Level Sets thedampingamountinlow range Low Damp[%] Sets theoutputlevel of TapC Level C Delay BaseNote Selects thetypeofnotestospecifydelay timefor TapR Selects thetypeofnotestospecifydelay timefor TapC Selects thetypeofnotestospecifydelay timefor TapL Selects themodulationsourcefor theinputlevel Src Sets theoutputlevel of TapR Level r Off...Tempo Dry, 1:99...99:1, Wet Sets themodulationamountofeffect balance Amt –100...+100 Selects themodulationsourceofeffect balance Src Off...Tempo Sets thebalancebetween theeffect sounds anddry Wet/Dry Sets thedampingamountinhighrange High Damp[%] Sets themodulationamountof TapC feedback Amt Selects themodulationsourcefor the TapC feedback Src Sets thefeedback amountof TapC Feedback (CDelay) P MIDI,40...240 L Delay BaseNote Selects MIDIClock andassignstempo BPM ped0...50 –100...+100 Sets thewidthofstereoimageeffect sound Spread Sets themodulationamountofinputlevel Input Level Dmod[%] (L/C/R BPMLongDelay) + Input LevelD-mod Input LevelD-mod BPM High Damp Base NotexTimes Base NotexTimes Base NotexTimes Low Damp R Delay C Delay L Delay Feedback Level Level Level Spread Fx:049, Fx:049, Fx:049, Fx:049, F:3, Fx:037, –100...+100 –100...+100 Off...Tempo 0...100% 0...100% Wet /Dry Wet /Dry Fx:043 Fx:049 Fx:049 Fx:037 Fx:043 Fx:043 Fx:049 0...50 0...50 0...50 song tempo. You cansetthedelaytimeupto1365msec. The stereo delayenablesyoutomatchthetimewith 101: St.BPMLongDelay appear. "Time Over?>"isonlyadisplayparameter. play. Setthedelaytimeparameterssothatthismessagewillnot exceeds thislimit,theerror message You cansetthedelaytimeupto2,730msec.If a: Time Over?> Right a b h g e d c Stereo In-Out f Tempo Left BPM ieOe?L>----,OVER!! upper limit Display theerrormessageifleftchanneldelay timeexceeds the Time Over? L> ie x1...x16 x1...x16 Sets thenumber ofnotestospecifytheright channeldelay time Times Sets thenumber ofnotestospecifytheleftchanneldelay time Times P MIDI,40...240 Selects MIDIClock andassignstempo BPM L Delay BaseNote ----,OVER!! upper limit Display theerrormessageifright channeldelay timeexceeds the R > Selects thetypeofnotestospecifyright channeldelay time Selects thetypeofnotestospecifyleftchanneldelay time Selects themodulationsourcefor theinputlevel Src nu ee md[]–100...+100 –100...+100 –100...+100 Off...Tempo Sets themodulationamountofinputlevel Input Level Dmod[%] Sets thedampingamountinhighrange High Damp[%] Sets themodulationamountofright channelfeedback Amt R Sets thefeedback amountfor the rightchannel R Feedback Sets themodulationamountofleftchannelfeedback Amt L Selects themodulationsourceoffeedback amount Src Sets thefeedback amountfor theleftchannel L Feedback Sets thedampingamountinlow range Low Damp[%] Fine-adjust theright channeldelay time Adjust [%] R Delay BaseNote Fine-adjust theleftchanneldelay time Adjust [%] (Stereo BPMLongDelay) Input LevelD-mod Input LevelD-mod BPM Base NotexTimes Base NotexTimes Adjust [%] Adjust [%] Delay Delay “ OVER!! High Damp ihDm LowDamp High Damp Feedback ” Low Damp appearsonthedis- Fx:049, Fx:049, Fx:049, Fx:037, –2.50...+2.50% –2.50...+2.50% –100...+100 –100...+100 Off...Tempo 0...100% 0...100% Wet /Dry Wet /Dry Fx:037 Fx:043 Fx:043 Fx:049 Fx:049 205

Effect Wet/Dry Dry, 1:99...99:1, Wet The effect is off when a value for the modulation source Sets the balance between the effect and dry sounds specified for the “REC Control Src” parameter is 63 or Src Off...Tempo smaller, and the effect is on when the value is 64 or higher. i 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 Sets the modulation amount of the effect balance that controls the reset operation. When you set this modulatoin source to On, or “Manual RST Con- a: Time Over? L >, a: R > trol” to RESET, you can erase what you recorded. If the Loop You can set the delay time up to 1365msec. If the delay time Time parameter has been set to Auto, the loop time is also reset. exceeds this limit, the error message “OVER!!” appears on the display. Set the delay time parameters so that this message will not The effect is off when a value for the modulation source appear. “Time Over?>” is only a display parameter. 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) 102: Hold Delay Select the following options for each parameter: 1 This effect records the input signal and plays it back repeat- “Loop Time [msec]”=Auto edly. You can control the start of recording and reset via a “REC Control Src”=JS +Y “RST Control Src”=JS –Y modulation source. Easy to use for real-time performances. “Manual REC Control”=REC Off Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out “Manual RST Control”=RESET Left Wet / Dry It should be noted that all recordings will be deleted while Reset is On. 2 “Manual RST Control”=Off + Delay Pan Reset is cancelled and the unit enters Rec ready mode.

Loop Time: Auto/ ...2700ms 3 Push the joystick in the +Y direction (forward) and play a

Right phrase you wish to hold. When you pull the joystick to its Wet / Dry original position, the recording will be ﬁnished and the phrase

-mod you just played will be held. D REC Control -mod Loop Time is automatically set only for the first recording after D RST Control resetting. If the time length exceeds 2,700msec, Loop Time will be automatically set to 2,700msec. (If you have set “Loop Loop Time [msec] Auto, 1...2700msec Time” to 1–2,700msec, the specified loop time will be used a Sets Automatic loop time setup mode or specifies loop time regardless of the time taken from pushing the joystick forward REC Control Src Off...Tempo until it is pulled back. However, the recording method remains b Selects control source for recording , the same. The phrase being played while the joystick is pushed RST Control Src Off...Tempo forward will be held.) c Selects control source for reset , 4 If you made a mistake during recording, pull the joystick in Manual REC Control REC Off, REC On the –Y direction (back) to reset. In this way, the recording will d Sets the recording switch be erased. Repeat step 3 again. Manual RST Control Off, RESET e 5 The recorded phrase will be repeated again and again. You can Sets the reset switch use this to create an accompaniment. Pan L100...L1, C, R1...R100 Sets the stereo image of the effect 6 By pushing the joystick in the +Y direction (forward), you can Src Off...Tempo also overdub performances over the phrase that is being held. f 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 g 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.

206 control the EQgaininrangefrom control theEQgaininrangefrom Assign (Program P1:1 Knob 2-Bto formance usingthe[RealtimeControl] knob. At thistime,set Assign (Program P1:1 Knob 1-Bto formance usingthe[RealtimeControl] knob. At thistime,set For example,whenthisparameterissetto e: HighGainMod-Src For example,whenthisparameterissetto d: Low GainMod-Src These parametersare linkedwiththe a: Gain[dB], b: Gain[dB], c: Gain[dB] Song Playmodes. Use P9:MasterEQinProgram, Combination,Sequencer, and Master EQ 4 4 1d) parameteroftheMasterFXtab. responds totheHighGainvaluehere. responds tothe – – Right e d b a c 7b, SongPlayP2:2 7b, SongPlayP2:2 Left D D an[B –18.0...+18.0(0.5step) 500...20.00K Sets thegainofHighEQ Gain [dB] Sets thecutofffrequencyofHighEQ(shelvingtype) High Cutoff[Hz] 0.5...10.0(0.1step) –18.0...+18.0(0.5step) Selects themodulationsourcefor HighGain High GainMod-Src 300...10.00K Selects themodulationsourcefor Low Gain Low GainMod-Src –18.0...+18.0(0.5step) 20...1.00K Sets thegainofMidEQ Gain [dB] become narrower. Sets thebandwidthofMidEQ. With ahighervalue, theband Q Sets thecutofffrequencyofMidEQ(peakingtype) Mid Cutoff[Hz] Sets thegainofLow EQ Gain[dB] Sets thecutofffrequencyofLow EQ(shelvingtype) Low Cutoff[Hz] ter Effects. You cannotusetheMasterEQforInsertEffects orMas- You cannotusetheMasterEQinSamplingmode. -mod -mod High GainMod-Src Low GainMod-Src Knob Mod2(CC#19) Knob Mod1(CC#17) “ Low Gain – – 1b). The 12 o 1b). The 12 o – – o i High Mid Low Master EQ 4b, CombinationP4:4 4b, CombinationP4:4 Low GainMod. E E HEQ PEQ LEQ LEQ ” valuehere. forRealtimeControl KnobB- forRealtimeControl KnobB- E HEQ PEQ ’ ’ clock positionoftheknobcor- clock positionoftheknobcor- “ – – Master EQGain[dB] 18dB to+18dBduringper- 18dB to+18dBduringper- High GainMod. KnobM2: #19 KnobM1: #17 – – 3b, SequencerP4: 3b, SequencerP4: Off...Tempo Off...Tempo , youcan , youcan R L/Mono ” (9 – 207

Effect 208 9. Appendices

Alternate Modulation Source About Alternate Modulation Sources There are 42 Alternate Modulation sources (AMS) that can (AMS) control Alternate Modulation destinations. If you select two or more Alternate Modulation destinations for control by the same AMS, a single source will apply About Alternate Modulation modulation to each of the speciﬁed destinations. Frequently used assignments such as using the joystick (X) Alternate Modulation can be speciﬁed for the following 29 to control pitch are provided as special parameters, so it is types, in total, 55 alternate modulation destinations shown not necessary to use Alternate Modulation to accomplish in the diagram below. (Pitch EG is common to OSC 1 and 2.) this. AMS (Alternate Modulation Source) can be selected independently for each of these to apply modulation.

Alternate Modulation

Frequency Mod 1 LFO1 Frequency Mod 1 LFO2 Frequency Mod 2 Frequency Mod 2

Intensity Mod Intensity Mod to A Intensity Mod to B Intensity Mod Intensity Mod Intensity Mod to A Intensity Mod to B Intensity Mod

OSC1 Filter1 A Filter1 B Amp 1

Pitch Mod Resonance Mod Cutoff Mod 1 Amp Mod Pan Mod Cutoff Mod 1 Cutoff Mod 2 Cutoff Mod 2

Intensity Mod Intensity Mod to A Intensity Mod to B

Filter1 EG Amp1 EG

Level Mod Level Mod Time Mod 1 Time Mod 1 Time Mod 2 Time Mod 2 OSC 1 Pitch EG OSC 2

Level Mod 1 Level Mod 2 Time Mod

Different types of Alternate Modulation are used to control the bank F programs (which can be used when the separately sold EXB-MOSS option is installed). (Refer to the EXB- MOSS owner’s manual) Appendices 209 AMS (Alternate Modulation Source) List

Off do not use Alternate Modulation (PEG) Pitch EG pitch EG (FEG) Filter EG filter EG within the same oscillator (AEG) Amp EG amp EG within the same oscillator (LFO) LFO1 LFO1 within the same oscillator (LFO) LFO2 LFO2 within the same oscillator (KT) Flt KTrk +/+ (Filter Keyboard Track +/+) filter keyboard tracking within the same oscillator (P.211) (KT) Flt KTrk +/– (Filter Keyboard Track +/–) filter keyboard tracking within the same oscillator (P.211) (KT) Flt KTrk 0/+ (Filter Keyboard Track 0/+) filter keyboard tracking within the same oscillator (P.211) (KT) Flt KTrk +/0 (Filter Keyboard Track +/0) filter keyboard tracking within the same oscillator (P.211) (KT) Amp KTrk +/+ (Amp Keyboard Track +/+) amp keyboard tracking within the same oscillator (P.211) (KT) Amp KTrk +/– (Amp Keyboard Track +/–) amp keyboard tracking within the same oscillator (P.211) (KT) Amp KTrk 0/+ (Amp Keyboard Track 0/+) amp keyboard tracking within the same oscillator (P.211) (KT) Amp KTrk +/0 (Amp Keyboard Track +/0) amp keyboard tracking within the same oscillator (P.211) (KT) Note Number note number (EXT) Velocity velocity (EXT) Poly After (Poly After Touch) polyphonic after touch (transmitted from the TRITON 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) joystick +Y (vertical upward) direction (CC#01) (EXT) JS–Y:CC#02 (Joy Stick –Y: CC#02) 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.211) (EXT) JS–Y & AT/2 (Joy Stick –Y & After Touch/2) joystick –Y (vertical downward) direction and after touch (P.211) (EXT) Pedal:CC#04 (Foot Pedal: CC#04) assignable foot pedal (CC#04) (P.211) (EXT) Ribbon:CC#16 ribbon controller (CC#16) (EXT) Slider:CC#18 (Value Slider: CC#18) value slider (CC#18) (P.211) (EXT) KnobMod1:#17 (Knob Mod1: CC#17) realtime control knob 1 in B-mode (knob modulation 1 CC#17) (P.211) (EXT) KnobMod2:#19 (Knob Mod2: CC#19) realtime control knob 2 in B-mode (knob modulation 2 CC#19) (P.211) (EXT) KnobMod3:#20 (Knob Mod3: CC#20) realtime control knob 3 in B-mode (knob modulation 3 CC#20) (P.211) (EXT) KnobMod4:#21 (Knob Mod4: CC#21) realtime control knob 4 in B-mode (knob modulation 4 CC#21) (P.211) (EXT) KnobMod1 [+] (Knob Mod1: CC#17 [+]) realtime control knob 1 in B-mode [+] (P.211) (EXT) KnobMod2 [+] (Knob Mod2: CC#19 [+]) realtime control knob 2 in B-mode [+] (P.211) (EXT) KnobMod3 [+] (Knob Mod3: CC#20 [+]) realtime control knob 3 in B-mode [+] (P.211) (EXT) KnobMod4 [+] (Knob Mod4: CC#21 [+]) realtime control knob 4 in B-mode [+] (P.211) (EXT) Damper:#64 (Damper: CC#64) damper pedal (CC#64) (EXT) Porta.SW:#65 (Portamento Switch: CC#65) portamento switch (CC#65) (EXT) Sostenuto:#66 (Sosutenuto: CC#66) sostenuto pedal (CC#66) (EXT) Soft:CC#67 (Soft Pedal: CC#67) soft pedal (CC#67) (EXT) SW 1:CC#80 (SW1 Mod.: CC#80) assignable panel switch 1 (SW1 modulation CC#80) (P.211) (EXT) SW 2:CC#81 (SW2 Mod.: CC#81) assignable panel switch 2 (SW2 modulation CC#81) (P.211) (EXT) Foot SW:#82 (Foot Switch: CC#82) assignable foot switch (CC#82) (P.211) (EXT) MIDI:CC#83 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” value for OSC1 Pitch (Program P2: 2–1a) can be [Off, (FEG, AEG, EXT)] (p.9). This means that you can select Off, and (FEG), (AEG), or (EXT) sources.

210 Flt KTrk +/ Flt KTrk +/+(FilterKeyboardTrack +/+) sign (positiveornegative)ofthe +/+: Amp KTrk +/0(AmpKeyboardTrack +/0) Amp KTrk 0/+(AmpKeyboardTrack 0/+) Amp KTrk +/ Amp KTrk +/+(AmpKeyboardTrack +/+) Flt KTrk +/0(FilterKeyboardTrack +/0) Flt KTrk 0/+(FilterKeyboardTrack 0/+) High of the +/ “ 0/+: setting of “ +/0: effect. direction ofitseffect. Ramp High Ramp High – : AMS Intensity=positive(+)value AMS =AmpKTrk+/+ AMS Intensity=positive(+)value AMS =AmpKTrk0/+ AMS Intensity=positive(+)value AMS =AmpKTrk+/ Keyboard Tracksettings example ofAmp AMS Intensity=positive(+)value AMS =AmpKTrk+/0 Thedirection oftheeffect willbedeterminedbythesign

Thesignofthe “ The direction oftheeffect willbedeterminedbythe ” Ramp Low setting. “ Ramp Low – – 50 (FilterKeyboardTrack +/ – ” ” ). (AmpKeyboardTrack +/ setting( settingwilldeterminethedirection ofits – ” willhaveno AMS effect. Thesign ofthe � � ” setting,andbytheoppositesignof “ = +50 Ramp Low� � � � � Ramp Low “ Ramp High – + max + max + max + max - max - max - max - max Amp 50 zero zero zero zero forasettingof Depth anddirectionofmodulation Depth anddirectionofmodulation Depth anddirectionofmodulation Depth anddirectionofmodulation Key Low ” “ settingwilldeterminethe Ramp Low ” willhaveno AMS effect. – Key High ) – ) +50 ” , and or = +50 Ramp High� Note Number “ Ramp +50 for a (With the rightwillapplyaneffect onlyinthepositive direction. will produce an AMS effect of set toa knob positionanddirection oftheeffect. If AMS intensityis These differ from KnobMod4 [+](KnobMod4:CC#21[+]) KnobMod3 [+](KnobMod3:CC#20[+]) KnobMod2 [+](KnobMod2:CC#19[+]) KnobMod1 [+](KnobMod1:CC#17[+]) opposite effect willresult.) duce anegativechange.(With change intheeffect, androtating ittoward theleftwillpro- 0. Rotatingtheknobtoward therightwillproduce apositive knob tothe12o If AMS intensityissettoa ate knobs[1] When yousetREALTIME CONTROLStoB-modeandoper- Assign etc. connectedtothe ASSIGNABLE SWITCHjack. The effect willbecontrolled whenyouoperateafootswitch When the Slider:CC#18 (Value Slider:CC#18) jack willcontrol theeffect. A footcontroller etc.connected tothe ASSIGNABLE PEDAL SW (CC#82) “ If youwishtouseanassignablefootswitchas AMS, set Foot SW:#82 (FootSwitch:CC#82) [SW2] key. The effect willbecontrolled whenyouoperatethe[SW1]or Controller tabparameter settings inProgram, Song,orSongPlaymodestosetthe If youwishtousethe[SW1]or[SW2]keyasan AMS, make SW 2:CC#81(SW2Mod.:CC#81) SW 1:CC#80(SW1Mod.:CC#80) to time Control KnobsB-Assign Song PlaymodestosettheController tabparameter an AMS, makesettingsinProgram, Combination,Song,or If youwishtouseaREALTIME CONTROLSknob[1] KnobMod4:#21 (KnobMod4:CC#21) KnobMod3:#20 (KnobMod3:CC#20) KnobMod2:#19 (KnobMod2:CC#19) KnobMod1:#17 (KnobMod1:CC#17) sponding toCC#18. mode, the[VALUE] sliderwillfunctionasacontroller corre- name lowing valuesrespectively: respectively: or or JS touch willbeonlyhalfofthespeci upward) andbyaftertouch.Inthiscase,theeffect ofafter The effect willbecontrolled bythejoystick+Y (vertically JS +Y&AT/2 (JoyStick+Y&AfterTouch/2) The effect willbecontrolled bythejoystick “ If youwishtousetheassignablefootpedalasan AMS, set Pedal:CC#04 (FootPedal:CC#04) touch willbeonlyhalfofthespeci downward) andbyaftertouch.Inthiscase,theeffect ofafter Pedal Foot Switch Assign Foot Pedal Assign KnobMod2 (CC#19) “ “ – Knob4-B SW2 Y &AT/2 (JoyStick ”

negative ( (CC#04) editcellisselectedinProgram modeorCombination ” positive (+) ) ” to “ Program No.:name ( ” SW2 Mod2 – “ to [4], thespeci Knob1-B ( ’ “ clock positionwillproduce an AMS effect of – KnobMod4 (CC#21) Foot Switch Assign ) KnobMod1:#17 “ settings,theoppositeeffect willresult.) Foot Pedal Assign ” value,rotating theknobtofarright (GlobalP2:Controller 2 ” (GlobalP2:Controller 2 ” , –

to “ Y &AfterTouch/2) (CC#81) Knob3 “ fi Panel Switch Assign positive (+) KnobMod1 (CC#17) “ ed modulationwillapply. SW1 ” 0 tothefollowingsettings negative ( ” . Rotatingtheknobtoward – or ( B ” – fi fi ” to KnobMod4:#21 “ to ed intensity. ed intensity. ” “ Combination No.: ” ). SW1/2 Assign . ( SW1 Mod1(CC#80) ). value,movingthe KnobMod3 (CC#20) – “ ) Knob1...4-B settings,the – – Y (vertically 1a) to – 1a) to ” , tothefol- “ Knob2-B inthe Foot ” “ Foot ). – Real- [4] as 211 , ” ,

