Korgメーカーmusic workstation/samplerの使用説明書/サービス説明書
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ii Thank you for purchasing the Korg TRITON Extreme music workstation/sampler . To ensure tr ouble-free enjoyment, please r ead this manual carefully and use the instrument as directed. About this manual The owner’ s manuals and how to use them The TRITON Extr eme come with the following owner ’s manuals.
iii T able of Contents About this manual ....................................... ii Introduction................................................ 1 Main features...................................................................... 1 Front and rear panel .
iv Use sampled Wave files to create an audio CD and play it: Media, Make Audio CD, Play Audio CD .......... 123 Editing a Wave file: Media, Edit WAVE .................... 125 Viewing information about media: Media, Media Info..........................
1 Introduction Main features The TRITON Extreme is a music workstation/sampler that features the HI (Hyper Integrated) synthesis system as its tone generator .
2 Sequencer A sophisticated 16-track MIDI sequencer is built in. • The TRITON Extreme combines dual arpeggiators, RPPR, time slice, in-track sampling, and many other functions, giving you an integrated music production environment with even more potential than an external sequencer would provide.
3 Front and rear panel Front panel 1. [SW1] key , [SW2] key These keys are on/off switches, their function can be assigned in Program, Combination, Sequencer , Song Play , and Sampling modes.
4 6. Mode keys Use these keys to enter the desired mode. When you press a key , the key will light, and you will enter the mode whose key you pressed ( ☞ p.10). [COMBI] key Combination mode will be selected. [PROG] key Program mode will be selected.
5 Each time you press the [G] key when selecting a pro- gram, the bank selection will step to the next GM(2) bank or GM drum bank in the following order: G, g(1), g(2)– g(8), g(9), g(d), G, g(1) etc ... The F bank can be only be selected in Program mode, and only if the EXB-MOSS option is installed.
6 17. Sample memor y (RAM) slot cover Y ou can open this cover and install SIMM boar ds to expand the sample memory (RAM). A maximum of three 32 Mbyte SIMM boards can be installed as sample mem- ory (RAM). ( ☞ PG p.321) 18. Headphone jack A set of headphones can be connected her e (stereo 1/4" jack).
7 Use an optical cable to connect this to the optical digital input jack of a DA T or MD, etc. The [VOLUME] slider does not adjust the output level of this jack. IN jack This is an optical S/P DIF format (IEC 60958, EIAJ CP- 1201) digital input jack. Digital audio at a sample rate of 48 kHz can be input her e.
8 Names and functions of objects in the LCD screen The TRITON Extreme uses Kor g’s T ouchView graphical user interface. By touching objects displayed in the LCD screen, you can select pages, set parameter values, rename programs and combinations, write data, and perform many other opera- tions.
9 f: Check box Each time you press a check box, a check mark will be added or removed. When checked, the parameter will function; when unchecked, the parameter will not function. g: Radio buttons Press a radio button to select one value from two or more choices.
10 Over view of the TRITON Extreme’ s modes The TRITON Extreme has a lar ge number of functions that let you play and edit programs and combinations, recor d and play sequence data, record and play back sam- ples, and manage data on media. The largest unit used to organize these functions is called a mode.
11 Sequencer mode • Use the 16-track MIDI sequencer to record and play songs. • Record onto the sixteen MIDI tracks individually or all sixteen tracks at once. Exclusive messages can also be recorded and edited. • Perform sampling/resampling. An external audio input source can be sampled in syn- chronization with the song playback.
12 About polyphony T one generators and oscillators Each oscillator in the TRITON Extreme is sounded by one of two T one Generators. Each tone generator is connected to the various PCM memories as shown in the diagram below .
13 Basic operation 1. Selecting modes In order to use a particular function on the TRITON Extreme, you must first select the appropriate mode. Press one of the front panel mode keys ([COMBI] key – [MEDIA] key) to enter the corresponding mode. 2. Selecting pages Each mode has a large number of parameters, which are organized into pages.
14 V ALUE controllers [V ALUE] slider Use this when you wish to make major changes in the value. In Program mode and Combination mode, this slider can also be used as a control source for alternate modulation or dynamic modulation.
15 Setup Connections Connections must be made with the power turned off. Please be aware that careless operation may dam- age your speaker system or cause malfunctions.