Appendices Alternate Modulation settings The effect of alternate modulation on When you operate an AMS (Alternate Modulation Source), various parameters, and example the modulation destination will be affected as shown in the table below. applications By using alternate modulation, you can create complex sys- Pitch (Program P2: 2–1a) tems of modulation in which EG, LFO, keyboard tracks, and Pitch can be controlled by the ﬁlter/amp EG, controllers, or controllers work together. tempo etc. • You can apply complex change to an LFO or EG, for • If you select Filter EG or Amp EG as the AMS and set example by using the pitch/filter/amp EG to control “AMS Intensity” to +12.00, the pitch will change up to the frequency or intensity of an LFO that modulates the ±1 octave in synchronization with the EG. pitch/filter/amp, or by using LFO2 to control the frequency of LFO1. • If you select Tempo as the AMS and set “AMS Intensity” to +12.00, doubling the tempo (based on • The tone, EG, and LFO etc. can be controlled not only by =120) will raise the pitch one octave, and halving the velocity or joystick, but also from a switch, knob, or tempo will lower the pitch one octave. pedal etc. • Panning can be controlled in realtime from a controller, Pitch EG Intensity (Program P2: 2–1b) EG, or LFO etc. Pitch EG intensity can be controlled by keyboard tracking, • Controllers etc. can be used to control EG levels or controllers, or tempo. times. This lets you shape the EG in realtime. • If you select JS +Y:CC#01 as the AMS and set “AMS • Filter/amp keyboard tracking or note number can be Intensity” to +12.00, moving the joystick in the +Y used to control the EG or LFO according to the direction will gradually increase the effect of the Pitch ± keyboard pitch that is played. EG to a maximum of 1 octave. If “AMS Intensity” has a negative value, the effect of the Pitch EG will be • Pitch, tone, EG or LFO can be controlled by the tempo of inverted. the arpeggiator or sequencer. 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 “AMS Intensity,” the vibrato effect will gradually deepen as the EG level rises, or gradually lessen as the EG level decreases. With negative (–) settings of “AMS Intensity,” the LFO phase will be inverted. Notes for the table • If you select a controller such as SW1 or 2 as the AMS, *1 If Note Number is selected as an AMS, the base value you can press the [SW1] or [SW2] key when desired to will be C4. turn on the vibrato effect. *2 EXT(+) : Velocity, Poly After, After Touch, JS+Y:CC#01, JS(–Y):CC#02, JS+Y & AT/2, JS –Y & AT/2, Filter (Cutoff) Frequency (Program P3: 3–2c) Pedal:CC#04, Slider:CC#18, KnobMod1[+], The cutoff frequency of ﬁlter A/B can be controlled by the KnobMod2[+], KnobMod3[+], KnobMod4[+], pitch/amp EG, controllers, or tempo. Set “AMS” and “AMS Damper:#64, Porta.SW:#65, Sostenuto:#66, Soft:CC#67, Intensity” for Filter A or B. SW1:CC#80, SW2:CC#81, MIDI:CC#83 • If you select JS X or Ribbon:CC#16 as the AMS and set *3 EXT(+–): KnobMod1:#17, KnobMod1:#19, “AMS Intensity” to a positive (+) value, moving the KnobMod1:#20, KnobMod1:#21 joystick or ribbon controller toward the right will raise *4 If Tempo is selected as an AMS, the base value will be the cutoff frequency, and moving it toward the left will =120. For example if the AMS for “Pitch” is set to lower the cutoff frequency. Negative (–) settings will Tempo, and “AMS Intensity” is set to 12.00, doubling have the opposite effect. the tempo value ( =120 → 240) will raise the pitch one → octave, and halving the tempo ( =120 60) will lower AMS → PEG/FEG AEG the pitch one octave. AMS Value → –99...0...+99 0...+99 Parameter AMS Intensity *5 A dedicated parameter is also provided. Pitch (+12.00) –1...0...+1[Octave] 0...+1[Octave] *6 This will be added to the “Filter Cutoff Frequency” Pitch EG Int. (+12.00) – – value. As the “Frequency” value increases by 10, the cut- Pitch LFO1/2 Int. (+12.00) –1...0...+1[Octave] 0...+1[Octave] off frequency will double (rise one octave). Filter Frequency *6 (+99) –99...0...+99 0...+99 Resonance (+99) –99...0...+99 0...+99 *7 This will be added to the “Pan” setting. Filter EG Int. (+99) – – Filter LFO1/2 Int. (+99) –99...0...+99 0...+99 *8 It is possible to control LFO “Frequency” by using Amp (+99) value x(0...1...8) – Tempo AMS and “AMS Intensity.” However if you use Amp LFO1/2 Int. (+99) –99...0...+99 0...+99 the “Frequency MIDI/Tempo Sync” function (Program Pan *7 (+50) –63...0...+63 0...+63 P5: 5–1c), the LFO frequency can be synchronized to the EG Level (+66) – – tempo and note value. EG Time (+49) – – LFO Frequency (+99) value x(1/64...1...64) value x(1...64)

212 value x(1/128...1...128) “ EG, keyboard tracking,controller, ortempo. You canuse The LFO1/2 Filter LFO1/2Intensity(ProgramP3:3 etc. You canuse Filter EGintensitycanbecontrolled byacontroller ortempo Filter EGIntensity(ProgramP3:3 • keyboard tracking,controllers ortempoetc. nance This canbeusedwhenthe Resonance (ProgramP3:3 • • B. to B • dently specifytheintensityforFilter A andB. • • • dedicated parameter dedicated parameter dedicated parameter AMS Intensityto A –99x2...0...+99x2 –127...0...+127 keyboard trackingparameters control theresonancelevel.Forexampleifamp can usethefilterorampkeyboardtrackingsettingsto If youselect filters. simultaneously controlthecutofffrequenciesofboth Intensity, Intensity separate intensitiesforFilterA(LowPassFilter) If youselectthesamecontrollerasanAMSandset High If youselect selected astheAMS,and changes inEGlevel.Ifyouset produced byLFOmodulationwillbecontrolledthe If youselect to modulatetheresonancelevel. You canselectLFO1or2astheAMS,anduseLFO resonance whendesiredbyoperatingthecontroller. You canselectacontrollerastheAMS,andapply the volume,andAMStoraiseresonancelevel. keyboard willcauseamptrackingtoincrease positive (+) Filter EG.Ifyouset the Intensity level rises,andwilllessenastheEGfalls.With positive (+) Filter EGwithaninvertedphase. toward theleftwillgraduallyincreaseeffectof effect oftheFilterEG.Operatingribboncontroller controller towardtherightwillgraduallyincrease Intensity If youselect value, theeffectofFilterEGwillbeinverted. –99...0...+99 ” toindependentlyspecifytheintensityforFilter A and LFO1/2 . Theresonance levelcanbecontrolled byEG,LFO, – – – – – – – – Y directionwillgraduallyincreasetheeffectof ” aresetto ” ” ” ” andFilterB(HighPassFilter) toa toa ﬁ youcanoperateasinglecontrollerto lter modulationintensitycanbecontrolled by value,playingtowardeitherendofthe value,thewaheffectwilldeepenasEG Filter KTrk JS EG Ribbon:CC#16 “ AMS Intensityto A positive (+) positive (+) KT(Flt KTrk, AmpKTrk) – astheAMS,auto-waheffect value x(1/64...1...64) value x(1/64...1...64) positive (+) Y:CC#02 –1...0...+1[Octave] –1...0...+1[Octave] –1...0...+1[Octave] ” and –99...0...+99 –63...0...+63 –99...0...+99 –99...0...+99 –99...0...+99 –99...0...+99 “ AMS Intensity – – – “ “ or AMS IntensitytoB Filter Type astheAMSandset “ – value,movingthejoystickin value,operatingtheribbon AMS Intensity Amp KTrk 1b) astheAMSandset values, “ “ AMS Intensity Ramp Low – ” ...36(C2)...60(C4)...84(C6) and value x(...1/64...1...64...) value x(...1/64...1...64...) 2b) ...–1...0...+1...[Octave] ...–1...0...+1...[Octave] ” ” dedicated parameter KT(Note Number)*1 Amp KTrk [+/+] toa is ...–63...0...+63...... –99...0...+99...... –99...0...+99...... –99...0...+99... astheAMS,you –99...0...+99 Low PassReso- “ – “ AMS Intensity 3a) ” negative ( AMS itsettoa ” – – – ... ” and toindepen- “ ” AMS toa “ “ “ AMS AMS Ramp – ) is –1...0...+1[Octave] *5 value x(1/64...1...64) value x(1/64...1...64) JS X/Ribbon:CC#16 –1...0...+1[Octave] –1...0...+1[Octave] –Max...0...+Max value x(0...1...8) –99...0...+99 –63...0...+63 –99...0...+99 –99...0...+99 –99...0...+99 –99...0...+99 –99...0...+99 • • • trollers, ortempoetc. The volumecanbecontrolled bythepitch/ Amp (ProgramP4:4 • tracking, controllers, ortempoetc. The oscillatorpancanbecontrolled byEG,LFO,keyboard Pan (ProgramP4:4 • by EG,keyboard tracking,controllers, ortempoetc. The ampmodulationintensityofLFO1/2canbecontrolled Amp LFO1/2Intensity(ProgramP4:4 • • the AMS,setting “ EG. Select volume changeinsynchronizationwiththepitch/filter produced bytheampEG,youcanalsomake In additiontothetime-variantchangesinvolume negative ( the AMS),ortodecreasevolumezero(for that ofthecurrentvolume(forpositive(+)changes you toincreasethevolumeamaximumofeighttimes volume, setalllevelsoftheAmpEGto AmpEG andusethepitch/filterEGtocontrol ( AMS, settingthe If anEG,LFO,orcontrollerthatchangeswitha of thecurrentvolume. to increasethevolumeamaximumofeighttimesthat value ( If anEGorcontrollerthatchangeswitha or above,andfarleftatC2below. keyboard position:centerattheC4note,farrightC6 Intensity If youselect “ synchronization withthechangesinEGlevel.Ifyouset effect producedbyLFOmodulationwillchangein If youselect EG levelfalls.If effect willdeepenastheEGlevelrises,andlessen [SW2] keywhendesired. can applythetremoloeffectbypressing[SW1]or If selectacontrollersuchas value, thephaseofLFOwillbeinverted. negative ( the [SW1]or[SW2]key. can applytheauto-waheffectwhendesiredbypressing If youuseacontrollersuchas LFO willbeinverted. Pitch EG AMS Intensity. AMS Intensity value x(1...64) value x(1...64) 0...+1[Octave] 0...+1[Octave] 0...+1[Octave] value x(1...8) Amp EG EXT(+) *2 0...+99 0...+63 0...+99 0...+99 0...+99 0...+99 0...+99 0...127 ” , – to – PitchEG Filter EG ) changesoftheAMS). ) valuesof Note Number EG +50 ” , astheAMS,depthoftremolo ” “ , panningwillbecontrolledbythe toa EXT(+) “ Ifyouwishtocanceltheeffectof AMS Intensity AMS Intensity – value x(1/64...1...64) value x(1/64...1...64) or –1...0...+1[Octave] –1...0...+1[Octave] –1...0...+1[Octave] – 1b) –Max...0...+Max , value x(0...1...8) “ 2b) LFO –99...0...+99 –63...0...+63 –99...0...+99 –99...0...+99 –99...0...+99 –99...0...+99 –99...0...+99 positive (+) AMS Intensity “ EXT(+–) *3 FilterEG AMS Intensity, , EXT(SW) , astheAMSandset KT SW1 SW1 , astheAMS,andadjust EXT(+ ” or ” issettoa value, thetremolo to ) isselectedasthe or 2 value x(...1/64...1...64...)*8 ” +99 astheAMS,you value x(...1/64...1...64...) ( to ...–1...0...+1...[Octave] ...–1...0...+1...[Octave] ...–1...0...+1...[Octave] – ” 2 +99 )=...60...120...240... ) thephaseof astheAMS,you value x(0...1...8...) – ...–63...0...+63...... –99...0...+99... isselectedas ...–99...0...+99...... –99...0...+99...... –99...0...+99...... –99...0...+99... ﬁ EXT(Tempo) *4 willallowyou +99 2c) –99...0...+99 lter EG,con- positive (+) . negative ( willallow “ ± AMS value 213 – )

Appendices • If EG is selected as the AMS, the oscillator pan will be the LFO frequency will be increased by a maximum of 2 controlled in synchronization with the changes in EG times. If you set “AMS Intensity” to –16 and move the level. If “AMS Intensity” is set to a positive (+) value, joystick in the +Y direction, the LFO frequency will be the pan will move toward the right as the EG level decreased by up to 1/2. increases, and toward the left as the EG level decreases. If “AMS Intensity” is set to a negative (–) value, the opposite effect will occur. Dynamic Modulation Source EG Level - Pitch EG (Program P2: 2–3b) (Dmod) Filter EG (Program P3: 3–4b) 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 EG levels can be controlled by keyboard tracking, control- way is referred to as Dynamic Modulation. For example, lers, or tempo etc. you can use After Touch to speed up the LFO of the chorus Set the “AMS Intensity” value, and select +/–/0 for each EG and flanger, or you can use the ribbon controller to activate segment (“St” start, “At” attack, “Br” break) to specify the the wah effect. In this way, you will be able to take full direction of the effect (if any) on that segment. advantage of the effects as part of the expressive potential of +: AMS will function according to the Intensity setting. your instrument. –: The sign of the Intensity setting will be inverted. Most of the parameters for dynamic modulation consist of 0: AMS will have no effect. parameter values for Src (source) and Amt (amount). The If “AMS Intensity” is set to +66, the various EG levels can be Src field selects the modulation source, and Amt sets the controlled over a maximum range of ±99. amount of dynamic modulation effect. When the modulation source is set to the maximum value, the actual degree of • Set “AMS” to Velocity for Amp EG Level Modulation, the effect will be the parameter value plus the Amt value. “AMS Intensity” to +66, “St” to 0, “At” to +, and “Br” to –. Set all Amp EG levels to +00. As you play with In Program and Sampling modes, dynamic modulation increasing velocity, the EG levels will change more of the insertion effects and master effects is controlled greatly. At the maximum velocity, the Start Level will via the global MIDI Channel. (In Sampling mode, only stay at +00, but the Attack Level will change to +99 and the insertion effects can be used.) the Break Level will change to –99. In Combination, Sequencer, and Song Play modes, dynamic modulation for the insertion effects and mas- EG Time - Pitch EG (Program P2: 2–3c) ter effects is controlled on the MIDI channel indepen- Filter EG (Program P3: 3–4c) dently specified by the “Ctrl Ch” for IFX1–5, MFX1, and Amp EG (Program P4: 4–3c) MFX2. EG times can be controlled by keyboard tracking, control- Example: “Wet/Dry” 10:90, “Src” After Touch, “Amt” +50 lers, or tempo etc. Set the “AMS Intensity” value, and select In this case, the effect balance is 10:90. As you apply After +/–/0 for each EG segment (“At” attack, Dc” decay, “Sl” Touch, the percentage of the effect sound will increase. slope, “Rl” release) to specify the direction of the effect (if When After Touch is at its maximum, the effect balance will any) on that segment. be 60:40. +: AMS will function according to the Intensity setting. –: The sign of the Intensity setting will be inverted. Dynamic Modulation (Example) Wet / Dry 0: AMS will have no effect. Wet / Dry=10:90 Each EG time is determined by the Alternate Modulation Wet Amt= +50 value at the moment that the corresponding EG point is Wet / Dry=60:40 Amt= –50 reached. For example, the Alternate Modulation value at the 60:40 moment that the Attack Level is reached will determine the Decay Time. If “AMS Intensity” is set to a value of 8, 17, 25, 33, 41, or 49, the corresponding time can be multiplied by a maximum of 10:90 D-mod Dry 2, 4, 8, 16, 32, or 64 times (or divided by 1/2, 1/4, 1/8, 1/16, Zero Higher Max 1/32, 1/64). • Select JS +Y:CC#01 for “AMS,” and set “AMS Intensity” The dynamic modulation effect will not be affected if to +8, “At” to +, “Dc” to –, and “Sl” and “Rl” to 0. When you modify the “Amt” value while dynamic modula- you move the joystick in the +Y direction, the Attack tion is being applied. The change will become effective Time will be lengthened by a maximum of 2 times. The when you operate the dynamic modulation source Decay Time will be shortened by a maximum of 1/2. again. The Slope and Release times will not change. Refer to the corresponding effect section for an explanation LFO Frequency (Program P5: 5–1b) 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- tion parameters are marked by a symbol at the right board tracking, controllers, or tempo etc., You can even use of the parameter. the LFO2 frequency to modulate the LFO1 frequency. If “AMS 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). • Select JS +Y:CC#01 for “AMS,” and set “AMS Intensity” to +16. When you move the joystick in the +Y direction,