16 1. Connecting the power cable 1 T urn off the power of the TRITON Extreme . 2 Plug the included power cable into the AC power supply connector located on the back of the TRITON Extreme. 3 Connect the other end of the power cable to an AC outlet. Use only the power cable that is included with the TRITON Extreme.
17 6. Inser ting and removing CF card slot media Y ou can insert a CompactFlash or Micr odrive card into the CF card slot, and use it to save or load song data or sam- ple data. When using a Microdrive, you can save the sampled data directly to media.
18 Tu r ning the power on/of f Before you turn on the power , make sure that the desired connections have been made as described in “Connections” ( ☞ p.15). 1. T urning the power on 1 Press the rear panel [POWER] switch to turn on the power . The LCD screen will display the name of your model, and the software version.
19 Playing and editing programs (Program Mode) Program str ucture When the TRITON Extreme is shipped from the factory , it contains 1,344 programs (excluding the GM2 variation programs). Y ou can create your own original programs by editing these factory-set programs, or by initializing a pro- gram and starting “from scratch.
20 Playing a program P0: Play Here you can select and play programs. Y ou can use the Performance Editor to make simple edits, and also make settings for the arpeggiator , external audio input, and sampling. Selecting a program There are thr ee ways to select a program.
21 4 When you are satisfied with the selected program, press the OK button to close the popup menu. If you press the Cancel button, your selection will be discarded, and you will return to the program that had been selected when you opened the popup menu.
22 Y ou can specify the way in which the [SW1] and [SW2] keys will operate: either T oggle , when the assigned func- tion will be switched between on and off each time the key is pressed, or Momentary , when the assigned function will be active on only as long as you hold down the switch.
23 Note Number V arying amounts of an effect will be applied depending on the position of the key on the keyboard. Normally this is used to control volume, tone (cutoff fre- quency), LFO sensitivity , and EG sensitivity etc.
24 Oscillator settings P1: Edit-Basic Basic settings for the oscillator are made in the P1: Edit- Basic page. The TRITON Extreme provides two oscilla- tors, and for each oscillator you can select a basic wave- form (“ multisample ”) and set the pitch.
25 3 Adjust the “Lvl” (Level) for High and Low multisam- ples to set their volume balance. If you do not wish to use this function, set the “V eloc- ity M.Sample SW Lo → Hi” value to 001 . Only the High multisample will sound. Rev (Reverse) check box If this is checked , the multisample will be played back- ward.
26 Pitch settings P2: Edit-Pitch Here you can specify how the pitch of the multisample assigned to each oscillator will change. Pitch EG and LFO settings allow the pitch to varied over time. The OSC1 P .Mod page is valid when “ Oscillator Mode ” is set to Sin- gle or Drums .
27 Filter settings P3: Edit-Filter The filter allows you to diminish or emphasize specifi ed frequency areas of the multisample selected for the oscil- lator . The tone of the sound will depend signifi cantly on the filter settings. TRITON Extreme pr ovides Filter 1 for OSC1 and Filter 2 for OSC2.
28 Filter EG Adjusts the effect produced by the filter EG, whose set- tings are made in the EG page. • Use the “ V elocity to A ” and “ V elocity to B ” settings to specify the effect of velocity on the filter EG. • Use the “ Intensity to A ” and “ Intensity to B ” settings to specify the depth of the filter EG.
29 Amp1 Mod. page Keyboard T rack This lets you vary the volume relative to the position of the key you are playing on the keyboard. • When “ Ramp Low ” has a positive (+) value , the vol- ume will increase as you play lower on the keyboard. With a negative (–) value , the volume will decrease as you play lower on the keyboard.
30 Arpeggiator settings P7: Edit-Arpeggiator Here you can make arpeggiator settings ( ☞ p.94). Inser t Ef fect settings P8: Edit-Inser t Ef fect Here you can select insert effects and make settings for them. Y ou can also specify the oscillator routing (the sig- nal sent to the insert effects, master effects, and indepen- dent outputs) ( ☞ p.
31 Playing and editing combinations (Combination Mode) Combination str ucture When the TRITON Extreme is shipped from the factory , it contains 1,280 combinations. Y ou can create your own original combinations by editing these factory-set combi- nations, or by initializing a combination and starting “from scratch.
32 Playing a combination P0: Play Here you can select and play combinations. Y ou can select the program for each timbre 1–8 and set its status, pan, and level. Y ou can also make settings for the arpeggiator, external audio input, and sampling. Selecting a combination Y ou can select a combination in any of the following thr ee ways.
33 Easy arpeggiator editing Arpeggio Play A/Arpeggio Play B tabs • You can switch arpeggiators A and B on/off independently. To turn both arpeggiators on/of f, use the ARPEGGIA- TOR [ON/OFF] key . The arpeggiator will operate only on timbres to which arpeggiator A or B is assigned.
34 Layer Layer refers to settings which cause two or more pro- grams to sound simultaneously when a note is played. Split Split refers to settings which cause different pr ograms to sound on different ar eas of the keyboard.
35 Settings for status, MIDI channel, and pitch parameters P2: Edit-T rk Param MIDI Ch page Status Here you can specify the MIDI status of the internal tone generator assigned to each timbre. Normally when play- ing the internal tone generator of TRITON Extreme, you will set this to INT .
36 ● Adjusting the BPM of multisamples or samples cre- ated in Sampling mode If a timbre’s program uses multisamples or samples that you created in Sampling mode (or loaded in Media mode) at a specific BPM value, you can use the page menu com- mand “Detune BPM Adjust” to call up a new BPM value.
37 Y ou can also enter these values by holding down the [ENTER] key and playing a note on the keyboard. Key Zone Slope Here you can specify the range of keys over which the original volume will be reached, starting at the top key and bottom key .
38 Auto Song Setup function This function automatically applies the settings of the cur - rent combination to a new song. If inspiration for a phrase or song strikes you while you’r e playing a combination, you can use this function to start recor ding immediately .
39 Producing songs (Sequencer mode) TRITON Extreme contains a 16-track MIDI sequencer . The sequencer acts as a hub, integrating TRITON Extr eme’s numerous functions. When you turn off the power , the settings made in Sequencer mode and the song data, cue list data, and any user pattern data that you recorded will not be backed up.
40 The str ucture of Sequencer mode Sequencer mode is structured as follows. Songs A song consists of MIDI tracks 1–16, a master track, song parameters such as the song name, effect, arpeggiator and RPPR parameters, and 100 user patterns. A maximum of 200 such songs can be created on TRITON Extreme.
41 Sequencer mode page structure For details on how to access each mode and page, r efer to “Basic operation” ( ☞ p.13). If the separately sold EXB-MOSS option is installed, bank F programs can also be used in Sequencer mode. For details on the parameters of bank F pro- grams, refer to the EXB-MOSS owner ’s manual.
42 If you are using the TRITON Extreme’s Sequencer mode as a 16-track multi-timbral tone generator , set this parameter to INT or BTH. ( ☞ ”Status” PG p.72) In general, you should set “MIDI Channel” to different channels 1–16 for each track.
43 Recording methods This section describes the ways in which you can record on the TRITON Extreme. Recording a track There are two ways to recor d to a MIDI track: realtime recording and step recording . Y ou can choose from six types of realtime recor ding.
44 3 In “Location,” specify a location several measures earlier than the point at which you wish to begin recording. 4 Press the SEQUENCER [ST AR T/STOP] key . Playback will begin. 5 At the point at which you wish to begin recording, press the SEQUENCER [REC/WRITE] key .
45 When simultaneously recording multiple tracks using the RPPR function Y ou can use multitrack recording to simultaneously recor d the playback of multiple tracks that are being trig- gered by the RPPR function. For the procedure, refer to “Realtime-recording an RPPR performance” ( ☞ p.
46 Recording exclusive events Exclusive messages received from an external MIDI device or the parameter changes produced when you edit a track parameter or effect parameter can be realtime- r ecor ded on any track.
47 Using “Put Effect Setting to T rack” to switch ef fects The page menu command “Put Effect Setting to T rack” places effect settings into a track as exclusive events. As an example, we will use the preset template song “Acid Jazz” to explain how to use the “Put Effect Setting to T rack” page menu command.