214 Gate 1+Dmpr, thetriggeroccursonlyfor ger willoccurateachnote-on.(InthecaseofGate1and Flanger etc.orthe AUTOFADE of027:Stereo Vibrato, atrig- dynamic modulationsource fortheEGof022:St.Envelope However when This isessentiallythesameasforGate1or+Dmpr. Gate2, Gate2+Dmpr(Gate2+Damper) long asthedamper(sustain)pedalispressed. will remain atmaximumevenafterthekeysare released, as when allkeysare released. With The effect isatmaximumduring note-on,andwillstop Gate1, Gate1+Dmpr(Gate1+Damper) Dynamic ModulationSourceList nb4[](nbMd:C#1[] eliecnrlko nBmd + ( ( ( ( ( ( ( ( ( ( ( realtimecontrolknob4inB-mode[+] realtimecontrolknob3inB-mode[+] realtimecontrolknob2inB-mode[+] ( realtimecontrolknob1inB-mode[+] KnobM4 [+](KnobMod4: CC#21[+]) realtimecontrolknob4inB-mode(knobmodulationCC#21) ( KnobM3 [+](KnobMod3: CC#20[+]) realtimecontrolknob3inB-mode(knobmodulationCC#20) KnobM2 [+](KnobMod2: CC#19[+]) realtimecontrolknob2inB-mode(knobmodulationCC#19) KnobM1 [+](KnobMod1: CC#17[+]) realtimecontrolknob1inB-mode(knobmodulationCC#17) value slider(CC#18) controller(CC#16) ribbon KnobM4: #21(KnobMod4: CC#21) KnobM3: #20(KnobMod3: CC#20) KnobM2: #19(KnobMod2: CC#19) aftertouch(ChannelAfter VelocityTouch) MIDIeffect control2(CC#13) joystick X(horizontal) direction KnobM1: #17(KnobMod1: CC#17) MIDIeffect control1(CC#12) Slider: #18(Value Slider: CC#18) assignable foot pedal (CC#04) notenumber noteon/off(retrigger) Ribbon: #16(Ribbon: CC#16) joystick Y(toward yourself) direction(CC#02) FXCrtl2: #13(FXControl2: CC#13) joystick +Y(away) direction(CC#01) noteon/off FXCrtl1: #12(FXControl1: dynamicmodulationisnotused CC#12) Pedal: CC#04(Foot Pedal: CC#04) JS–Y: CC#02(Joy Stick –Y: CC#02) JS+Y: CC#01(Joy Stick +Y: noteon+damperon/off(retrigger) CC#01) Explanation JS X(Joy Stick X) After Touch noteon+damperon/off Velocity Note Number Gate2+Dmpr (Gate2+Damper) Gate2 Gate1+Dmpr (Gate1+Damper) Gate1 Off Source name otS:#2(otSic:C#2 sinbefo wth(C8)( clock orexternal tempo(internal MIDIclock tempodata) ( ( MIDIControlChange(CC#83) assignable foot switch (CC#82) assignable panelswitch 2(SW2modulationCC#81) Tempo assignable panelswitch 1(SW1modulationCC#80) MIDI: CC#83 sostenuto pedal(CC#66) Foot SW: #82(Foot Switch: CC#82) damperpedal(CC#64) SW 2: CC#81(SW2Mod.: CC#81) SW 1: CC#80(SW1Mod.: CC#80) switch (CC#65) portamento Sostenu: #66(Sosutenuto: CC#66) Prta.SW: #65(Portamento Switch: CC#65) Damper: #64(Damper: CC#64) Gate2 Gate2+Dmpr Damper Pedal Gate1 Gate1+Dmpr Damper Note Note Gate 2

Pedal 1 1 or 2 2 Gate 2+Dmpr 1 1 3 3 Gate1 +Dmpr 2 2 Gate2,Gate2+Dmpr 3 Gate1,Gate1+Dmpr 3 are usedasa On Off Time On Off Time Dmpr Dmpr ﬁ , theeffect rst note-on.) Moving theknobto12o ate knobs[1] When yousetREALTIME CONTROLStoB-modeandoper- When the Slider: #18(Value Slider:CC#18) jack canbeusedtocontrol aneffect. A footcontroller etc.connectedtothe ASSIGNABLE PEDAL modulation source, set If youwishtousetheassignablefootpedalasadynamic Pedal: CC#04(FootCC#04) Controller tabparameter Combination, Song,SongPlay, orSamplingmodestosetthe a dynamicmodulationsource, makesettingsinProgram, If youwishtouseaREALTIME CONTROLSknob[1] KnobM4: #21(KnobMod4:CC#21) KnobM3: #20(KnobMod3:CC#20) KnobM2: #19(KnobMod2:CC#19) KnobM1: #17(KnobMod1:CC#17) sponding toCC#18. mode, the[VALUE] sliderwillfunctionasacontroller corre- name troller 2 Assign KnobMod1 (CC#17) “ KnobMod4 (CC#21) Knob3 ” editcellisselectedinProgram modeorCombination ” – – tothefollowingsettingsrespectively: B 1a) to ” “ to Program No.:name – [4], theeffect will becontrolled. KnobMod3 (CC#20) Foot Pedal(CC#04) , . ( “ Knob2 “ Foot Pedal Assign “ “ Knob1...4-B Assign Realtime Control KnobsB- ’ clock positionwillproduce a – B ” ” or to . ( , or “ KnobMod2 (CC#19) Combination No.: “ “ Foot Pedal Assign. Knob4 ” (GlobalP2:Con- ” ) “ – Knob1-B B ” to ( – P.216) P.216) P.216) P.215) P.215) P.215) P.215) P.215) P.215) P.215) P.215) P.215) P.215) P.216) P.216) P.216) P.216) [4] as 215 ” , to ” )

Appendices effect of 0 as the dynamic modulation source. If “Amt” is a About the BPM/MIDI SYNC function positive (+) value, rotating the knob toward the right will produce a positive change in the effect, and rotating it BPM/MIDI SYNC can be used for most effects that have an toward the left will produce a negative change. (With nega- LFO, such as 009:St. Wah/Auto Wah, and for some delay- tive (–) values, the opposite effect will result.) type effects such as 049:L/C/R BPM Delay. You can apply modulation that is synchronized to the tempo, or specify the KnobM1 [+] (Knob Mod1: CC#17 [+]) delay time in terms of a note value so that the effect will syn- KnobM2 [+] (Knob Mod2: CC#19 [+]) chronize to the tempo of the arpeggiator or sequencer dur- KnobM3 [+] (Knob Mod3: CC#20 [+]) ing a live performance even if you change the tempo. KnobM4 [+] (Knob Mod4: CC#21 [+]) These differ from KnobMod1:CC#17–KnobMod4:CC#21 in Parameters that allow BPM/MIDI SYNC to be used are the knob position and direction of the effect. If “Amt” is set marked by a symbol at their right in the list of param- to a positive (+) value, rotating the knob to the far right will eters for each effect. produce an effect of 0 as the dynamic modulation source. Rotating the knob toward the right will apply an effect only Example 1. LFO in the positive direction. (With negative (–) settings, the “BPM/MIDI Sync” On opposite effect will result.) “Base Note“ “Times” x1 SW 1: CC#80 (SW1 Mod.: CC#80) In this case, each cycle of the LFO will be as long as one SW 2: CC#81 (SW2 Mod.: CC#81) quarter note. If you wish to use the [SW1] or [SW2] key as a dynamic BPM/MIDI Sync: LFO modulation source, make settings in Program, Song, Song LFO Play, or Sampling modes to set the Controller tab parameter “Panel Switch Assign” to the following values respectively: “SW1” to SW1 Mod1 (CC#80), or “SW2” to SW2 Mod2 (CC#81) (“SW1/2 Assign”). The effect will be controlled when you operate the [SW1] or [SW2] key. If “BPM” is set to MIDI, the effect will synchronize to the tempo of the arpeggiator or sequencer (or to an external Foot SW: #82 (Foot Switch: CC#82) MIDI clock). If “BPM” is in the range of 40–240, the speciﬁed If you wish to use an assignable foot switch as a dynamic value will be used. modulation source, set “Foot Switch Assign” (Global P2: Controller 2–1a) to Foot SW (CC#82) (“Foot Switch Example 2. Delay Time Assign”). “L Delay Base Note” The effect will be controlled when you operate a foot switch “Times” x1 etc. connected to the ASSIGNABLE SWITCH jack. “R Delay Base Note” Tempo “Times” x3 Modulation sources other than Tempo are internally pro- In this case, the delay time of the left channel will be the cessed as a value of 0–127 (–128 – +127). In contrast, Tempo duration of an eighth note, and the delay time of the right uses the tempo data (BPM value) of the internal clock or the channel will be the duration of a sixteenth note triplet. external MIDI clock. This means that when “ ” is 127 (BPM), BPM/MIDI Sync: Delay Time it will have the same result as the maximum value (+127) of Dry Wet other modulation sources. 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 conjunction 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.)

216 When Program P1:Edit-Basic Switch:CC#65) Porta.SW:CC#65 (Portamento CC#80, andSW2ishandledasCC#81. This effect differs betweenSW1andSW2.ishandledas SW2 Mod.:CC#81(SW2Modulation:CC#81) SW1 Mod.:CC#80(SW1Modulation:CC#80) SW1, SW2AssignList • [SW2] keys. The followingfunctionscanbeassignedtothe[SW1]or mento regardless oftheP2:Edit-Pitch Single • If ting, andturningtheswitchoff willnotapplyportamento. • Pitch Pitch when theswitchisturnedoff (LEDdark).Ifthe P2: Edit- (LED lit),andportamentowillnotbeappliedtoOSC12 will beappliedtoOSC1and2whentheswitchisturnedon Enable OSC1 is when theswitchisturnedoff (LEDdark). (LED lit),andportamentowillbeappliedtoneitherOSC OSC whosesettingis and OSC2is SYLc okteefc ftejytc Ydrcin ( ( ( Lock theeffect ofthejoystick -Ydirection. Lock theeffect ofthejoystick +Ydirection. Lock theeffect ofthejoystick Xdirection. between Eachtimeyou 1octave pressSW1(or SW2),thepitchwillalternate higherandtheorigi- between Eachtimeyou 1octave pressSW1(orSW2),thepitchwillalternate lower andtheoriginal nofunction JS-Y Lock JS+Y Lock JS XLock Octave Up OctaveDown willbeapplied. iton(LEDlit),portamento Whenyou Eacht pressSW1(orSW2)toturn Porta.SW:CC#65 (Portamento Switch:CC#65) SW2 Mod.:CC#81(SW2Modulation:CC#81) SW1 Mod.:CC#80(SW1Modulation:CC#80) Off fe oc okLc h feto fe oc.( ( Lock theeffect ofaftertouch. ( ( Simultaneously lock theeffects ofthejoystick controller. -Ydirectionandtheribbon ( Lock theeffect controller. oftheribbon Simultaneously lock theeffects ofthejoystick controller. +Ydirectionandtheribbon Simultaneously lock theeffects ofthejoystick controller. Xdirectionandtheribbon After Touch Lock JS-Y &Ribbon Lock JS+Y &Ribbon Lock JS X&Ribbon Lock Ribbon Lock “ Controller tab For aprogram,assignmentsaresetbyProgramP1: P4: Controllertab For acombination,assignmentsaresetbyCombination Sequencer P4:Controllertab For songsinSequencermode,assignmentsaresetby 7a). Oscillator Mode “ “ , turningtheswitchon(LEDlit)willapplyporta- Enable Enable or Enable Disable Enable ” ” (2 (2 andOSC2is – SW1/2 Assign – “ 1c) settingisthesameforOSC1and2(i.e., 1c) settingisdifferent forOSC1and2 (i.e., forbothOSC1and2),thenportamento Panel SwitchAssign ” ), thenportamentowillbeappliedtothe (1 “ Enable Panel SwitchAssign – 1a) is whentheswitchisturnedon Disable Double “ Oscillator Mode “ Panel SwitchAssign , orOSC1is , andiftheP2:Edit- “ ” Enable (1 undO/f,C#5wl etasitd(f:0 n 2) ( ( nal octave setting(1octave upwhentheLEDislit). octave setting(1octave down whentheLEDislit). On/Off,turned CC#65willbetransmitted (Off: 0,On: 127). CC#80 (orCC#81)messagewillbetransmitted (Off: 0,On: 127). In thiscase, you must ﬁrstspecifythecontroldestination. Eachtimetheswitch On/Off, isturned a Select thiswhenusingtheswitch ModulationorEffect asanAlternate DynamicModulationsource. – ” 4a). (4 ” – (2 ” 4a). (1 Disable – 1c) set- – 1a) is ” (4 –

• • types ofmodulation(joystick+Y and can evenmovethejoystickin tion, themodulationwillcontinuetoapply. At thistimeyou position. Evenifyoureturn thejoysticktoitsoriginalposi- produced bythejoystick(+Y)willbelocked(held)atthat away from yourself,andthenturnLockon,theoperation For exampleifyouselectJS(+Y)Lock,movethejoystick effect tothecenterposition. ing your Lock onwilllock( While thejoystickoraftertouchisbeingoperated,turning (Lock whentheLEDislit). ler, aftertouch)willalternatebetweenLockandUnlock The stateoftheselectedcontroller (joystick,ribboncontrol- JS-Y &RibbonLock,AfterTouch Lock JS X&RibbonLock,JS+Y&Ribbon JS XLock,JS+YJS-YRibbon your the effect atthattimewillbeheldevenafteryourelease that controller. IfLockisturnedonfortheribboncontroller, P2: ControllerSetup For SongPlaymode,assignmentsaresetby P4: ControllerSetup For Samplingmode,assignmentsaresetby the entire mode. mode andSamplingmode,thesesettingsare madefor and inSequencermodeforeachsong.InSongPlay program, inCombinationmodeforeachcombination, These settingscanbemadeinProgram modeforeach but reception willstilloccur. mission ofthecorresponding controller willbehalted, When youLockthejoystickoraftertouch,MIDItrans- fi nger from theribboncontroller. IfLockisoff, releas- fi nger from theribboncontroller willreset the fi x) theeffect atthecurrent positionof “ “ Panel SwitchAssign Panel SwitchAssign – Y direction toapplyboth – Y) simultaneously. ” ” (2 (4 – – ime thisis 1a). 1a). P.217) P.217) P.217) P.217) P.217) P.217) P.217) P.217) P.217) P.217) 217

Appendices • For Song Play mode, assignments are set by Song Play Knob 1...4 B-Assign P2: Controller Setup “Realtime Control Knob B-Assign” (2–1b). The following functions can be assigned to the REALTIME • For Sampling mode, assignments are set by Sampling CONTROLS [1]-[4] knobs in B-mode. P4: Controller Setup “Realtime Control Knob B-Assign” • For a program, assignments are set by Program P1: (4–1b). Controller tab “Realtime Control Knob B-Assign” (1–4b). These settings can be made in Program mode for each • For a combination, assignments are set by Combination program, in Combination mode for each combination, P4: Controller tab “Realtime Control Knob B-Assign “ and in Sequencer mode for each song. In Song Play (4–4b). mode and Sampling mode, these settings are made for • For a song in Sequencer mode, assignments are set by the entire mode. Sequencer P4: Controller tab “Realtime Control Knob B- Assign” (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) 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. Knob Mod. 3 (CC#20) 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. Knob Mod. 4 (CC#21) 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. Master Volume 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 balance between tracks or timbres). Portamento Time (CC#05) Control the portamento time. CC#5 will be transmitted. Volume (CC#07) Control the volume. CC#7 will be transmitted. Post IFX Pan (CC#08) Control the panning after the insertion effect. CC#8 will be transmitted. Pan (CC#10) Control the oscillator panning. CC#10 will be transmitted. Expression (CC#11) Control the expression. CC#11 will be transmitted. 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) Control the EG intensity of the filter. Simultaneously, CC#79 will be transmitted. F/A Attack (CC#73) Control the EG attack of the filter and amplifier. Simultaneously, CC#73 will be transmitted. F/A Decay (CC#75) Control the EG decay time and slope time of the filter and amplifier. Simultaneously, CC#75 will be transmitted. F/A Sustain (CC#70) Control the EG sustain level of the filter and amplifier. Simultaneously, CC#70 will be transmitted. F/A Release (CC#72) Control the EG release time of the filter and amplifier. Simultaneously, CC#72 will be transmitted. Pitch LFO1 Spd (CC#76) Control the frequency of LFO1. Simultaneously, CC#76 will be transmitted. Pitch LFO1 Dep (CC#77) Control the LFO1 intensity of the pitch. Simultaneously, CC#77 will be transmitted. Pitch LFO1 Dly (CC#78) Control the delay of LFO1. Simultaneously, CC#78 will be transmitted. SW 1 Mod. (CC#80) 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) 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. Foot Switch (CC#82) 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. 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 MIDI:CC#83. Simultaneously, CC#83 will be transmitted. MFX Send 1 (CC#93) Control the send level to Master Effect1. Simultaneously, CC#93 will be transmitted. MFX Send 2 (CC#91) Control the send level to Master Effect2. Simultaneously, CC#91 will be transmitted. MIDI CC#00...CC#95 The specified MIDI control change (CC#) will be transmitted. If the TRITON is set so as to be controlled by the control change message, the corresponding control will occur.

218 high pass Control theresonance levelorthecutoff frequency ofthe CC#71) Knob2-A: RESONANCE/HPF(FilterResonance/HPFCutoff: Simultaneously, CC#74willbetransmitted. Knob4-A: EG-Release(Filter, Ampli be transmitted. Control the Knob3-A: EG-Intensity(FilterEGIntensity:CC#79) will betransmitted. high pass Type Resonance Simultaneously, CC#72willbetransmitted. Control therelease timeofthe Control thelowpass CC#74) Knob1-A: LPFCUTOFF(FilterCutoff: Foot SwitchAssignList u eetCnrlThiscanbeusedifinSequencerP1: CueList,the “Repeat” (1–1d)settingofeachstephasbeensetto IfSequencerP0: Preference “Recording Setup”(0–7a)issetto the sequencer. Theswitch canbeusedtostart/stop Simultaneously, orStopmessagewillbetransmi aMIDIStart Cue RepeatControl Song PunchIn/Out Theswitch canbeusedtoselectprograms orcombinations. When inProgram P0: Play,Song Start/Stop theprogram thatprecedesthe Theswitch canbeusedtoselectprograms orcombinations. When inProgram P0: Play, theprogram thatfollows thecur Program Down Turn on/off. thearpeggiator The NRPNmessage[Bn6300Bn620206(off)or7F(on)]willbetransmitted each Turn thesoftpedaleffect on/off. Program Up SW Arpeggio Soft (CC#67) f Theconnectedfoot switch willnotfunction. Controlthesostenuto effect (whichholdsonlythekeys (NoteNo.) thatwere beingheldatthemomentthat Sostenuto (CC#66) ModulationorEffect Alternate DynamicModulationcanbecontrolled. To on/off. controlthese, Controlportamento set “AMS” or “Dmod Src” t Portamento SW(CC#65) Foot SW(CC#82) Off are The A-mode functionsoftheREALTIME CONTROLS ” is fi Low Pass&High xed. fi fi , theresonance levelwillbecontrolled. If lter. Iftheprogram lter willbecontrolled. Simultaneously, CC#71 fi lter EGintensity. Simultaneously, CC#79will fi lter cutoff frequency ofthe reached, thiswilladvance tothenext step(song). pedal switch for onwhilethatstepisrepeatingwillbethetrigger advancing tothenext step. When theendofsongis time this is turned on/off.time thisisturned and punch-outwhenrecordingonthesequencer. transmitted. selected combinationwillbeselected. Simultaneously, aBankSelectmessageandProgram Changemessagewillbe currently selectedprogram willbeselected. When inCombinationP0: Play, thecombinationthatprecedescurrently transmitted. selected combinationwillbeselected. Simultaneously, aBankSelectmessageandProgram Changemessagewillbe rently selectedprogram willbeselected. When inCombinationP0: Play, thecombinationthatfollows thecurrently switch on). was turned SW:#82 fi “ . , thecutoff frequency ofthe lter andampli Filter Type fi er EGRelease:CC#72) ” is fi Low Pass er EG. fi lter. “ Filter • ABLE SWITCHjack. rately soldKorg PS-1option)connectedtothe ASSIGN- You canassignthefunctionofanassignableswitch(sepa- When the SW(CC#65) Portamento “ will applyportamentoregardless oftheP2:Edit-Pitch “ If portamento. for OSC1and2(i.e.,is If theP2:Edit-Pitch switch isturnedoff. portamento willnotbeappliedtoOSC1and2whenthe applied toOSC1and2whentheswitchisturnedon, Disable be appliedtotheOSCwhosesettingis OSC1 is ther OSCwhentheswitchisturnedoff. switch isturnedon,andportamentowillbeappliedtonei- Enable Enable “ Switch Assign This settingismadeinGlobalP2:Controller Oscillator Mode the switchisturnedon/off. (Off: 0, On:127) control changemessagewillbetransmittedeachtime If youselectafunctionthatincludesCC#,MIDI ” ” forbothOSC1and2),thenportamentowillbe Disable setting,andturningtheswitchoff willnotapply settingisthesameforOSC1and2(i.e., “ Manual Punch In Oscillator Mode Foot SwitchAssign andOSC2is ” (2 ” “ is Portamento Enable – 1a). Double , theswitch canbeusedtopunch-in ” is Enable Enable Single , andiftheP2:Edit-Pitch andOSC2is ), thenportamentowill , turningtheswitchon Enable ” settingisdifferent FS whenthe . Turningthe “ Disable Foot Enable pedal o tted. 219 Foot or , or

Appendices Foot Pedal Assign

You can assign the function that will be controlled by an assignable pedal (separately sold Korg XVP-10 or EXP-2 option) connected to the ASSIGNABLE PEDAL jack. • This setting is made in Global 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 pedal is operated. (min: 0, max: 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 timbres 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 Control the speed at which portamento will change the pitch. (CC#05) Volume (CC#07) Control the volume of a Program, of a timbre in a Combination, or of a track in Sequencer/Song Play modes. Post IFX Pan (CC#08) Control the pan after passing through the insertion effect. Pan (CC#10) 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) Control Effect Dynamic Modulation. To control this, set Dmod Src to “FXCtrl1:#12. FX Control 2 (CC#13) Control Effect Dynamic Modulation. To control this, set Dmod Src to “FXCtrl2:#13. MFX Send 1 (CC#93) 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.