48 B If you press the [COMP ARE] key (the key will light) and play back, you will hear the state of the track prior to executing “Put Effect Setting to T rack.” Use the [COMP ARE] key when you want to make a before-and-after comparison of the track.
49 9 Press the OK button. Now when you select song 000 and play it back, the track 3 effect will switch to 020: Stereo Flanger from measure 9. 0 Using the [COMP ARE] key , you can listen to the pre- vious version, before you performed the “Put Effect Setting to T rack” operation.
50 9 If you want to delete specific data while you continue pattern recording, you can press the SEQUENCER [REC/WRITE] key or check the “Remove Data” check box. For details refer to step 6 of “Loop All T racks” ( ☞ p.44). 0 Press the SEQUENCER [ST AR T/STOP] key to stop recording.
51 Decide on the number of measures, input the number in “Set Length,” and press the OK button. A new song will be created. Next we will copy the song settings and playback data of another song into this newly created song. 2 Select the page menu command “Copy From Song.
52 4 Mute tracks. Press the [EXIT] key to select P0: Play/REC, and access the Program T01–08/T09–16 page. Mute all tracks other than tracks 3 and 4. When you play back, you will hear only the electric piano and guitar performances. 5 As described in steps 1 – 4 , set song S001: VERSE to 008 (8 measures), making it an eight measure song.
53 Creating and playing a Cue List A cue list allows you to play multiple songs in succession. For example you can create a separate song for each por- tion (introduction, melody A, melody B, chorus, .
54 playback is started or when switching from song to song. Although it will not be possible to change effect types within the cue list, you can use dynamic modulation or MIDI control changes such as .
55 Creating and recording RPPR (Realtime Pattern Play/Record) This section explains how to assign a pattern to RPPR , and how to play and record. ( ☞ QS p.3 “Performing with the RPPR function”) Creating RPPR data 1 Create a new song. ( ☞ p.50) 2 Specify the program for each track.
56 RPPR playback Let’s use the RPPR you created to perform in the Sequencer P0: Play/REC page. 1 Select Sequencer P0: Play/REC. 2 Check the “RPPR” check box. The RPPR function will be turned on. Set the on/off for each song. 3 Play the keyboard, and patterns will begin playing according to the RPPR settings.
57 Set “ Gate ” and “ V elocity ” to Step . Do not check “Key Sync.” Press the ARPEGGIA TOR [ON/OFF] key . (The key will light.) 3 In the Sequencer P0: Play/REC, Preference page, check the “Multi REC” check box. If “ Recording Mode ” is set to Loop All T racks ,” it will not be possible to select Multi REC.
58 Recording the sound of a combi- nation or program Here’s how you can easily copy the settings of a combina- tion or program, and then record. There are two ways to do this.
59 When using the “Copy From Program” page menu command, the dialog box will be different. Y ou can specify any track as the copy destination, and “Auto adjust Arp setting for Multi REC” will be replaced by a simple “with Arpeggiator” check-box.
60 The Compare function When you perform realtime recording, step r ecording, or track editing, this function allows you to make before- and-after comparisons. If you continue editing when the [COMP ARE] key is lit, the key will go dark. This now becomes the musi- cal data that will be selected when the [COMP ARE] key is dark.
61 Sampling (Open Sampling System) Features of sampling on the TRITON Extreme • The TRITON Extreme features our Open Sampling System that lets you use sampling/resampling not only in Sampling mode but also in Program, Combination, and Sequencer modes, with functionality optimized for the specific mode that you are currently in.
62 Editing in Sampling mode • In Sampling mode, the sample data you sampled or loaded from various media (including WAVE and AIFF formats) can be assigned to an index (zone) to create a multisample.
63 Samples and Multisamples Samples The data that is recorded (sampled) into internal memory or loaded from a file is referred to as a sample or sample file. Samples consist of the actual waveform data, and parameters that specify how the data will be played back, such as Start, Loop Start, and End Address.
64 Preparations for sampling The multisample and sample data in the sample memory (RAM) is not backed up when the power is turned off. If you wish to keep this data, you must save it onto a media before turning off the power . When the power is first turned on, memory will not contain any multisample or sample data.
65 4 For Input1 and Input2 , set “BUS (IFX/Indiv .) Select” to specify the destination to which the external audio signal you selected in “Input” will be sent. L/R: Send to the L/R bus. IFX1–IFX5: Send to the corresponding insert effect. 1, 2, 3(T ube), 4(T ube), 1/2, 3/4(T ube): Send to the jINDI- VIDUAL 1–4, 1/2, or 3/4 bus(es).
66 2 Use “T rigger” to specify how sampling will begin. The available trigger methods will differ depending on the mode. Sampling mode: Sampling ST ART SW , Note On, Threshold Program, Combination.
67 In Program, Combination, and Sequencer modes, you can set this parameter using the Sampling page menu command “Select Bank & Smpl. No.”. MEDIA: The sample will be written to the media. If you select MEDIA, you can also select the writing- destination drive.
68 Sampling only the stereo input sound from the AUDIO INPUT 1 and 2 jacks while you listen to the sound of the TRITON Extreme (arpeggiator etc.) “Input”: Analog Input1 “BUS Select”: 1/2, “Pan”: L000 Input2 “BUS Select”: 1/2, “Pan”: R127 “Source BUS”: Indiv .
69 Creating multisample indexes and sampling Here’s how to create indexes for a multisample, and how to assign a sample to each index. 1 Select the P0: Recording, Recording page. 2 Select “MS (Multisample Select),” and create a multi- sample. To create a new multisample , press the “MS (Multi- sample Select)” popup button.
70 Applying an inser t ef fect to a sample and resampling it The process of applying an insert effect etc. to a sampled sound and then sampling it once again is called “resam- pling.” 1 In the P0: Recording, Recording page, assign the sam- ple that you want to resample to “Sample Select.
71 7 In the P8: Insert Effect, Insert FX page, set “IFX1” to 052: Reverb Hall, and turn “IFX On/Off” ON. Press the C2 key , and verify that reverb is applied. 8 Press the SAMPLING [REC] key , and then the SAM- PLING [ST ART/STOP] key . The sample assigned to C2 will play automatically , and resampling will begin.
72 If the edit cell is located at “Range Start” or “Range End,” this region will play back. When you finish making settings, press the SEQUENCER [ST ART/STOP] key to stop playback of the audio CD.
73 8 Adjust the recording level. Press the SAMPLING [REC] key . When you press the SEQUENCER [ST ART/STOP] key to play back the audio CD, the level meter will indicate the volume that will be sampled. If the display indi- cates “ ADC OVERLOAD !! ,” adjust the “V olume” in the P5: Audio CD, Ripping page.
74 If the “Use Zero” check box is checked, only those addresses where the waveform data crosses the zero level will be found automatically when searching, and can be set. This lets you easily make address set- tings where noise is less likely to occur when looping.
75 4 Choose “REC Audio Input.” 5 Make the following settings for REC Audio Input. Set “ Source Audio ” to Analog . The external audio input source (the analog audio output of an instrument or other device connected to the INPUT 1, 2 jacks) will be sampled.
76 E Notice that 0000: LOOP1-140BPM-L is selected for “Sample (Sample Select),” and that the sample wave- form data is displayed. The selected sample is a stereo sample. The L and R waveforms will be shown in the upper and lower parts of the sample waveform display .
77 Sample (waveform data) editing Editing the waveform data of the sample is done in P1: Sample Edit. Y ou can use commands such as cut, copy , and normalize to edit the waveform data.
78 The Create button has the same function as the Create button in P0: Recording (“Creating multisample indexes and sampling” ☞ p.69). Modifying the settings of an index 1 Make the settings described in steps 1 – 3 of “Edit- ing the indexes.
79 5 Press the OK button. The sample will automatically be sliced, and a dialog box will appear . When you play the keyboard, C2 will play the original sample (Source), and D2 and subsequent keys will play the divided samples.
80 The silence between samples may become obtr usive if you play back at a slower tempo, or noise may occur between samples if you play back at a faster tempo. T o avoid such problems, you can set Stretch “New BPM” or “Ratio” in step 6 to the tempo at which you want to play back, and execute time stretch to adjust the length of each sample.
81 4 Connect your guitar to the rear panel AUDIO INPUT 1 jack. Set the AUDIO INPUT [MIC/LINE] switch to the LINE position, and set the [LEVEL] knob to approximately the center position .