220 and *indicatesanassignablefunction. spond toeachMIDImessage.#indicatesa source) orDMS(dynamicmodulationsource) thatcorre- lers are operated,andthe AMS (alternatemodulation messages thatare transmittedwhentheTRITON The followingtableshowstherelation betweentheMIDI MIDI channelmessages C akslc MB * Bankselect(MSB) 0 CC# when theTRITON 0..2 - 102...127 MIDI transmission/reception 4.9 - 84...90 – 68...69 – 39...63 – 33...37 2.3 – 22...31 14...15 0 RPN(MSB)0 101 RPN(LSB) 100 2Fo wthO/f * * * * * * * * * * * *(SW2) * *(SW1) * * * * * * * * * NRPN(MSB)0 * 99 * * * * *(Knob3) NRPN(LSB) 98 Datadecrement 97 Dataincrement 96 * * Effect depth5(mastereffect 2 95 * (Knob4) Effect depth4(mastereffect 1 94 Effect depth3(send1level) * 93 * effect Effect depth2(insertion * *(Knob1) 92 Effect depth1(send2level) 91 * Controller(CC#83) 83 Foot switch On/Off 82 * SW2modulationOn/Off 81 SW1modulationOn/Off 80 FilterEGintensity 79 LFO1delay 78 LFO1depth(pitch) 77 LFO1speed 76 Decay time 75 Low passfiltercutofffrequency 74 Attack time 73 Releasetime 72 Filterresonancelevel/High pass 71 Sustainlevel 70 Soft 67 Sostenuto On/Off 66 Portamento On/Off 65 Damper 64 (LSB) Dataentry 38 Bankselect(LSB) 32 1Ko ouain4* * * * * * * * * # # Knobmodulation4 21 Knobmodulation3 20 Knobmodulation2 19 Controller(CC#18) 18 Knobmodulation1 17 Ribbon controller 16 Effect control2 13 Effect control1 12 Expression 11 0Panpot 10 otisrinefc apt* 9– Post effect panpot insertion 8 aaety(S)* * * * * #(–Y) #(+Y) Volume 7 (MSB) Dataentry 6 Portamento time 5 Foot controller 4 3– Modulation2 2 Modulation1 1 Universal exclusive atrvlm * Master coarsetune Master finetune Master balance Master volume 0 regao aecnrl# #(X) Bender change Channel aftertouch Program change 2: Coarsetune 1: Finetune 0: Bendrange 11: velocity control Arpeggiator 10: gatecontrol Arpeggiator 2: on/offswitch Arpeggiator On/Off) On/Off) 1,2,3,4,5 On/Off) filter cutofffrequency Poly aftertouch Note-on (velocity) Note-on (notenumber) Note-off are operated o tc ibnValue Ribbon Joy Stick ’ s controllers fi xed function, Slider ’ s control- Ko2 * * (Knob2) Realtime Controls A Realtime Controls B * * * * * *** * * * * * * * * *#** RTNcnrle Available TRITON controller bend aswell.) given onlyforcontrol changes,butthesameappliestopitch tion ineachmodeisdescribedbelow. (Explanationsare joystick ismovedintheX(horizontal)direction. Theopera- ted. PitchBendmessageswillbetransmittedonlywhenthe responding ortheassignedcontrol changewillbetransmit- When oneoftheTRITON Knob Gate ##* # ## Velocity Knob # W, ARPOn/ SW1,2 Off #* ’ s controllers isoperated,thecor- aprAssign- Damper Switch able Assign- Pedal able * * * * ** ** *** * * * for AMS * ** ** ** ** ** ** ** ** ** ** ** ** ** Available 221 DMOD for for

Appendices Program mode Song Play mode When one of the TRITON’s controllers is operated, a control When one of the TRITON’s controllers is operated, the effect change message will be transmitted on the global MIDI will apply to the track 1–16 that is selected by “Play Track channel (“MIDI Channel” Global P1: 1–1a). Select” (Song Play P0: 0–1g). If the B-mode of a REALTIME CONTROLS [1]–[4] knob If the “Status” (Song Play P1: 1–1a, 1–2a) of the track or the assignable pedal has been set to Master Volume, selected by “Play Track Select” is either EXT or BTH, control the universal system exclusive message Master Volume change messages will be transmitted on the MIDI channel of will be transmitted. the track (or in the case of Song Play mode, on MIDI channels 1–16 for tracks 1–16). Combination mode If the “Status” is INT or BTH, operating one of the TRI- When one of the TRITON’s controllers is operated, a control TON’s controllers will affect that track. change message will be transmitted on the global MIDI channel (“MIDI Channel” Global P1: 1–1a). In the case of Master Volume, the universal exclusive Simultaneously, the message will also be transmitted on the message Master Volume will be transmitted. MIDI channel (“MIDI Channel” Combination P2: 2–1a) of Effect dynamic modulation can be controlled when the “Ctrl any timbre whose “Status” (Combination P0:0–1f, P2: 2–1a) Ch” (Song Play P8: 8–4a, P9: 9–2a, 9–4a) setting for IFX1–5, is EXT or EX2. MFX1, 2, or MEQ matches the MIDI channel of the track When one of the TRITON’s controllers is operated, its effect selected by “Track Select.” (In the case of All Routed, control will apply to any timbre whose “Status” is INT and whose is possible on the MIDI channel of all routed tracks.) “MIDI Channel” setting is either Gch or the same as the global MIDI channel. Sampling mode When one of the TRITON’s controllers is operated, a control In the case of Master Volume, the universal exclusive change message will be transmitted on the global MIDI message Master Volume will be transmitted only on the channel (“MIDI Channel” Global P1: 1–1a). global MIDI channel. In the case of Master Volume, the universal exclusive You can make settings for MIDI Filter (Combination P3) message Master Volume will be transmitted. to enable or disable control changes and controllers for each timbre. When checked, the above operations will It is not possible to make AMS settings in Sampling be enabled. mode. 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 channel as the global MIDI channel. (In the case of All Routed, control is possible on the MIDI channel of any routed timbre.) Sequencer mode When one of the TRITON’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, 2–2a). If the “Status” is INT or BTH, operating one of the TRI- TON’s controllers will affect only that track. Simultaneously, 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. 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.) If one of the TRITON’s controllers is operated during realtime recording, the corresponding or assigned control change will be recorded.

222 0 P(S)0slc h ic edrne*2 *6 MSBofRPN *6 selectthepitchbendrange 0 *4 MSBofNRPN *4 *4 0 *6 *4 0 2 0 0 send1level RPN(MSB) master effect 2on/off 101 send2level master effect 1on/off 0(Off),1...127(On) 0...127 *4 0(Off),1...127(On) RPN(LSB) effect 1,2,3,4,5on/off insertion turn for ModulationorEffect controllingAlternate Dynamic Modulation NRPN(MSB) 100 *4 0...127 *4 0(Off),1...127(On) 99 *4 NRPN(LSB) 0...127 *4 LFO1delay Datadecrement 98 filterEGintensity pitchLFO1intensity Dataincrement 97 *2 Effect 5depth 96 LFO1speed correspondstoon/offwhenthefunctionofassignable foot switch issetto decay times/slopetimesofthefilterEGandamp 0...127 Effect 4depth 95 0...63(Off),64...127(On) *1 0...127 Effect 3depth 0...127 94 correspondstoon/offwhentheSW2functionissetMod. attack timesofthefilterEGandamp Effect 2depth 93 0...127 0...63(Off),64...127(On) correspondstoon/offwhentheSW1functionissetMod. 0...127 Effect 1depth 92 0...63(Off),64...127(On) releasetimesofthefilterEGandamp Controller(CC#83) 91 softpedaleffect *3 0...127 83 Foot switch On/Off sustainlevels ofthefilterEGandamp *3 cutofffrequencyofthelow passfilter 0...127 Panel switch 2On/Off 82 0...127 Panel switch 1On/Off 81 dampereffect FilterEGintensity 80 0...127 0...127 LFO1delay 79 LFO1depth 78 0...127 LFO1speed 77 LSBofRPNorNRPNdata Decay time 76 LSBofbankselectmessage Low passfiltercutofffrequency 75 thesostenuto effect turn on/off Attack time 0...63(Off),64...127(On) 74 0...127 correspondstowhenKnobMod.4isassignedastheB-modefunctionofa effect on/off theportamento turn Releasetime 73 *2 0...63(Off),64...127(On) 0...127 72 *8 correspondstowhenKnobMod.3isassignedastheB-modefunctionofa Filterresonancelevel Sustainlevel 0...127 71 correspondstowhenKnobMod.2isassignedastheB-modefunctionofa Soft 70 for ModulationorEffect controlofAlternate DynamicModulation 0...127 Sostenuto On/Off 67 *1 Portamento On/Off 66 correspondstowhenKnobMod.1isassignedastheB-modefunctionofa 0...127 controlleroperation correspondstoribbon Damper correspondstoeffect dynamiccontrolsourceFXCtrl2 65 0...127 pan volume (LSB) Dataentry correspondstoeffect dynamiccontrolsourceFXCtrl1 64 Bankselect(LSB) 38 0...127 volume 0...127 32 0...127 Knobmodulation4 0...127 0...127 0...127 21 Knobmodulation3 0...127 MSBofRPNandNRPNdata 20 time portamento effect panaftertheinsertion Knobmodulation2 correspondstowhentheassignable pedalfunctionis setto correspondstojoystick movement inthe-Ydirection(toward yourself) Controller(CC#18) 19 correspondstojoystick movement inthe+Ydirection(away fromyourself) 18 0...127 Knobmodulation1 Function 0...127 0...127 0...127 Ribbon controller 17 0...127 bankselectmessageMSB Effect control2 16 0...127 Effect control1 13 Value Expression 12 0...127 Panpot 11 Post effect panpot insertion 10 Volume 8 (MSB) Dataentry 7 Portamento time 6 Foot controller 5 Modulation2 4 Modulation1 2 Bankselect(MSB) 1 0 Control CC# TRITON operationswhencontrol High passfiltercutofffrequency changes aretransmitted/ received 0...127 0...127 11 10 eetCas ue*2 *2 selectCoarse Tune selectFine Tune 2 1 Foot SW REALTIME CONTROLS knob REALTIME CONTROLS knob REALTIME CONTROLS knob REALTIME CONTROLS knob cutoff frequencyofthehighpassfilter resonance level ofthefilter corresponds to the arpeggiator corresponds tothearpeggiator Velocity controlknob Gatecontrolknob corresponds tothearpeggiator on/offswitchcorresponds tothearpeggiator on theTRITON and therelation betweensettingsandcontroller movements will performwhencontrol changemessagesare received, The followingtableshowstheoperationsthatTRITON Foot Pedal 223 *4 *5 *7 *7 *7

Appendices Any control change number (CC#00–95) can be *4 A value of 64 will correspond to the value specified by assigned as the B-mode function of a REALTIME CON- the program parameter. 0 will be the minimum, and 127 TROLS knob. In this case, the transmitted values will all will be the maximum. Changing from 63–1 or from 65– be 0–127. 126 will adjust the effect from the program parameter setting toward the minimum value or maximum value. *1 On the TRITON’s sequencer, bank select messages are The internal program parameters listed in (*4, *5) will be normally specified as a program change event (“Event controlled. Edit” Sequencer P5: 5–1B). However in some cases this will be insufficient when you wish to change banks on *5 If the filter type of the corresponding program is Low an external device. In such cases, you can use CC#00 Pass Resonance, the filter resonance level will be con- and CC#32 to specify the banks. trolled. If the filter type is Low Pass & High Pass, the cutoff frequency of the high pass filter will be controlled. For information on the relation between bank select numbers and the banks of your external device, refer to *4, *5 the owner’s manual for your external device. CC#70–79 correspond to the following program param- *2 Unlike conventional control changes, pitch bend range, eters of the TRITON. fine tune, and coarse tune settings are made using RPC In Program mode, when CC#70–79 is received on the (Registered Parameter Control) messages. In Program, global MIDI channel (“MIDI Channel” Global P1: 1–1a), Combination, Sequencer, and Song Play modes, you can or when a REALTIME CONTROLS [1]–[4] knob is oper- use RPC messages to control the bend range and tuning ated in A-mode or in B-mode when the function is for each program, combination (Combination), or track assigned to CC#70–79, the corresponding program (Sequencer, Song Play). The procedure is to use an RPN parameter will be edited temporarily. You can execute (Registered Parameter Number) message to select the “Write Program” (Program 0–1A) to save that state parameter that you wish to edit, and then use Data (except for some parameters). When you execute “Write Entry to input a value for that parameter. To select the Program,” the values of the corresponding program parameter, use CC#100 (with a value of 00–02) and parameters will be rewritten. CC#101 (with a value of 00). use CC#06 and CC#38 to In Sampling mode when playing the currently selected enter the data. multisample on the keyboard, the same control changes The data entry values for each parameter and the corre- or knob operations as in Program mode will temporarily sponding settings are as follows. edit the corresponding program parameters. You can use “Convert MS to Program” (Sampling 0–1G) to save that RPN=0 (Pitch bend range) state as a program (except for some parameters). CC#06 CC#38 Parameter value (Semitone steps) In Combination, Sequencer, and Song Play modes, the 00 00 0 01 00 + 1 program parameters of the program for the timbre/ track of the corresponding MIDI channel will change, 12 0 +12 but this state can not be saved directly in the program. CC#70: Sustain level RPN=1 (Fine tune) Corresponds to “Filter/Amp EG Sustain Level” (Program CC#06 CC#38 Parameter value (1 cent steps) P3: Filter 1/2 EG, P4: Amp 1/2 EG tab). 32 00 –50 CC#71: Filter resonance level/High pass filter cutoff frequency 48 00 –25 Corresponds to “Filter A Resonance” (Program P3: Filter 1/ 64 00 0 2 tab). Corresponds to “Filter B Frequency” (Program P3: Filter 1/2 96 00 +50 tab). CC#72: Release time RPN=2 (Coarse tune) Corresponds to “Filter/Amp EG Release Time” (Program CC#06 CC#38 Parameter value (Semitone steps) P3: Filter 1/2 EG tab, P4: Amp 1/2 EG tab). 40 00 –24 CC#73: Attack time 52 00 –12 Corresponds to Filter/Amp EG Attack Time” (Program P3: 64 00 0 Filter 1/2 EG tab, P4: Amp 1/2 EG tab) Corresponds to “Amp EG Start Level” (Program P4: Filter 88 00 +24 1/2 EG tab). Corresponds to “Amp EG Attack Level” (Program P4: Filter For example, if in Sequencer mode you wish to set a 1/2 EG tab). track that is receiving channel 1 to a transpose (coarse Corresponds to “Amp EG Level Modulation St” (Program tuning) value of -12, you would first transmit [B0, 64, 02] P4: Filter 1/2 EG tab). (64H=CC#100) and [B0, 65, 00] (65H=CC#101) to the Corresponds to “Amp EG Time Modulation At” (Program TRITON to select the RPN coarse tune. Then you would P4: Filter 1/2 EG tab). set this to -12 by transmitting [B0, 06, 34] (06H=CC#6), 34H=52 (corresponds to –12), and [B0, 26, 00] CC#74: Low pass filter cutoff frequency (26H=CC#38, 00H=0). Corresponds to “Filter A Frequency” (Program P3: Filter 1/2 tab). *3 The volume of the TRITON is determined by multiplying Corresponds to “Filter B Frequency” (Program P3: Filter 1/2 the Volume (CC#07) with the Expression (CC#11). In tab). Sequencer and Song Play modes when you stop the song playback and return the location to the beginning of the CC#75: Decay time track, the Volume will be set to the starting value, and the Corresponds to “Filter/Amp EG Decay Time” (Program P3: Expression will be set to the maximum value (127). Filter 1/2 EG tab, P4: Amp 1/2 EG tab)

224 *8 *7 *6 Corresponds to Corresponds to CC#76: LFO1speed Filter 1/2EGtab,P4: Amp 1/2EGtab) Corresponds to CC#77: LFO1depth(pitchintensity) LFO1 tab). Corresponds to CC#78: LFO1delay 2 P.Mod tab). Corresponds to CC#79: FilterEGintensity tab). option isinstalled.( that are availablewhentheseparatelysoldEXB-MOSS Different parametersare controlled forthebankFprograms Filter 1/2Mod.tab). name “ controller inProgram orCombinationP0:Playwhen Corresponds totheoperationof[VALUE] sliderasa [Bn 6300Bn620B06nn](nn:00 Arpeggiator velocitycontrol [Bn 6300Bn620A Bn06nn](nn:00 Arpeggiator gatecontrol [Bn 6300Bn620206nn](nn:00 Arpeggiator on/off Entry canbeusedtocontrol thefollowingparameters. NRPN (NonRegistered ParameterNumber)andData Controlled ontheglobalMIDIchannel. Program Number: name ” istheeditcell. “ “ “ “ “ Filter/Amp EGSlopeTime LFO 1Frequency Pitch LFO1Intensity LFO1 Delay Filter EGIntensityto A, B EXB-MOSS owner ” ” or (Program P5:OSC1/2LFO1 “ ” Combination Number: (Program P5:OSC1/2 ” – – – (Program P2:OSC1/ 3F off, 40 7F) 7F) ’ s manual) ” (Program P3: ” (Program P3: – 7F on) 225

Appendices Disk mode information About KORG format files KORG format file structure There are three types of files: .KMP files for multisamples, .KSF files for samples, and .KSC files which handle the first Chunks that are supported two as a collection. Similar to the IFF format, .KMP/.KSF files consist of chunks.