82 Record an external audio input source while a song plays, and create event data at the same time (In-T rack Sampling function) As an example, here’s how the sound of a guitar con- nected to the AUDIO INPUT 1 jack can be added to a song you created.
83 right of the display) below +0.0 to an appropriate level. This adjustment will not affect the output volume, but will affect the data that will be sampled. When you have finished making adjustments, press the SAMPLING [REC] key . 0 Begin sampling.
84 6 Select the page menu command “Select Directory ,” and specify the destination to which the W A VE file will be written. Use media select and the Open and Up buttons to select the directory in which the W A VE file will be saved.
85 SMF (Standard MIDI File) playback In Song Play mode you can load and play Standard MIDI File (SMF) data directly from media. If you’re playing SMF data, using Song Play mode will provide a higher degree of repr oducibility than using Sequencer mode to play the data.
86 Playing SMF data Direct playback from media When you wish to playback SMF data that is compat- ible with the GM/GS/XG standards, set “ Bank Map ” (Global P0: Basic Setup, System Preference page) to GM(2) .
87 Playback using the Jukebox func- tion The TRITON Extreme pr ovides a Jukebox function that can be used to playback SMF data. This function allows you to specify the order in which files in the same directory will be played. Any jukebox list you create will be erased when the power is turned off, and cannot be recovered.
88 Playing along with SMF data Minus-one play Y ou can enjoy “minus-one” play by playing back SMF data, muting a specific part, and playing that part your - self. 1 Playback the SMF data, identify the track whose part you wish to play , and stop playback ( ☞ p.
89 Settings for the entire TRITON Extreme (Global mode) How Global mode is str uctured In Global mode you can make overall settings that apply to the entire TRITON Extr eme, such as master tune, key transpose, effect global switch, global MIDI channel, and system clock.
90 Linking the arpeggiator to programs and combinations Y ou can specify whether the arpeggiator settings written into a program or combination will also be selected when you select a program or combination, or whether the cur- rent arpeggiator settings will be retained even if you switch programs or combinations.
91 pitch change speed, volume, the pan following an insert effect, pan, volume, or send levels to the master effects ( ☞ PG p.282). Y ou can use this as a source for alternate modulation or effect dynamic modulation, and use it to control program parameters or effect parameters.
92 Dr um kit settings P5: Dr um Kit What is a drum kit? A drum kit assigns a different drum sample (PCM wave- form data for drum sounds) to each note. If you set a program’s oscillator (specified by “Oscillator Mode”) to Drums, the program will use a drum kit instead of a multisample.
93 6 Use “High Drumsample Bank,” “High Drumsam- ple,” “Low Drumsample Bank,” and “Low Drumsam- ple” to specify the drum sample that will be assigned to this note number .
94 Arpeggiator settings P7: Edit-Arpeggiator This chapter describes the procedure for making arpeg- giator settings in each mode. Arpeggiator settings for a program Arpeggiator on/off Pressing the ARPEGGIA TOR [ON/OFF] key will turn the arpeggiator on or off.
95 4 Adjust the settings of the various parameters. “Octave”: Selects the octave range in which the arpeg- gio will be played. If a user arpeggio pattern is selected, the “Octave Motion” setting (Global P6: Arpeggio, Pattern Setup page) will affect the way in which the arpeggio is played.
96 Arpeggiator settings in Combination and Sequencer modes In Combination, Sequencer and Song Play modes, the TRITON Extreme pr ovides dual arpeggiator functionality that lets you use two arpeggio patterns simultaneously . The settings in each of these modes are made in the simi- lar way .
97 Combination D062: Old V ox Organ Although this is a somewhat sophisticated editing tech- nique, we will describe the settings of one of the preset combinations as an example. Select combination D062: Old V ox Organ, press the ARPEGGIA TOR [ON/OFF] key to turn it on, and play .
98 Creating an user arpeggio pattern About user arpeggio patterns The patterns that can be selected on the TRITON Extreme’s arpeggiator are called “arpeggio patterns.” There are two types of arpeggio patterns: preset arpeggio patterns and user arpeggio patterns.