AIFF ﬁles Korg format file structure

When data is loaded into the TRITON, the following four PCMGROUP.KSC PIANO.KMP PI0000.KSF PIANO.KMP Ac. Piano Multisample Sample parameters parameters chunks are referenced: Common chunk, Sound Data chunk, RHODES.KMP 4 SNARE_00.KSF Marker chunk, and Instrument chunk. Other chunks are PI0000.KSF Sample data Relative parameters ignored. PI0001.KSF (for ‘x’ number Restrictions on the parameters in each chunk are described of samples) PI0002.KSF PI0002.KSF below. Sample PI0003.KSF parameters

Common chunk PI0003.KSF

Only one (mono) or two (stereo) channels are supported. PI0003.KSF Sample sizes of 1–16 bits are supported. If the sample data is Sample parameters 8 bits or less, it will be loaded as 16 bit data with the lower 8 bits always at 0. Sample data

Sound Data chunk SNARE_00.KSF Offset and block size are ignored. (Block-Aligning Sound Sample parameters Data is not supported.) Sample data Marker chunk Up to eight markers are supported. The ninth and subsequent markers will be ignored. Unless stated otherwise, all data is MSByte first. Instrument chunk When a Korg format file saved on the TRITON is loaded by If the loop play mode is ForwardBackwardLooping, this will the TRINITY, be handled as ForwardLooping. • Of the parameters for each song, the following baseNote, detune, lowNote, highNote, lowVelocity, highVe- parameters are ignored (the chunk that includes the locity, gain, and releaseLoop will be ignored. parameter is given in parentheses) WAVE files Filter cutoff (RLP1 chunk) Transpose (RLP2 chunk) When loading, the TRITON will reference the Format chunk Resonance (RLP2 chunk) and the Wave chunk. The following limitations apply. Attack (RLP2 chunk) Format chunk Decay (RLP2 chunk) Standard PCM format is the only format category that is supported. • Of the parameters for each sample, reverse playback Only one (mono) or two (stereo) channels are supported. and loop off settings (included in the attribute Sample sizes of 1–16 bits are supported. If the sample data is parameters of the SMD1 chunk) will be ignored, and 8 bits or less, it will be loaded as 16 bit data with the lower 8 will be handled respectively as forward playback and bits always at 0. loop on. Only the twelve types of sampling frequency supported by the Trinity will be loaded correctly, and if Wave data the frequency is unsupported, the next lowest frequency The Wave List chunk is not supported. will be selected. • Split sample files cannot be loaded. When a Korg format file saved on the TRINITY is loaded into the TRITON, • 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. Multisample parameter chunk Chunk ID (‘MSP1’) [4 bytes] Chunk size (fixed at 18) [4 bytes] Multisample name [16 bytes] Number of samples in the multisample [1 byte] Attributes [1 byte]

226 chunk (SDD1). and subsequent Data chunk(SMP1+SNO1SPD1SDD1),andthesecond a dividedSampleParameterchunk,and sist oftheSampleParameterchunk,Number uses thesampledataof.KSF where thesampledataofSamplechunkisempty, and + SMD1SMF1SNO1).Thelatterstructure isinthecase Sample Filenamechunk,andNumberchunk(SMP1 sists ofaSampleParameterchunk,Data ple Numberchunk(SMP1+SMD1SNO1). Another con- of aSampleParameterchunk,DataandSam- There are fourtypesofstructure forthese KSF (KORGSampleFile) • If the.KSF When a.KSF divide the accommodate allofthedata,itispossibletoautomatically When savingtoa Filename chunk(shared sampledata). If the.KSF as asampleskippedduringloading. will beused. Attributes Sample parameterchunk Multisample numberchunk Relative parameterchunk2 Relative parameterchunk1 hn ie()[4bytes] Decay ( Attack ( Resonance ( Transposing ( Chunk size(4) Chunk ID( [1byte] KSF Filter cutoff ( Pan (0 Level ( Tune ( Top key(0 Original key multisample) Chunk size(18 Chunk ID( Chunk ID( [4bytes] Multisample number(0 Chunk size(4) Chunk ID( apenm [16bytes] [4bytes] Default bank(0 Sample name Chunk size(32) tr drs [3bytes] Start address bits 6 MSB 1:NonTranspose 0:Transpose S LSB MSB fi lename (includingperiodandextension) – – [12 bytes] – 2 urnl nsd [1byte] 127 currently unused) 99 – fi fi fi 99 – 99 le andcontinuethesaveoperation. 99 – lename is lename is … … fi 0 originalkey – ‘ … ‘ ‘ ‘ MNO1 … 2)[1byte] 127) le iscreated inthisway, the RLP2 RLP1 SMP1 9 et)[1byte] +99 cents) – 9 et)[1byte] +99 cents) – Multisample parameterattributes 99 9)[1byte] +99) fi – 9)[1byte] +99) 99 les willconsistofadividedSampleData 64 fl … × – oppy diskandasinglecannot … )[1bytes] 3) numberofsamplesinthe × … ’ ’ 9)[1byte] +99) ’ [4bytes] ) [4bytes] ) numberofsamplesinthemultisample ’ [4bytes] ) 9 urnl nsd [1byte] +99 currently unused) [4bytes] ) 6)[1byte] +63) “ “ SKIPPEDSAMPL INTERNALnnnn – fi [4bytes] ) les NC(0) 1: NotUse2ndStart0:It fi le speci ” ” fi , internalsamples fi , itwillbetreated ed bytheSample fi les. Oneconsists rst fi [4 bytes] le willcon- • trbts[1byte] Loop tune( Attributes 1838(Hz). 2473/2450/2370/2352/2315/2178/2000/1984/1855/ 3472/3267/3000/2976/2782/2756/2667/2646/2604/ 4630/4356/4000/3968/3906/3709/3675/3556/3527/ [4bytes] 5564/5513/5333/5291/5208/4945/4900/4741/4703/ 7813/7418/7350/7111/7055/6945/6534/6000/5953/ 10417/9891/9800/9481/9406/9259/8711/8000/7937/ 13889/13067/12000/11905/11127/11025/10667/10582/ 19600/16000/15873/15625/14836/14700/14222/14109/ 29400/24000/23810/22254/22050/21333/21164/20833/ series are 48000/47619/44100/32000/31746/31250/ The samplingfrequencies supportedbytheTRITON Sampling frequency databytes) Chunk size(12+numberofsample Attributes [4bytes] [4bytes] [4bytes] Chunk ID( Sample datachunk Loop endaddress Loop startaddress 2nd startaddress Divided sampledatachunk Divided sampleparameterchunk Sample Sample numberchunk hn ie()[4bytes] Sample number(0 Chunk size(4) Chunk ID( variablelength [4bytes] [1byte] [1byte] Sample data Number ofsamples Sample size(8/16) Number ofchannels(1) hn ie(2 [4bytes] If the.KSF KSF Chunk size(12) Chunk ID( If the.KSF treated asasampleskippedduringloading. apesz [1byte] [1byte] [4bytes] [1byte] [1byte] Chunk ID( [4bytes] [4bytes] Total numberofsamplesinall divided Number ofsamples Sample size Number ofchannels Loop tune Attributes Sampling frequency SMD1 chunk The followinguptothesamplesizeissameasin Chunk size(12) Chunk ID( ples willbeused. S LSB MSB fi eae[12bytes] lename fi lename chunk fi fi ‘ ‘ ‘ ‘ ‘ – SMD1 SNO1 SMF1 SDD1 SPD1 lename is lename is 9.+9cns [1byte] 99...+99 cents) Sample parameterattributes ’ ’ ’ ’ [4bytes] ) ’ [4bytes] ) [4bytes] ) – [4bytes] ) [4bytes] ) [4bytes] ) “ “ SKIPPEDSAMPL INTERNALnnnn 1: Compresseddata0:Un-compressed Compression ID 1: LoopOff 1: Reverse 1: NotUse2ndStart0:It

0: Forward 0: LoopOn ﬁ les ” ” , internalsam- , itwillbe [4 bytes] 227

Appendices 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 .KMP filename for “Save All” or “Save All Multisamples”

KMP filename convention

First 5 characters of Multisample number multisample name The first multisample in internal memory is 000.

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.

KSF filename convention (samples used by the multisample)

Sample number The first sample of the multisample is 000. Multisample number The first multisample in internal memory is 000.

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.

KSF filename convention (sample)

First 4 characters of Sample number multisample name The first multisample in internal memory is 0000.

228 enn:Themeasure thatwasspeci Meaning: Selectatrackorpatternthatcontainsmusical Action: cin Specifyadestinationmeasure thatcontainsdata. Action: When editing,thetrackorpatternthatwasspeci- Meaning: Setadestinationmeasure thatisoutsideofthe Action: Destination measureisempty Destination isempty Destination from-measurewithinthelimitsofsource Destination andsourceareidentical D Completed Whenyou Meaning: Can Modifyyoursettingssothatadouble-sizeeffect is Action: Whencopyingorswappinganinsertioneffect, Meaning: Can Try again. Action: Calibrationcouldnotbeperformedcorrectly. Meaning: Can C Thismessageasksyoutocon Meaning: Are yousure? A enn:When executingtheMoveMeasure commandfor Meaning: Selectadifferent cuelist,song,track,orpattern Action: Whencopyingorbouncing,thesamecuelist, Meaning: Executionofthecommandendednormally. Meaning: ’ ’ ’ pnptenContinue? t openpattern t copy/swapdoublesizeeffect t calibrate data. fi source range. destination measure iswithinthesource range. contains nodata. not movedtoIFX1or5,andexecuteagain. IFX1 orIFX5. you attemptedtoplaceadouble-sizeeffect in Cancel button. execute press theOKbutton.To cancel,press the edited contentwillbediscarded. you press theCancelbutton,recorded or the recorded oreditedcontentwillbesaved.If OK button,thepatterndatawillbedeleted,and must beopenedautomatically.) Ifyoupress the the patternthatwasPutintotrack.(Whenit not possibletoallocateenoughmemoryopen all tracksorwithinthesametrack,speci for thesource anddestination. source anddestination. song, trackorpatternwasselectedforboththe ed asthedestinationcontainsnomusicaldata. Various messages fi nished recording orediting,itwas fi ed asthedestination fi rm execution.To fi ed cin ExecutetheDiskmodeUtility Action: Whenyouattemptedtoperformahigh-levelfor- Meaning: Deletealldirectories or Action: Whendeletingadirectory, Meaning: ExecutetheCreate NewSongcommandinthe Action: Thesongthatwasspeci Meaning: Thesampleforeditingisempty. Meaning: Without usingOverwrite,specifyadifferent sam- Action: Sincethesampledataatdestination(save Meaning: Eitherdeletethesampleatdestination(save Action: A samplealready existsatthedestination(save Meaning: Selectdifferent multisamplesforthesource and Action: Thesamemultisampleisselectedforthesource Meaning: Eitherdeletethemultisampleatdestination Action: A multisamplealready existsatthedestination Meaning: Error inreadingfrommedium Error informattingmedium E enn:Anerror occurred whilereading datafrom a Meaning: Useothermedia. Action: Anerror occurred while performingaphysical Meaning: Disk notformatted isnotempty Directory Destination songisempty Destination sampleisempty Destination sampledatausedinsource Destination samplealreadyexists identical Destination multisampleandsourceare Destination multisamplealreadyexists been physicallyformattedyet. mat (quickformat)ofmedia,themediahadnot within thatdirectory. selected before copyingorbouncing. dialog boxthatappearswhenanewsongis ple forthedestination(savelocation). not beoverwritten. location) isalsousedbythesource sample,itcan- number. location), orchangethesavedestinationsample location). destination. and destination. multisample number. (save location),orchangethesavedestination (save location)multisample. tion orbouncedestinationdoesnotexist. medium. format) ofthemedia. format (fullformat)orhigh-level(quick cally formatthemedia(fullformat). fi fi les withinthedirectory. ed asthecopydestina- fi les ordirectories exist “ Format ” tophysi- 229

Appendices Action: Execute the reading operation once again. If the I same error occurs, it is possible that the data on the disk has been damaged. Illegal file description Meaning: The filename that you specified when saving a file Error in writing to medium or creating a directory contained invalid charac- Meaning: An error occurred while writing data to a ters. medium. (Verify error) Action: Change the filename you are specifying. Filena- Action: It is possible that the floppy disk has been physi- mes not permitted by MS-DOS cannot be used as cally damaged. Try another disk. Avoid using the a filename. floppy disk that produced the error. Illegal SMF data F Meaning: You attempted to load a file that was not a Stan- dard MIDI File. File already exists Meaning: When executing a Create Directory or File Illegal SMF division Rename operation, a directory or file of the same Meaning: You attempted to load a Standard MIDI File that name already exists on the disk. was timecode-based. Meaning: When executing the Disk mode Utility “Copy” command without using wild cards, the copy des- Illegal SMF format tination contained a file of the same name as the copy source. Meaning: You attempted to load a Standard MIDI File of a format other than 0 or 1. Action: Either delete the existing directory or file, or specify a different filename. M File is read-only protected Master Track can’t be recorded alone Meaning: You attempted to write to a file or to delete a file that had a read-only attribute. Meaning: When realtime-recording a single track, you attempted to begin recording with the master Meaning: You attempted to save a file to a floppy disk that track as the current track. contained a read-only file of the same name. Action: Begin recording with a track 1–16. Action: Save the file with a different name.

File unavailable Measure size over limit Meaning: When loading a Standard MIDI File, the number Meaning: You attempted to load or open a file whose format of events in a measure exceeded the maximum was incorrect. (approximately 10,000 events). Meaning: The attempted edit operation would cause the File/path not found maximum number of events in a measure Meaning: When loading a sample file in Disk mode, the file (approximately 10,000) to be exceeded. name specified in the dialog box for selecting a Action: Use event editing etc. to delete unwanted data. directory hierarchy or other media did not exist in the specified location. Measure number over limit Meaning: When executing the Disk mode Utility command “Delete,” the specified file did not exist. Meaning: The attempted edit operation would cause the track length to exceed 999 measures. Meaning: When executing the Disk mode Utility command “Copy” and you used a wild card to specify the Action: Delete unnecessary measures. copy file name, the specified file was not found. Alternatively, the length of the copy source path Medium changed name exceeded 76 characters. Meaning: When executing the Disk mode Utility command Meaning: In Disk mode or Song Play mode when you used “Copy,” the media was exchanged or ejected, and the Open button to open a directory, the path it was not possible to copy between separate length including the selected directory name media on the same drive. exceeded 76 characters. Action: Check the file or directory. Medium write protected Meaning: The floppy disk or other media to which you Format not supported attempted to save is write-protected. Meaning: For an AIFF file etc., you attempted to load a file Action: Turn off write protect on the floppy disk or other format that the TRITON series does not support. media, and execute the command once again. Action: If possible, use a computer etc. to convert the data into a format supported by the TRITON, and load Memory full it. Meaning: In Sequencer mode when editing a song, track or pattern, the total data of all songs has used up all of the sequence data memory, and further editing is not possible. Action: Delete other song data etc. to increase the amount of free memory.

230 enn:InDiskmodewhenusing Meaning: Deletesongdata.(Ifnecessary, savethedata Action: No spaceavailableonmedium No recordingtrackspeci No medium No data N Multisample LandRareidentical protected Memory over Memory InDiskmodewhenloadingaStandard MIDIFile, Meaning: Whilerealtime recording inSequencermode, Meaning: cin Eitherdeleteanexisting Action: When youattemptedtosavea Meaning: Setthedesired tracksforrecording toREC. Action: When performingrealtime multi-trackrecording, Meaning: Insertmediasuchasa Action: WhenexecutingacommandinDiskmode,no Meaning: WhenloadingaStandard MIDIFile,the Meaning: Select adifferent multisamplenumberfortheL Action: Sincethedestination(savelocation)L andRmul- Meaning: InGlobalmode,turnoff write-protect, andexe- Action: Theinternalprogram, combination,song,drum Meaning: InSamplingmode,executeDeletesampletocre- Action: InDiskmode,youattemptedtoloadmore sample Meaning: Ifyouare receiving twoormore setsofexclusive Action: before deletingit.) the sequencememoryhas halted. recorded data,sorecording hasbeenforcibly there isnomore free memorytoaccommodatethe no free space. director, themedium( tained noevents. medium withonethathassuf set toREC. you attemptedtobeginrecording withnotracks media ( and Rofthedestination(savelocation). tion couldnotbeexecuted. tisample numbersare thesame,editingopera- cute thewriteorloadoperationonceagain. kit, oruserarpeggiopatternisprotected. and re-load thedata. ate free spaceinthesamplewaveformdataarea, capacity. waveform datathanthere wasfree memory data, transmitthemseparatelytotheTRITON. drive. fi receive exclusivedata,thesequencememoryhas lled up. fl ow fl oppy disketc.)wasinsertedinthedrive. fi ed fl fl oppy disketc.)contained oppy disk,ormountthe fi le, orexchangethe “ fi Save Exclusive lled up. fi fi cient free space. le orcreate a fi le con- ” to cin InSamplingmode,execute Action: Thedatayouattemptedto loadwouldexceedthe Meaning: Deletesamplestoincrease theamountoffree Action: enn:There isinsuf Meaning: Deletemultisamplesorindicesofto Action: enn:There isinsuf Meaning: Deletemultisamplestoincrease theamountof Action: enn:There isinsuf Meaning: Eitherdeleteunwanteddatasuchasasong,track, Action: There wasinsuf Meaning: Deleteothersongdataetc.toincrease theamount Action: enn:Whenexecuting Meaning: Deleteothersongdataetc.toincrease theamount Action: Whenstartingrealtime recording inSequencer Meaning: enn:Whenyouattemptedtoloada.SNG Meaning: Deletesongdata.(Ifnecessary, savethedata Action: Not enoughsample/multisamplelocationsavailable Not enoughsamplememory Not enoughrelativeparametermemory Not enoughmultisamplememory toopenpattern Not enoughmemory toload Not enoughmemory Not enoughmemory or maximum numberofmultisamplesorsamples. memory. parameters orsamplewaveformdata). increase theamountoffree memory. would exceedthemaximumof8,000.) ters. (Thenumberofsamplesinthemultisamples free memory. mum of1,000.) number ofmultisampleswouldexceedthemaxi- and reload thedata. or pattern,donotopenthepattern. the pattern,soeditingisnotpossible. of free memory. of free memory. recording startlocation)couldnotbeallocated. (such asmemoryfortheBAReventsupto mode, theminimumamountoffree memory mode, there wasinsuf before deleting it.) allocated. cient free sequencememorycouldnotbe natively, whenexecuting there wasnoremaining sequencememory. Alter- “ Delete Sample fi fi fi cient samplememory(for cient memoryforrelative parame- cient multisamplememory. (The fi “ cient sequencermemorytoopen Save Exclusive ” tofree asuf fi cient free memory. “ Load Exclusive, “ Delete Multisample fi ” cient number, inDiskmode, fi le inDisk ” suf 231 fi ” -

Appendices O Sample L and R are identical Meaning: The edit operation could not be executed because Oscillator Mode conflicts (check PROG P1) the destination (save location) L and R sample Meaning: In Sampling mode when you executed “Convert numbers are identical. MS To Program” with Use Destination Program Action: Select different sample numbers for L and R of the Parameters checked, the conversion destination destination (save location). program “Oscillator Mode” setting did not match. Action: In Program mode, set the “Oscillator Mode” of the Sample length is shorter than minimum conversion destination program. If converting a monaural multisample, select Single. If converting Meaning: You attempted to execute an editing operation a stereo multisample, select Double. that would make the sample data shorter than 8 samples. Action: Change the editing range so that the sample data P will be longer than 8 samples. Pattern conflicts with events Sample used in other multisample(s) Continue ? Meaning: It was not possible to execute the Bounce operation because one of the tracks contained a pattern, Meaning: The sample you are editing is used by other multi- and the same measure of the other track contained samples. To continue editing, press the OK button. events or a pattern. Action: Open the pattern. Selected file/path is not correct Meaning: When loading a KSF file that was split across mul- Pattern exists across destination to-end-of-measure or tiple media, the order in which you attempted to source from-measure load the files was incorrect. Action: Load the KSF file in the correct order. To view the Meaning: When moving a measure, the edit operation could file number order in which the KSF files were not be executed because a pattern had been put in saved, you can check the “Translation” page the destination end measure or the source start menu command. (The sample name and number measure, and had not been opened. of the first KSF file will be displayed.) Action: Open the pattern. Source is empty Pattern exists in destination or source track Open pattern ? Meaning: No data exists in the track or pattern that you specified as the source. Meaning: A pattern has been placed in the track that you Action: Specify a track or pattern that contains musical specified as a destination or source for editing. If data. 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 Source sample is empty the pattern, press the Cancel button. Meaning: When executing Insert, Mix, or Paste, the source sample is empty. Pattern used in song Continue ? Action: Execute the Copy operation before executing Insert, Mix, or Paste. 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 T Cancel button. There is no readable data R Meaning: Either the file size is 0 or the file does not contain data that can be accessed by the load or open Root directory is full operation. Alternatively, the data is damaged etc., and cannot be loaded or accessed. 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. U Action: Either delete an existing file or directory, or exchange media. Unable to create directory Meaning: You attempted to create a directory that would S exceed the maximum pathname length (76 characters for the full pathname). Sample data used in other sample(s) Continue ? Meaning: Other sample(s) use the same sample data as the Unable to save file sample that you are editing. To continue editing, Meaning: When executing the Disk mode Utility command press the OK button. “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 characters.

232 cin Inorder toallocate memoryarea forUndo(Com- Action: WheneditinginSequencermode,memoryarea Meaning: Whenyouexitrecording oreventeditingin Meaning: Onceyouentereventediting(evenifleave Meaning: You can Y You can ’ ’ nols prto Areyousure? t undolastoperation noti prto Areyousure? t undothisoperation you savedatato songs, tracks,orpatterns.We recommend that pare function),deleteunneeded datasuchas edit, press the Cancelbutton. before editing.)Ifyoudecidenottoexecutethe ton. (Itwillnotbepossibletoreturn tothestate If youwishtoexecutetheedit,press theOKbut- for Undo(Compare function)cannotbeallocated. recorded oredited),press theCancel button. previous data(i.e.,todeletethethatwasjust press theOKbutton.Ifyouwishtoreturn tothe keep thedatathatwasjustrecorded oredited, (Compare function)isnotallocated.If you wishto Sequencer mode,thememoryarea forUndo cel button. ing, press the OKbutton.To cancel,press theCan- the previous edit.Ifyouwishtoentereventedit- will nolongerbepossibletoexecuteaCompare of event editingwithoutactuallyanevent),it the editoperation. ﬂ oppy diskbefore youexecute 233

Appendices TRITON-SERIES MIDI IMPLEMENTA- TION [H] :Hex, [D] :Decimal *1 : kk = 24 - 108 TRITON (61keys + Transpose) = 16 - 115 : TRITON pro (76keys + Transpose) = 09 - 120 : TRITON proX (88keys + Transpose) = 00 - 127 : Sequencer and Arpeggiator *2 : Program Combination MIDI Out[Hex] (Bank Map is KORG) GM(2)) BankA 000 - 127 : mm,bb,pp = 00,00, 00 7F 3F,00, B 000 - 127 : 00,01, 00 7F 3F,01, C 000 - 127 : 00,02, 00 7F 3F,02, D 000 - 127 : 00,03, 00 7F 3F,03, E 000 - 127 : 00,04, 00 7F 3F,04, F 000 - 127 : 00,05, 00 7F 3F,05, G 001 - 128 : 79,00, 00 7F g(1)-(9) 001 - 128 : 79,01-09,00 7F g(d) 001 - 128 : 78,00, 00 7F *3 : ARPEGGIATOR ON/OFF :[ Bn,63,00,Bn,62,02,Bn,06,mm] mm = 00(Off),7F(On) ARPEGGIATOR GATE Knob :[ Bn,63,00,Bn,62,0A,Bn,06,mm] mm = 00-7F ARPEGGIATOR VELOCITY Knob :[ Bn,63,00,Bn,62,0B,Bn,06,mm] mm = 00-7F When in Program/Combination mode, Global channel. When in Sequencer/Song Play mode, current selected track's channel. 1-2 SYSTEM COMMON MESSAGES Status Second Third Description ( Transmitted when ) [Hex] [H] [D] F2 ss (ss) tt (tt) Song Position Pointer | ss : Least significant [LSB] *4 tt : Most significant [MSB] *4 F3 ss (ss) Song Select (Song or Cue List is selected) ss : Song(0-127)/Cue List(0-19) No. Transmits Song Position Pointer message when in Sequencer and Play mode (Internal Clock) Transmits Song Select message when in Sequencer mode (Internal Clock) *4 : For example, if time signature is 4/4 or 8/8, tt,ss = 00,10 means one measure. MESSAGES 1-3 SYSTEM REALTIME Status[Hex] Description ( Transmitted when ... ) F8 Timing Clock ( Always in Prog/Combi/Seq/Song Play mode )| FA Start ( START in Seq/Song Play mode ) FB Continue ( START in Seq/Song Play mode ) FC Stop ( STOP in Seq/Song Play mode ) FE Active Sensing ( Always ) Transmits these message when MIDI Clock in Global mode is Internal. 1-4 SYSTEM EXCLUSIVE 1-4-1 UNIVERSAL SYSTEM EXCLUSIVE MESSAGE ( NON REALTIME ) DEVICE INQUlRY REPLY ( Transmits when received a INQUIRY MESSAGE REQUEST ) [ F0,7E,0g,06,02,42,50,00,mm,00,nn,00,vv,00,F7 ] 3rd byte g : Global Channel 6th byte 42 : KORG ID 7th byte 50 : TRITON series ID 9th byte mm : TRITON = ?? TRITON pro mm = ?? TRITON proX mm = ?? 11th byte nn : System No. ( 01 - ) 13th byte vv : System Version ( 01 - ) 1-4-2 UNIVERSAL SYSTEM EXCLUSIVE MESSAGES ( REALTIME ) Master Volume [ F0,7F,0g,04,01,vv,mm,F7 ] 3rd byte g : Global Channel 6th byte vv : Value(LSB) 7th byte mm : Value(MSB) mm,vv = 00,00 - 7F,7F : Min Max 5,Apr,1999

Usually Global Channel. ･･････ [H] :Hex, [D] :Decimal TRITON-SERIES MIDI IMPLEMENTATION TRITON-SERIES MIDI IMPLEMENTATION Consult your local Korg dealer for more infomation on MIDI System Exclusive implementation. 1.TRANSMITTED DATA 1-1 CHANNEL MESSAGES |Status| Second Third | Description ( Transmitted by ....) |ENA |[Hex] |[H] [D] [H] | | 8n kk (kk) 40 (64) Note Off ( Key ) *1| A | 9n kk (kk) vv (vv) Note On (vv)=1-127 ( Key ) *1| A | An kk (kk) vv (vv) Poly Key Pressure ( Seq. recorded data ) T,Q| | Bn 00 (00) mm (mm) Bank Select(MSB) ( BANK keys, Prog/Combi change ) *2| PB | Bn 01 (01) vv (vv) Modulation1 ( Joy Stick +Y ) C | Bn 02 (02) vv (vv) Modulation2 ( Joy Stick -Y ) C | Bn 04 (04) vv (vv) Foot Pedal ( A.Pdl/Knob-B = ) C | Bn 05 (05) vv (vv) Portamento Time ( A.Pdl/Knob-B = Porta.Time,S Chg )| C | Bn 06 (06) vv (vv) Data Entry (MSB) ( ARP ON/OFF, GATE, VELOCITY ) *3| C | Bn 07 (07) vv (vv) Volume ( A.Pdl/Knob-B = Volume, S/C Chg ) C | Bn 08 (08) vv (vv) Post IFX Panpot ( A.Pdl/Knob-B = PostIFXPan,S Chg )| C | Bn 0A (10) vv (vv) Panpot ( A.Pdl/Knob-B = Pan,S Chg ) C | Bn 0B (11) vv (vv) Expression ( A.Pdl/Knob-B = ) C | Bn 0C (12) vv (vv) Effect Control 1 ( A.Pdl/Knob-B = FX Control1 ) C | Bn 0D (13) vv (vv) Effect Control 2 ( A.Pdl/Knob-B = FX Control2 ) C | Bn 10 (16) vv (vv) Multi Purpose Ctrl1 ( Ribbon Controller ) C | Bn 11 (17) vv (vv) Multi Purpose Ctrl2 ( Knob-B = Knob Mod1 ) C | Bn 12 (18) vv (vv) Multi Purpose Ctrl3 ( Value Slider ) C | Bn 13 (19) vv (vv) Multi Purpose Ctrl4 ( Knob-B = Knob Mod2 ) C | Bn 14 (20) vv (vv) ( Knob-B = Knob Mod3 ) C | Bn 15 (21) vv (vv) ( Knob-B = Knob Mod4 ) C | Bn 20 (32) bb (bb) Bank Select(LSB) ( BANK keys, Prog/Combi change ) *2| PB | Bn 40 (64) vv (vv) Hold1 ( Damper ) C | Bn 41 (65) 00/7F (00/127) Portamento Off/On ( SW1/SW2/A.SW = Porta.SW, S Chg ) C | Bn 42 (66) 00/7F (00/127) Sostenuto Off/On ( A.SW =Porta.SW ) C | Bn 43 (67) vv (vv) Soft Pedal ( A.SW =Porta.SW ) C | Bn 46 (70) vv (vv) Sound Controller 1 ( Knob-B = F/A Sustain ) C | Bn 47 (71) vv (vv) Sound Controller 2 ( Knob-1A, Knob-B = Resonance/HPF )| C | Bn 48 (72) vv (vv) Sound Controller 3 ( Knob-1A, Knob-B = F/A Release ) C | Bn 49 (73) vv (vv) Sound Controller 4 ( Knob-B = F/A Attack ) C | Bn 4A (74) vv (vv) Sound Controller 5 ( Knob-1A, Knob-B = LPF Cutoff ) C | Bn 4B (75) vv (vv) Sound Controller 6 ( Knob-B = F/A Decay ) C | Bn 4C (76) vv (vv) Sound Controller 7 ( Knob-B = Pitch LFO1 Spd ) C | Bn 4D (77) vv (vv) Sound Controller 8 ( Knob-B = Pitch LFO1 Dep ) C | Bn 4E (78) vv (vv) Sound Controller 9 ( Knob-B = Pitch LFO1 Dly ) C | Bn 4F (79) vv (vv) Sound Controller 10 ( Knob-1A, Knob-B = Filter EG Int )| C | Bn 50 (80) 00/7F (00/127) Multi Purpose Ctrl5 ( SW1 ) C | Bn 51 (81) 00/7F (00/127) Multi Purpose Ctrl6 ( SW2 ) C | Bn 52 (82) 00/7F (00/127) Multi Purpose Ctrl7 ( Foot SW ) C | Bn 5B (91) vv (vv) Effect 1 Depth ( A.Pdl = MFX Send2, S Chg ) C | Bg 5C (92) 00/7F (00/127) Effect 2 Depth ( All Insert FX Off/On ) C | Bn 5D (93) vv (vv) Effect 3 Depth ( A.Pdl = MFX Send1, S Chg ) C | Bg 5E (94) 00/7F (00/127) Effect 4 Depth ( Master FX1 Off/On ) C | Bg 5F (95) 00/7F (00/127) Effect 5 Depth ( Master FX2 Off/On ) C | Bn cc (cc) vv (vv) Control (cc)=0-95 ( Knob-B = MIDI CC#00-95 ) C | Bn 62 (98) ss (ss) NRPN Param No.(LSB) ( ARP ON/OFF, GATE, VELOCITY ) *3| C | Bn 63 (99) tt (tt) NRPN Param No.(MSB) ( ARP ON/OFF, GATE, VELOCITY ) *3| C | Bn cc (cc) vv (vv) Control (cc)=0-101 ( Seq. recorded data ) Q | Cn pp (pp) -- Program Change ( Prog/Combi change ) *2| P | Dn vv (vv) -- Channel Pressure ( After Touch ) T | En bb (bb) Bender Change ( Joy Stick X C A.Pdl : Assignable Pedal A.SW : Assignable Switch S Chg : Transmitted when change a Song No.(Seq. mode). (Status = EXT,EX2,BTH) C/S Chg : Transmitted when change a Combination or Song No.(Seq. mode). (Status = EXT,EX2,BTH) n : MIDI Channel No. (0 - 15) When in Combination/Sequencer/Song Play mode, each timbre's/track's channel.(Status = EXT,EX2 or BTH) g : Always Global Channel No. (0 - 15) ENA = A : Always Enabled C : Enabled when Enable Control Change in Global mode is checked P : Enabled when Enable Program Change in Global mode is checked PB: Enabled when Enable Program and Bank Change in Global mode is checked T : Enabled when Enable After Touch in Global mode is checked Q : Enabled when Sequencer is playing(transmit), recording(receive)

AMS : Alternate Modulation Source FX Dmod Src: Effect Dynamic Modulation Source 235 n : MIDI Channel No. (0 - 15) •••••• Usually Global Channel. When in Combination/Sequencer/Song Play mode, each timbre's/track's channel.(Status is INT or BTH) g : Always Global Channel No. (0 - 15)

Appendices [H] :Hex, [D] :Decimal Master Coarse Tune ( Control Transpose (chromatic step) in Global ) Åõ 2-2 SYSTEM COMMON MESSAGES [ F0,7F,0g,04,04,vv,mm,F7 ] 3rd byte g : Global Channel 6th byte vv : Value(LSB) 7th byte mm : Value(MSB) mm,vv = 34,00:-12, 40,00:+00, 4C,00:+12 |Status| Second | Third Description ( Use for ..... ) |[Hex] |[H] [D] | [H] | F2 ss (ss)| tt (tt) Song Position Pointer ( Location ) *6| | ss : Least significant [LSB] | tt : Most significant [MSB] | F3 ss (ss)| Song Select (Song or Cue List select) *6| | ss : Song(0-127)/Cue List(0-19) No. Receive when in Sequencer mode (External Clock) *6 : When in the Cue List page (Sequencer mode P1), respond to Location and No. of List. MESSAGES 2-3 SYSTEM REALTIME |Status[Hex] | Description ( Use for..... ) | F8 Timing Clock ( Tempo, AMS. & FX Dmod Src ) | FA Start ( Seq & Arpeggiator Control ) | FB Continue ( Seq start & Arpeggiator Control ) | FC Stop ( Seq & Arpeggiator Control ) | FE Active Sensing ( MIDI Connect check ) Receive when MIDI Clock in Global mode is External or PCI/F. 2-4 SYSTEM EXCLUSIVE 2-4-1 UNIVERSAL SYSTEM EXCLUSIVE MESSAGE ( NON REALTIME ) DEVICE INQUlRY ( When received this message, transmits MESSAGE REPLY ) [ F0,7E,nn,06,01,F7 ] 3rd byte nn : Channel = 0 - F Global = 7F : Any Channel GM System On ( Receive when in Song Play mode ) [ F0,7E,nn,09,01,F7 ] 3rd byte nn : Channel = 0 - F Global = 7F : Any Channel 2-4-2 UNIVERSAL SYSTEM EXCLUSIVE MESSAGES ( REALTIME ) Master Volume [ F0,7F,0g,04,01,vv,mm,F7 ] 3rd byte g : Global Channel 6th byte vv : Value(LSB) 7th byte mm : Value(MSB) mm,vv = 00,00 - 7F,7F : Min Max Master Balance [ F0,7F,0g,04,02,vv,mm,F7 ] 3rd byte g : Global Channel 6th byte vv : Value(LSB) 7th byte mm : Value(MSB) mm,vv = 00,00:Left, 40,00:Center, 7F,7F:Right Master Fine Tune ( Control Tune(cent) in Global ) [ F0,7F,0g,04,03,vv,mm,F7 ] 3rd byte g : Global Channel 6th byte vv : Value(LSB) 7th byte mm : Value(MSB) mm,vv = 20,00:-50, 40,00:+00, 60,00:+50