99 • T one: At each step, a chord consisting of up to 12 tones (Tone No. 00–11) can be sounded. To input tones, select “Step No.” and then use numeric keys [0]–[9], [–], and [./10’s HOLD] to input tones. The “T one No.” corresponds to the [0]–[9], [–], and [.
100 7 Set “Step No.” to 07, and press the [0] key . Set “Pitch Offset” to +00. 8 Set “Step No.” to 08, and press the [0] key . Set “Pitch Offset” to –02. Chordal pattern 1 Set “Step No.” to 01, and press the [0] key . Set “Gate” to Legato.
101 8 Input the open hi-hat (T one03). Set “Step No.” to 04, and press the [3] key . Then set “Step No.” to 08, and press the [3] key . If “ Fixed Note Mode ” is set to T rigger All T ones , play- ing a single note on the keyboard will cause the rhythm pattern to play .
102 Synchronizing the arpeggiator The note timing of the arpeggiator will differ depending on the state of the arpeggiator “ Key Sync. ” check box. If this is checked , the arpeggiator will operate at the tim- ing of the first note-on you play from a state in which all keys are released.
103 Ef fect and V alve Force settings The effect section of the TRITON Extreme pr ovides five insert effects , two master effects , one master EQ (stereo 3-band EQ), and a mixer that controls the routing of these components. Y ou can choose from 102 types of full-digital effects for each insert effect, and from 89 types for each master effect.
104 Routing settings and ef fect set- tings The insert effects, master effects, and master EQ have the same structure in all modes, but the routing settings will determine how the oscillators of a program or the timbres of a combination or track of a song will be sent to each insert effect or master effect.
105 Master effects The input levels to the master effects are set by the “Send 1, 2” levels (step 3 or 8 ). If “Send 1, 2” are zero, the mas- ter effects will not apply . “Send 1” corresponds to MFX1, and “Send 2” corresponds to MFX2. 0 In Program P9: Edit-Master Effect, select the Master FX page.
106 Inser t ef fects Select an effect for IFX1–IFX5, and set “Pan (CC#8),” “BUS Sel. (BUS Select),” “Send 1” and “Send 2” for the signal that has passed through each insert effect. If the “Chain” check box is checked, the settings that follow the last IFX in the chain will be used.
107 AUDIO INPUT effect settings In Program, Combination, Sequencer , Song Play , and Media modes, you can apply the TRITON Extr eme’s effects to an external audio source connected to the AUDIO INPUT 1, 2, or S/P DIF IN jacks. In these modes you can use the insert effects, master effects, and master EQ.
108 About dynamic modulation (Dmod) Dynamic modulation (Dmod) is a function that lets you use MIDI messages or the TRITON Extreme’s controllers to control specific effect parameters in realtime.
109 V alve Force settings V alve Force is an analog circuit that uses a 12AU7 (ECC82) vacuum tube. It uses a single vacuum tube to deliver ste- reo-in/stereo-out operation. By generating the rich overtones and smooth distortion that are typical of vacuum tubes, V alve Force produces natural depth and a fat, driven tone.
110 V alve Force settings for Combination, Song, and Song Play modes In Combination, Sequencer , and Song Play modes, you can set “Placement” to Final or Insert (User 3/4 BUS) just as for a program. If you want to apply V alve Force to a specific timbre or track, set “Placement” to Insert (Use 3/4 BUS).
111 If you want to route the sound through an insert effect and then into V alve Force, set the post-IFX “ BUS Sel. ” to 3/4(T ube) , 3(T ube) , or 4(T ube) . Use “ BUS Sel. ” to assign the output of V alve Force . Y ou can send the output to the L/R bus, the insert effect IFX1–IFX5 bus, or the 1, 2 buses.
112 If “Placement” = Insert (Use 3/4 BUS): If you want to send the external audio source to V alve Force, set “ BUS (IFX/Indiv .) Select ” to 3/4(T ube) , 3(T ube) , or 4(T ube) . If you want to send the signal through an insert effect and then into V alve Force, set “ BUS(IFX/Indiv .
113 Loading and saving data, creating audio CDs, and editing W ave files (Media mode, etc.) T ypes of data that can be saved Y ou can save data by writing it to internal memory , saving it to media, or sending it as a MIDI data dump. In addition to these methods, data stored on media in the CF card slot can be saved to your computer .