236 • • • • • • • installation Please readthisbeforeyoubegin • • damage thatmayoccurfrom improper useormodi Korg Inc.takesnoresponsibility foranymalfunctionsor data. any damagesresulting from thelossordestruction of tion ofthisproduct. NorwillKorg Inc. beresponsible for being installed. other partsdonotfallintothedevicewhichitis When installingthisproduct,becarefulthatscrewsor installed. this productorofthedeviceintowhichitisbeing hands onthesharpedgesofmetalbracketsetc. When installingthisproduct,becarefulnottocutyour electrocution ormalfunctions. you arerequiredtomake.Doingsomaycause or circuitboardsthatarenotrelatedtotheconnections When installingthisproduct,nevertouchcomponents The sharppointsmaycauseinjury. opposite thatonwhichthecomponentsaremounted). leads onthebacksideofcircuitboard(the When handingthisproduct,becarefulnottotouchthe Static electricitymaydamagetheelectroniccomponents. any staticelectricitythatmaybepresentinyourbody. of thedeviceintowhichitwillbeinstalled,todischarge Before touchingthisproduct,touchametalcomponent cause malfunction. allow objectstobeplacedontopofit.Doingsocould Do notallowthisproducttobecomewet,anddo owner product, youmustperformonlythoseactionsthatthe When installing,repairing,orreplacingthepartsofthis electrical shockormaydamagethisdevice. peripheral devices.Failuretodosocouldcause power supplycable,andtheconnectingcablestoany Before installingthisproduct,besuretodisconnectthe shock, fire,ormalfunction. attempt todisassemblethem.Thiscouldcauseelectric components orconnectorsofthecircuitboard(s), Do notapplyexcessiveforcetotheelectronic Option boards/memory ’ s manualdirects,andnoother. Safety precautions Warnings Cautions fi ca- WAVE formatsample allows youtoload Akai (S1000/S3000),Korg, AIFF, and storage device(hard disk,ZIP disk,JAZdisk).Thisalso save/load thisdatato/from anexternalSCSIhigh-capacity sample dataetc.from theTRITON toa that yousaveprograms, combinations,sequencedataand This addsaSCSIconnectortotheTRITON. Inthesameway The MOSStonegeneratorhassix-notepolyphony. in program, combination,sequence,orsongplaymodes. tric PianoModel.ThisletsyouusetheMOSStonegenerator Ring Modulation,VPM,Resonance,Organ Model,andElec- vides thirteenoscillatoralgorithms,includingStandard, This addstotheTRITON aMOSStonegeneratorthatpro- expansion are possible. you canexpanditsfunctionality. Thefollowingfourtypesof By installingoptionboards ormemoryintoyourTRITON, About optionboardsandmemory installed, providing amaximumof64Mbytes.( DRAM SIMM(either16Mbyteor32Mbyte)modulescanbe These canbeusedassampledatamemory. Uptotwo72-pin EXB-PCM02 EXB-PCM01 according totheseries.) drum samplestotheTRITON. (Thedetails will differ Each oftheseboards adds16Mbytesofmultisamples and • • • thatcanbeloaded CD-ROM formats when purchasing DRAMSIMMmodules DRAM SIMM (sample data memory modules) DRAMSIMM(sample datamemory EXB-SCSI (SCSI interface board) EXB-SCSI(SCSIinterface EXB-MOSS(DSPsynthesizerboard) EXB-PCMseries(PCMexpansionboards) loaded) TRINITY format(only.KSC/.KMP/.KSFfilescanbe ISO9660 Level1format AKAI (S1000/S3000)format bytes/block (suchas640MBMOdisksetc.). This formatcannotbeexecutedformediathatisnot512 and ontheslotlocations.( the capacityofDRAMSIMMboards youinstall, The memorybanksandsamplingtimewilldependon boards. that isstandard, andinstall two32MbyteDRAMSIMM you willneedtoremove the16MbyteDRAM SIMM In order toachievethemaximum64Mbytecapacity, sold foruseincomputers. Please purchase commercially-available boards thatare DRAM SIMMboards are notamanufacturer option. strings, stereo brass,andchoir. quently usedinpopmusic,suchasstereo This board provides soundsthatare fre- vintage keyboard sounds. This board concentratesonstereo pianoand fi les etc.from aCD-ROMdrive. p.81) fl oppy disk,youcan ” ) * As of April 1999 * AsofApril “ Caution 237

Appendices Please note when installing an option Checking after installation board/memory •When the TRITON is turned on, the currently installed option boards/memory will be shown in the LCD •So that static electricity in your body does not damage screen. the electronic components, touch the ground wire of a After installing an option board/memory, be sure to grounded device or an unpainted metallic component turn on the power and make sure that the option to discharge any static electricity in your body before board/memory that you installed is displayed in the installing an option board or memory. Internal compo- LCD screen. nents of the TRITON and of the option/memory If it is not displayed, the installation may not have boards may be damaged by static electricity. been performed correctly. Check once again that the •Follow the installation procedure, and be sure that each board is installed correctly. part is installed correctly and in the correct orientation. If you have any questions regarding installation, •Please use care in handling option boards/memory. please contact your local Korg distributor. 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. •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 option board/memory and the TRITON. 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. •Be sure that the option board/memory is inserted correctly into the connector or slot. After installation, be • EXB-MOSS: EXB-MOSS is installed sure to check that the board is installed correctly. If the • EXB-SCSI: EXB-SCSI is installed board is not inserted all the way, faulty contact or • EXB-PCM Slot1 (EXB1): EXB-PCM installed in slot 1 power supply shorts can occur, making the unit mal- ( ) indicates the series name function. • EXB-PCM Slot2 (EXB2): EXB-PCM installed in slot 2 •Be careful not to drop parts or the option board/mem- ( ) indicates the series name ory into the inside of the instrument. If you are unable to retrieve a screw or part that was • SIMM Slot1 (16MB): SIMM installed in slot 1 dropped inside the instrument, please contact your ( ) indicates the capacity in bytes local Korg distributor. • SIMM Slot2 (32MB): SIMM installed in slot 2 ( ) indicates the capacity in bytes

Caution when purchasing DRAM SIMM modules

Some commercially available DRAM SIMM modules cannot be used on the TRITON. Before you purchase memory modules, please check the following points. Types of DRAM SIMM modules that can be used on the TRITON • 72-pin 16 Mbyte or 32 Mbyte • Access time of 60 ns or less • Address input 11 bit (A0–A10) • Power supply voltage 5 V • DRAM SIMM height of 26 mm or less DRAM SIMM modules that meet the above requirements can be used. If you have any questions regarding the type of DRAM SIMM modules that can be used, please contact your local Korg distributor.

238 5 1 4 3 2 1 1. Preparationsforinstallation procedure installation Option board/memory – Place ineachofthefourcornerssothatjoystickandknobsarenotcontacted .Detachingcover A. SIMM ( cover Use ascrewdriver toremove fourscrews from When installingthe ory youwishtoinstall. Detach theappropriate coverfortheoptionboard/mem- upside downontopofthem. damage tothejoystickandknobs,placeTRITON zines etc.atthefourcornersofinstrument toprevent As showninthefollowingdiagram,placefourmaga- connected. ply cableandanyothercablesbywhichdevicesare Turn off theTRITON, anddisconnectthe AC powersup- You willneeda toward you, When theTRITON isupturnedandtherear panelis tions and knobsetc.:seediagrambelow). zines orothermaterial(toprevent damagetothejoystick to looseyourbalanceanddrop theinstrument. When turningtheTRITON upsidedown,becareful not board/memory. on anysharpedgesoftheTRITON oroftheoption During theinstallation,becareful nottocutyourhand option board/memory. foregoing section Before youperformtheinstallation,besure toread the Detaching thecoverisdescribedinfollowingsec- View frombelow MOSS “ “ 1 , detach A – A . ” ” Wheninstallingthe Cover or cover “ cover Cover “ “ 1 A + – ” B. ” “ “ (plus)screwdriver, andsomemaga- A EXB-SCSI “ ” Please notewheninstallingan B “ ” ” B isthelarge oneattheright. “ . ” ” A Cover ” fortheEXB-SCSIorEXB- or “ EXB-PCM A ” EXB-MOSS or DRAM , detach cover “ A . ”

5 1 – .Detachingcover B. toward you,cover When theTRITON isupturnedandtherear panelis Use ascrewdriver toremove twoscrews from When cover SIMM modules Slots forDRAM TRITON proX TRITON pro TRITON EXB-PCM Slots for When cover SIMM

EXB–SCSI EXB–MOSS “ B ” “ isremoved A EXB-SCSI Connector for EXB-MOSS Connector for ” isremoved Cover “ Cover B ” “ B isthesmalloneatleft. Factory-installed DRAMSIMMmodule ” “ “ B B Rear panel ” ” forEXB-PCMorDRAM installing EXB-SCSI Screw holesfor installing EXB-MOSS Screw holesfor cover Slot1 EXB-PCM Slot2 EXB-PCM Slot2 SIMM Slot1 SIMM 239 “ B . ”

Appendices 5 2–A1. Installing the EXB-MOSS Plug the cable into the connector as shown in the diagram. Press the cable ﬁrmly in until it stops. Be sure that the AC power cable remains disconnected Do not touch any part of the circuit board other than until you have completed all steps of removing the the connector in which the cable is being inserted. cover, installing the option board/memory, and re- attaching the cover. Connector 1 Make sure that cover “A” has been removed. (“1. Prep- arations for installation,” “1–A. Removing cover “A” for the EXB-SCSI or EXB-MOSS.”) 2 Remove the EXB-MOSS from its packing pouch. 3 Note that screws and washers are attached to the four corners of the board. MOSS – EXB

Screw

Washer SCSI – Press in all the way EXB

4 Use the four screws to attach the EXB-MOSS to the corre- 6 sponding brackets inside the TRITON. Reversing the procedure by which you removed cover “A,” re-attach the cover. Before the screws are tightened, the EXB-MOSS will 7 When all steps have been completed, turn on the power ﬂoat slightly above the brackets. If at this time you and make sure that the EXB-MOSS has been installed apply excessive force to the EXB-MOSS, the screws or correctly. (“Checking after installation”) washers may come out.

EXB-MOSS Screw

Washer

Chassis to which the board is being installed Connector MOSS – EXB SCSI – EXB

240 5 4 3 2 1 2 – A2. InstallingtheEXB-SCSI arations forinstallation, used latertofastentheEXB-SCSIinplace. connector opening.Thetwoscrews youremoved willbe for theSCSIconnector, andremove thelidofSCSI Remove thetwoscrews ofthelidthatcoversopening Lightly bendthewiringharnessasshownbelow. of theboard. Note thatscrews andwashersare attachedtotwocorners Remove theEXB-SCSIfrom itspackingpouch. Make sure that the EXB-SCSIorEXB-MOSS. TON. used. Besure thatitdoesnotremain insidetheTRI- The coveroftheSCSIconnectoropeningwillnotbe attaching thecover. cover, installingtheoptionboard/memory, andre- until youhavecompletedallstepsofremoving the Be sure that the AC powercableremains disconnected Bend (of theSCSIconnectoropening) Cover cover “ A ” ”

“ hasbeenremoved. ( 1 Washer – ” A. Removingcover ) Screw “ “ 1. Prep- A ” for 8 7 6 0 9 EXB–MOSS EXB–SCSI EXB-SCSI tor from theoutsideofrear panel. gram. Press thecable Plug thecableintoconnectorasshownindia- sponding bracketsinsidetheTRITON. Use thetwoscrews toattachtheEXB-SCSIcorre- screws thatyouremoved instep TON. HoldtheEXB-SCSIwithonehand,andusetwo opening sothatitextendsfrom therear paneloftheTRI- Insert theSCSIconnectorofEXB-SCSIthrough the “ Reversing theprocedure bywhichyouremoved rectly. ( and makesure thattheEXB-SCSIhasbeeninstalledcor- When allstepshavebeencompleted,turnonthepower A the connectorinwhichcableisbeinginserted. Do nottouchanypartofthecircuit board otherthan may comeout. excessive force totheEXB-SCSI,screws orwashers slightly abovethebrackets.Ifatthistimeyouapply Before thescrews are tightened,theEXB-SCSIwill � Press inalltheway , ” re-attach thecover. Connector “ Checking afterinstallation EXB-SCSI ﬁ rmly inuntilitstops. Chassis towhichtheboardisattached 5 tofastentheconnec- ” ) Washer Screw cover 241 ﬂ oat

Appendices 5 2–B1. Installing an EXB-PCM At a slant, press the EXB-PCM ﬁrmly all the way into the slot, and raise it to the vertical position until the catches A maximum of two EXB-PCM boards can be installed of the slot click into the locking holes of the EXB-PCM. simultaneously. When doing so, pressing the catches of the slot apart to If you are installing a single EXB-PCM, it will function the left and right will help the board go in smoothly. correctly whether installed in either slot. For ease in installation, you may wish to use EXB-PCM slot 1 ﬁrst. Be sure that the AC power cable remains disconnected Rear side of EXB-PCM until you have completed all steps of removing the cover, installing the option board/memory, and re- attaching the cover. 1 Make sure that cover “B” has been removed. (“1. Prep-

arations for installation,” “1–B. Removing cover “B” for Press in at a slant the EXB-PCM or DRAM SIMM.”) Catch Rear side of EXB-PCM 2 Remove the EXB-PCM from its packing pouch. 3 Verify the location of the slot into which you wish to Catch install the EXB-PCM. With the rear panel of the TRITON facing toward you, the back two rows are the EXB-PCM slots. Raise to vertical Rear side of EXB-PCM Catches

EXB-PCM EXB-PCM Slot2 Rear panel

slots EXB-PCM Slot1

SIMM Slot2 6 Reversing the procedure by which you removed cover

� SIMM Slot1 “B,” re-attach the cover. 7 When all steps have been completed, turn on the power Factory-installed DRAM SIMM and make sure that the EXB-PCM has been installed correctly. (“Checking after installation”) Rear panel Removing an EXB-PCM 4 The notched side of the EXB-PCM is PIN 1. Install the Spread the catches of the slot apart to the left and right, and EXB-PCM with its PIN 1 side aligned with the PIN 1 (after removing the stoppers from the catches) tilt the EXB- mark ( ) of the slot. PCM and pull it out. The EXB-PCM slots and the DRAM SIMM slots are When you spread the catches of the slot apart, the EXB- shaped identically. Be careful not to install a board in PCM may pop out vigorously and fall into an opening the wrong slot. (inside the instrument). Please be careful. �

Rear side of the EXB-PCM Locking Locking hole 72PIN 1PIN� hole Notch

EXB-PCM Slot2

EXB-PCM Slot1 Rear side of EXB-PCM

SIMM Slot2

SIMM Slot1

Catches Rear panel Rear panel

242 5 4 3 2 1 2 – slots DRAM SIMM hole Locking B2. InstallingaDRAMSIMM ak()oftheslot. mark ( DRAM SIMMwithitsPIN1sidealignedthe The notchedsideoftheDRAMSIMMisPIN1.Install ing aDRAMSIMM factory-installed DRAMSIMMasexplainedin two DRAMSIMMmodules,youwillneedtoremove the ule, installitintheremaining slot.Ifyouare installing Mbyte DRAMSIMM.Ifyouare installingonlyonemod- In theslotclosesttoyou,there isafactory-installed16 DRAM SIMMslots TON facingtoward you, install theDRAMSIMM.With therear paneloftheTRI- Verify thelocationofslotintowhichyouwishto Have theDRAMSIMMathand. Make sure that arations forinstallation, the EXB-PCMorDRAMSIMM. � the wrong slot. shaped identically. Becareful nottoinstallaboard in The DRAMSIMMslotsandtheEXB-PCMare below in tory-installed 16MbyteDRAMSIMMasdescribed DRAM SIMMmodules,youmust simultaneously. Ifyou wishtousetwo32Mbyte A maximumoftwomemoryboards canbeinstalled attaching thecover. cover, installingtheoptionboard/memory, andre- until youhavecompletedallstepsofremoving the Be sure that the AC powercableremains disconnected “ 72PIN Removing aDRAMSIMM. cover Rear oftheDRAMSIMM ” Factory-installed DRAMSIMM . sothatbothslotsare available. “ B Rear panel ” Catches ”

the fronttworowsare hasbeenremoved. ( “ 1 – Rear panel Catches B. Removingcover ” ) ﬁ rst remove thefac- 1PIN ” Slot1 SIMM Slot2 SIMM Slot1 EXB-PCM Slot2 EXB-PCM “ “ Remov- “ 1. Prep- Notch hole Locking B Slot1 SIMM Slot2 SIMM Slot1 EXB-PCM Slot2 EXB-PCM ” for 7 6 DRAM SIMMandpullitout. (after removing thestoppersfrom thecatches)tilt Spread thecatchesofslotapart totheleftandright, Removing aDRAMSIMM 8 Raise tovertical Press inataslant “ Reversing theprocedure by which youremoved smoothly. slot aparttotheleftandrightwillhelpboard goin DRAM SIMM.Whendoingso,pressing thecatchesof catches oftheslotclickintolockingholes the slot,andraiseittoverticalpositionuntil At aslant,press theDRAMSIMM correctly. ( and makesure thattheDRAMSIMMhasbeeninstalled When allstepshavebeencompleted,turnonthepower Catch B opening (insidetheinstrument). Pleasebecareful. DRAM SIMMmaypopoutvigorously andfallintoan When youspread thecatchesofslotapart, , ” re-attach thecover. “ Rear sideofDRAMSIMM Checking afterinstallation Rear sideofDRAMSIMM Rear sideofDRAMSIMM Rear sideofDRAMSIMM ﬁ rmly allthewayinto Rear panel Rear panel ” ) cover Catch 243

Appendices Arpeggio Type 127 Bounce Index Preset Arpeggio Pattern 22 Bounce Pattern 70 User Arpeggio Pattern 23, 126 Bounce Track 63 Numerics Load 134 BPM 56 Save 139 BPM/MIDI Sync function 145, 216 000: No Effect 146, 150 Write 128 Detune (BPM Adj. in Page Menu) 10’s Hold Assign Combination 34 Combination 29 Arpeggiator Assign Arpeggiator Sequencer 56 Program 1 Drumsample 123 Detune BPM Adjust Foot Pedal Assign 121, 220 Combination 34 A Foot Switch Assign 121, 219 Sequencer 56 Realtime Control Knobs B–Assign Grid 88, 94, 95, 95 ADC OVERLOAD !! 87 RPPR Setup 71 MIDI/Tempo Sync., LFO 21 After Touch SW1, SW2 BUS Select After Touch Curve 114 Attack 19 Audio Input 117, 149, 152, 152 AMS 210 Attack Level Combination 41, 42, 147, 151 Convert Position 118 Amp EG 18, 19 DrumKit 125, 147, 148 MIDI Filter 118 Filter EG 15 Metronome Combination 35 Pitch EG 10 Sampling 87 Sequencer 58 Realtime Control Knobs B–Assign Sequencer 51 AIFF file(.AIF) 131, 137, 226 218 Song Play 103 AKAI S1000/S3000 format 137 Attack Time Program 24, 26, 147, 151 All Routed 150 Amp EG 19 Sampling 87, 150, 152 Sequencer 75, 147, 151 Alternate Modulation 209 Drum Kit, Key 124 Song Play 109, 147, 151 Alternate Modulation Source 209 Filter EG 15, 16 Filter EG + Amp EG 2 Use DKit Setting 24 Amp Pitch EG 10, 11 Amp 17, 213 Realtime Control Knobs B–Assign Amp EG 18, 214 C 218 Amp Level 2, 17 Calibration Sample 7 Amp LFO 1/2 Intensity 18, 213 Half Damper 115 Amp Mod. 17 Audio Input Touch Panel 115 AMS 210 (COMBI, PROG, SEQ, S.PLAY) 116 Category (SAMPLING) 86 AMS(Alternate Modulation Source) 209 Combination 29, 30 Amp 18, 213 AUDIO OUTPUT (INDIVIDUAL) 153 Drumsample 124 Amp EG, Level 19, 214 Auto IFX Select 25 Amp EG, Time 19, 214 Auto Arpeggiator 114 MFX Select 27 Amp LFO 1/2 Intensity 18, 213 Auto Loop On 87 Program 1, 3, 6 Filter EG Intensity 13, 213 Auto Punch In 50 Rename 122 Filter EG, Level 15, 214 Auto Start 103 Sequencer 47 Filter EG, Time 15, 214 Song Play 101 Filter Frequency 12, 212 B Cautions regarding sample data 79 Filter LFO 1/2 Intensity 14, 213 Bank Chain LFO, Frequency 20, 214 IFX 25, 148 Pan 17, 213 Bank/Program, Combination 30 Bank/Program, Sequencer 47 MFX 152 Pitch 8, 212 Chain Direction 27 Pitch EG 9, 212 Bank/Program, Song Play 102 Change all bank references 115 Chain Level 27, 153 Pitch EG, Level 10, 214 Chain Signal 27, 152 Pitch EG, Time 11, 214 Combination 29 Chain to next file 103 Pitch LFO 9, 212 High Drumsample 123 Resonance 12, 213 Low Drumsample 124 Change Program 1 Change all bank references 115 Arpeggiator RAM Bank, Sampling 81 MS Mono To Stereo/MS Stereo To Arpeggiator Assign Mono 85 Combination 39 Bank Change, MIDI Filter 119 Sample Mono To Stereo 85 Sequencer 73 Bank Select Song Play 107 Bank Map 115 Changing the time signature 45 Arpeggiator Run A, B Combination 33 Chord strummed on a guitar 129 Combination 32 Sequencer 55 Combination 29 Sequencer 74 Bank/Timbre Program Select 30 Combination Change, MIDI Filter Song Play 108 Base key 80 119 Combination 32, 39 Beep Enable 116 Load 133 Program 3, 22 Save 139 Bend Range Sequencer 73 Write 30 Song Play 107 Combination 34 MIDI Filter Control change Arpeggio Combination 36 AMS, CC83# 210 Arpeggio Pattern 3, 22, 32, 40, 74, Program 8, 9 Control changes are transmitted/re- 108, 127, 134 Sequencer 56, 58 ceived 223 Arpeggio Tone Mode 127 MIDI Filter 118

244 Cutoff Frequency Cut Current directory Cue List Ctrl Ch Ctrl Creates anewdirectory Create Count Copy Convert Position Convert Controller Cutoff, Sample Cut, Step Cut, Sample Cut, Index Save Load Song Play Sequencer Combination Create, Index Create Directory Create ControlData Precount, Sequencer Count DownREC,Sampling Copy, Sample Copy, Index Copy, File,Directory Copy, Event Copy Track Copy ToTrack Copy Step Copy Song Copy Scale Copy Sample Copy Pattern Copy Oscillator Copy Multisample Copy Measure Copy MasterEffect Copy KeySetup Copy InsertEffect Copy FromSong Copy FromCombi Copy DrumKit Copy CueList Copy ArpeggioPattern Copy Arpeggiator Rate Convert Convert Position Convert MultisampleToProgram Convert CueListtoSong 76 , Song Play Sequencer Program Combination Song Play Sequencer Sampling Program Combination Song Play Sequencer Program Combination 77 150 140 135 51 , 221 , 153 , 135 153 53 110 76 129 97 54 122 63 90 97 62 , 43 93 , 69 81 83 28 25 23 77 118 90 99 53 12 112 106 111 110 108 65 70 77 76 74 7 , 125 , 5 125 44 142 97 118 48 43 42 40 , 48 84 132 65 51 142 141 128 53 86 84 Damper pedal D Edit RangeEnd E Dump Drums Drum Kit Drive select Drum program Decay Time Data transmissionrate 145 Dynamic modulationSource(Dmod) modules) DRAM SIMM(sampledatamemory Double-size effect Double Delete Delay Time Delay Realtime ControlKnobsB 218 DrumKit IFXPatch MIDI Filter Half DamperCalibration Damper Polarity AMS Transmission Reception Write Use DKitSetting Save Program Load Realtime ControlKnobsB Pitch EG Filter EG+Amp Filter EG Drum Kit,Key Amp EG Truncate StepBack, note,rest Delete, File,Directory Delete Step Delete Song Delete Sample Delete Multisample Delete Measure Delete CueList Delete button,Jukebox Cut, Event Sequencer Program Drum Kit Combination LFO 218 , 214 119 Combination Song Play Sequencer Sequencer Combination 4 4 21 139 210 134 125 237 134 106 10 6 6 19 89 15 7 , 120 56 62 238 , , 118 129 47 , 147 95 16 88 34 132 119 83 110 124 146 76 58 53 , 63 17 121 148 42 35 , 148 116 62 84 24 2 142 106 – – 115 Assign Assign Free SampleMemory Format Force OSCMode Format 0,1 Erase Effect GlobalSwitch Edit RangeStart Filter FF/REW Speed Fade F Foot Pedal/FootSwitch Flam Fixed NoteMode Exclusive EXB-SCSI (SCSIinterfaceboard) boards) EXB-PCM series(PCMexpansion 237 EXB-MOSS (DSPsynthesizerboard) Event Edit Event EXL file(.EXL) Exclusive Group Sequencer Sampling Format Type Sequencer Combination Foot SwitchPolarity Shift/Erase Note Remove Data Erase Track Erase Pattern Erase Measure Erase ControlData Clear, Sampling Filter EG Cutoff Frequency AMS LFO Filter EGIntensity Filter Foot SwitchAssign Foot Pedal/Switch Foot PedalAssign AMS Low PassResonance Low Pass&High Filter-Resonance, DrumKit Filter-Cutoff, DrumKit Filter Type Filter Mod. Filter LFO1/2Intensity MIDI Filter Exclusive Data Move Insert Event Edit Delete Copy 128 MIDI Filter,Sequencer MIDI Filter,Combination 142 21 237 210 210 12 62 62 62 62 62 101 13 87 , 47 55 62 69 12 13 131 , 119 63 15 48 143 33 88 69 50 125 127 , , 63 135 135 214 , 90 69 67 114 12 121 , 13 66 121 141 , 121 , 12 212 , 15 12 220 , 124 219 14 , 213 , 213 59 124 237 245 36

Appendices Full Format 143 MIDI Filter Chain Level 27, 153 Combination 36 Level, Sample 7 G Sequencer 58 Multisample Level 6 Jukebox 101, 106 OSC Balance 2 Gain Jukebox List 107 Return 27 MEQ 207 Send 25 Combination 44 Trim 12 Program 28 K Sampling Sequencer 78 Key AUDIO INPUT [Level] knob Song Play 112 Key Zone Level 86, 97 Gate 23, 40, 74, 108, 128 Combination 37 Level Adj. 92 Get Sequencer 59 Recording Level 82, 87 Get From Track 70 KEY, Drum Kit 123 Sequencer Global MIDI Channel 117 Original Key 81 Chain level 77 Original Key Position 87 Return 77 Global Setting Scan Zone, Arpeggiator Send 76 Load 134 Combination 40 Volume 49 Save 139 Program 24 Song Play Write 114 Sequencer 74 Chain level 111 GM 115 Song Play 109 Return 111 GM Initialize 102 Top Key 81, 97 Send 110 GS, XG 115 Zone Range 87 Volume 103 Grid 88, 94, 95 Key Split 37 LFO 20 Keyboard & Index 80 Amp 18, 213 H Keyboard Display 85 AMS 210 Cutoff Frequency 214 Hide unknown files 132 Keyboard Track Filter 14, 213 AMS 210 Hold 4 Pitch 8, 212 Key Hold Balance 31 Waveform, LFO waveform 20 Amp 17 Filter 13 Load I Ramp Load FX? 52 Load Jukebox List 107 Icon 131 Amp 17 Filter 13 Load selected 132 Index 80, 88, 94, 96 Load Template Song KMP file 136 Initialize Steps 129 Sequencer 48 Translation 132 Inputting a tie 62 Song Play 102 KMP file(.KMP) 131, 136, 226 Inputting notes 61 Program, Combination, Drum Kit, KORG format 226 Inputting rests 62 Arpeggio Pattern, Global Setting, KSC file(.KSC) 131, 136, 228 Song, Cue List, Track, Pattern, Multi- Insert sample, Sample, SMF, Exclusive 132 Insert Measure 64 KSF file Insert Sample 90 Translation 132 Local Control 117 Insert Step, Arpeggio 129 KSF file(.KSF) 131, 136, 137, 227 Local Control On 117 Insert Zero 91 Location Insert, Index 97 L Cue List 51 Insert, Step, Cue List 53 Sequencer 45, 48 Layer 37 Insert Effects (IFX) Song Play 101, 102 IFX 1…IFX 5 146 Legato Loop Combination 42 Fingered 9 Auto Loop On 87 Program 25 Legato 4 Loop All Tracks 50 Sampling 100 Length 127 Loop Lock 95 Sequencer 76 Level 146 Loop On 95 Song Play 110 Audio Input Loop Start Measure/Loop End Mea- IFX Balance 2 AUDIO INPUT [Level] knob sure 49 IFX1–5 Off 114 Level 117 Loop Tune 95 Send 117 LoopS 95 J Combination Track Play Loop 49 Chain level 43 Low Pass & High Pass 12 JKB file(.JKB) 131 Return 43 Low Pass Resonance 12 Joy Stick Send 42 AMS 210 Volume 31, 32 Dmod 215 Drum Kit 124 M Joystick +Y Level 124 Master Effect(MFX) 150 Pitch Mod., LFO 1/2 9 Metronome MFX Balance 2 Joystick Lock 217 Sampling 87 MFX1 Off/MFX2 Off 114 Joystick X Sequencer 51 MFX1, 2 Pitch 9 Song Play 103 Combination 43 Joystick –Y Program Program 28 Filter, LFO 1/2 Mod. 14 Amp Level 2, 17 Sequencer 77

246 Mute Multi-track recording Multisample Multi REC MS MonoToStereo Move MOSS Monophonic Mono-in/Stereo-out Mixer Mix MIDI MID file(.MID) Metronome Meter Memory Protect Media Master Tune Master EQ(MEQ) Octave O Note Normalize N Note priority Note number PLAY/MUTE/REC, Sequencer PLAY/MUTE, SongPlay Save Load Shift/Erase Note Move Measure MIDI Filter MIDI Clock MIDI Channel Song Play Sequencer Count DownREC Song Play Sequencer Cue List Total Size Free Size Device Type Song Play Sequencer Program Combination Arpeggiator Note ReceiveFilter Note On/OffReceive AMS 91 117 149 237 Song Play Sequencer Sampling Program MFX IFX Global MIDIChannel Combination Song Play 140 210 136 , 152 50 92 150 51 28 143 113 153 5 4 143 103 101 112 4 51 45 78 , 35 118 80 131 127 143 , 116 44 1 , 69 , 222 153 , 57 101 111 65 55 88 222 85 , 67 150 , , , 33 118 , 86 76 50 94 207 118 222 , , , 43 125 77 96 , , 44 222 102 117 , 222 47 Original Key Performance Editor Pitch PCG file(.PCG) PC I/FBaudRate Pattern Paste, Sample Pan P Oscillator Overwrite Over Write Over Dub Offset Pitch Shifter Pitch ShiftMod. Pitch Offset Pitch Mod. Pitch LFO1/2Intensity Original KeyPosition Pitch EG Pitch BPMAdjust JS ( JS (+X) Constant Pitch Pattern, Track/RPPR Pattern Edit User pattern Preset pattern Use DKitSetting Pan (CC#8),IFX Pan OSC Select Oscillator Mode Start Offset Offset, Sequencer Offset, LFO Octave, Program Octave, DrumKit – X) Pitch Modulation Pitch EGIntensity AMS Song Play Sequencer Sampling Program Combination Song Play Sequencer Sampling Program Drum Kit Combination AUDIO INPUT Combination Sequencer Program Drum Kit Octave, SongPlay Octave, Sequencer Octave, Program Octave, Combination Octave Motion Save Load 220 9 50 9 89 50 139 81 9 135 91 , 8 20 128 68 , 10 131 176 68 96 25 17 6 68 99 86 126 124 , 116 110 103 96 76 49 55 210 , , 149 4 177 2 132 17 20 2 66 6 42 31 33 97 , , , 6 , 127 212 , , 117 213 220 140 68 32 3 87 10 , 108 212 74 , 212 23 135 32 , 40 Program Change Portamento Poly/Mono Punch In Program Priority Pre TriggerREC Power OnMode Positional Cross-fade Position Put Quick Format Range R Quantize Q Realtime ControlKnobsB Rate Convert Rename REC Mode Write MIDI Filter Song Play Sequencer Save Program Change Load Convert MSToProgram Combination Shift Sampling Ribbon Pitch, Sample Pitch Slope Program MIDI Filter Combination AMS Manual PunchIn Auto PunchIn Sequencer Put ToTrack Song Play Sequencer Sampling Program MIDI Filter Combination AMS Song Pattern File, Directory Cue List 81 Sequencer Sequencer Combination Combination Sequencer Combination Reso, Quantize Realtime Quantize Reso, Quantize 4 71 140 87 210 210 133 , 3 1 66 88 , 8 86 133 53 4 9 8 , 97 98 97 101 105 93 47 55 60 143 8 118 70 30 33 38 86 116 7 141 50 57 58 58 50 35 35 36 37 66 69 – Assign 46 84 247 218

Appendices Pattern name 71 User All Notes Scale 121 Stereo multisample 81 Program 3 User Octave Scale 121 Stereo sample 81 Program/Combination Cat. 122 SCSI ID 143 Stereo To Mono 85 Rename Arpeggio Pattern 128 Select SW1, SW2 Rename Drum Kit 125 Arpeggio Select 127 AMS 210 Rename Multisample 84 Bank/Combination Select 29 Assign 217 Rename Sample 84 Bank/Timbre Program Select 30 Combination 38 Song 47 Category/Combination Select 29 Program 8 Track Name 68 File select 101 Sampling 98 Repeat High Drumsample Select 124 Sequencer 60 Loop IFX 25 Song Play 105 Repeat Measure 64 Key Select MIDI Filter 118 Repeat, Cue List 52 Drum Kit 123 Combination 36 Resolution RPPR 71 Sequencer 59 Arpeggiator 3, 23, 32, 40, 74, 108, 127 Low Drumsample Select 124 Swap Sequencer 46, 66, 69 MFX Effect Select 27 Swap Insert Effect 25, 42, 76, 99, 110 Resonance 12, 213, 218 Pattern Select 68 Swap LFO 1&2 21 Sample 7, 7 RPPR 71 Swap Master Effect 28, 43, 77, 111 Reverse Play Track Select 101 Swap Oscillator 5 Select Directory 106 Reverse, Drum Kit 124 Swing 23, 40, 74, 108 Select other medium 141 Reverse, Program 6 Sync. Reverse, Sampling 93, 95 Song Select, Cue List 52 Track Select, Sequencer 46 Key Sync. Ribbon controller 8 Arpeggiator 127 Send 147, 149 AMS 210 Arpeggio, Combination 32, 40 AUDIO INPUT 117, 149, 152 MIDI Filter Arpeggio, Program 3, 23 Combination 42, 147, 151 Combination 36 Arpeggio, Sequencer 74 Drum Kit 126 Sequencer 58 Key Sync., LFO 21 Program 25, 147, 151 Rotate MIDI/Tempo, LFO 21 Sequencer 76, 147, 151 Rotate Step 129 Sync Both EGs 16 Song Play 110, 147, 151 Routing 147, 151 Sync, RPPR 71 SEQ, Data 140 Combination 41 Tempo, Sequencer 45 Program 24 Single 4 System Exclusive Data 234 Sequencer 75 Single Trigger Load 135 Song Play 109 Drum Kit 125 MIDI Filter 119 RPPR (Realtime Pattern Play/Record- Program 4 Save 141 ing) 71 SMF(Standard MIDI Files) 101 RPPR ON/OFF 46 Load 135 T Save 141 Template Song SNG file(.SNG) 131, 134 S Load Template Song 48, 102 Solo Sample 80, 88, 96 Preset Template Song 48 SOLO ON/OFF, Sequencer 47 Load 136 Save Template Song 48, 102 SOLO ON/OFF, Song Play 102 Sample data memory modules 237, Solo Selected Track 102 Solo Selected Timbre, Combination 238 User Template Song 48 31 Sample Mode 82 Tempo 1, 22, 29, 45, 51, 69, 86, 101, 127 Solo Selected Track, Sequencer 47 Sample Parameters 7 AMS 210 Solo Selected Track, Song Play 102 Sample Time 82 Tempo Mode 46, 52 Song 45, 101, 135 Sample waveform display 88, 94 Threshold 86 Save 140 Convert Cue List to Song 53 Load 135 Timbre 29, 32 Sample Mono To Stereo 85 Load Template Song 48, 102 Timbre assign 32 Sampling Save 140 Tone 127, 129 Rate Convert, Sampling Rate 93 Save Template Song 48, 102 Tone No. 129 Sampling Data 140 Sort 3, 23, 32, 40, 74, 108, 127 Top Key 81, 97 Sampling will be started 86 Sound continues playing 4 Top Key, Bottom Key Save 139 Standard MIDI File(SMF) 135, 140 Combination 37 Program, Combination, Drum Kit, Sequencer 59 Arpeggio Pattern, Global Setting, Status Top Slope, Bottom Slope Song, Cue List, Track, Pattern, Multi- Combination 30 Combination 37 sample, Sample, SMF, Exclusive 139 Sequencer 55 Sequencer 59 Save Jukebox List 107 Song Play 104 Save Template Song 48, 102 Step Top Velocity, Bottom Velocity Set Date/Time 142 Cue List 52 Combination 38 Sequencer 60 Scale Current Step 53 Combination 35 Step No. 128 Track 135 Program 4 Step Recording 61, 69 Load 135 Play Track Select 101 Sequencer 57 Stereo input—Stereo output 146 Song Play 104 RPPR 71

248 Volume Vocoder Velocity Zone Tune Truncate TRINITY Transpose Velocity VALUE slider V Use Zero Use DKitSetting U User Scale User OctaveScale User Arpeggio User AllNotesScale Velocity M.SampleSWLo Velocity Intensity,AmpMod. Volume, SongPlay Volume, Sequencer Volume, Combination Volume Ramp,Sampling Volume Label Hold Balance Sequencer Program Combination Velocity, FilterEG 128 Velocity, Arpeggiator Velocity Switch Velocity SampleSWLo Velocity Curve Velocity Cross-fade User OctaveScale User AllNotesScale Tune, Program Tune, DrumKit Pitch Stretch Sequencer Program Global Drum Kit Convert Position Combination Scan Zone,Arpeggiator Modify Velocity AMS AMS Track Select Track Edit Save Specified location Pitch Stretch Song Play Sequencer Program Combination Sequencer Cur List 139 210 210 201 89 88 226 113 121 , , 7 6 95 95 7 60 56 61 , 126 124 2 52 37 34 31 24 17 143 109 121 74 46 113 6 37 , 7 67 118 24 , , 2 121 40 121 124 13 61 103 49 37 121 23 31 → 118 , Hi 40 → 92 , Hi 74 123 18 , 6 108 , Write Write Protect Zone Map Zero-cross Z WAVE file(.WAV) W ZOOM Zone Range Write Program Write GlobalSetting Write DrumKits Write Combination Write ArpeggioPatterns Combination Arpeggiator Sampling Sequencer Song Play Sequencer Program 88 , 88 95 87 143 59 37 24 108 74 3 131 125 , 30 137 114 , 226 128 249

Appendices