114 W riting to internal memor y Writing a program or combination The programs or combinations that you create by using the Performance Editor or by editing parameters in the various Edit pages can be saved in the internal memory of the TRITON Extreme.
115 Assigning a name (Rename) Y ou can modify the name of an edited pr ogram, combina- tion, song, drum kit, user arpeggio pattern, multisample or sample etc.. Y ou can also modify the category names for pr ograms and combinations. These renaming operations can be performed in the fol- lowing pages.
116 Writing global settings, user drum kits, and user arpeggio patterns The settings you edit in Global mode can be written into internal memory . This is done using the operations W rite Global Setting , W rite User Drum Kits , and W rite User Arpeggio Patterns .
117 Saving on media Media, Save For details on the data that can be saved on storage media. (“T ypes of data that can be saved ” ☞ p.1 13). The Media mode Save page is where you save data to media. Song data and cue lists in the TRITON Extreme’s Sequencer mode, as well as multisamples and sam- ples cannot be written into internal memory .
118 1 Prepare the media on which you want to save the data. ( ☞ “Setting up media”) 2 Press the [MEDIA] key to enter Media mode. 3 Press the Save tab to access the Save page. 4 Press “Media Select” to select the save-destination media. 5 If the media contains directories, select the directory in which you want to save the data.
119 Using the TRITON Extreme as a data filer The TRITON Extreme can r eceive MIDI exclusive data sent by an external device, and save this data to media. (This is referred to as Data Filer functionality .) Execute the page menu command “Save Exclusive.
120 7 Specify the initialization format. Quick Format: Normally you should use Quick For- mat to initialize the media. Select this if the media has already been physically for- matted, or if you want to format media that has been UDF-formatted by the TRITON Extreme.
121 Loading data Media, Load The types of data that can be loaded from media are shown in the diagram below . ( ☞ For details on each type of data, refer to PG p.177) The Media mode Load page lets you load data from media. Refer to p.137 for details on the types of media from which you can load media.
122 5 Navigate to the directory that contains the fi le you want to load, and select the .SNG fi le. Press the Open button to move to a lower level, or press the Up button to move to a higher level. The selected .SNG file will be highlighted. 6 Press the page menu button to access the page menu, and choose “Load Selected.
123 Loading data by individual item or bank The TRITON Extreme lets you load programs and combi- nations individually or by individual banks. Dr um kits and arpeggio patterns can also be loaded individually or as a group. This is a convenient way to rearrange combinations in the order in which you will use them during a live perfor- mance.
124 To add the file, press the Insert button. Y ou can continue adding fi les until you press the Exit button . The files will be added to the track list in the order in which you selected them. If you want to add all the W A VE files in the directory , press the Insert All button.
125 In “ Drive ,” select your CD-R/RW drive. “Drive” will indicate Audio CD . Make the following settings to allow monitoring. Use “T rack” to select the track, and pr ess the SEQUENCER [ST ART/STOP] key to begin playback.
126.
127 Restoring the factor y settings The preload data stored in the TRITON Extreme can restor e all the programs, combinations, drum kits, user arpeggio patterns, and global settings to their original fac- tory settings. The original demo songs can also be re- loaded at any time using this same method.
128 Loading the EXB-MOSS data After installing the EXB-MOSS, you will need to load the data for it. The TRITON Extreme contains preload data and demo song data for the EXB-MOSS.
129 Other functions Setting the function of [SW1] and [SW2] Y ou can specify the function of the [SW1] and [SW2] keys ( ☞ PG p.279). The function of the [SW1] and [SW2] keys can be specifi ed independently for each program, each combination, and each song.
130 Using tap tempo control In Program, Combination, Sequencer , and Song Play modes, you can use the tap tempo function to control the arpeggiator tempo. In Sequencer and Song Play modes you can use this method to control the song tempo. During playback, lightly press the [ENTER] key several times at the desired tempo.
Program Combination Sequencer Sampling Song Play Global Effect Media, etc Preset Other Appendices 131 Appendices T roubleshooting If you experience problems, refer to the relevant item and take the appropriate measures. Power supply Power does not turn on Is the power cable connected to an outlet? ☞ p.
132 If there is no sound in Program, Combination, Sequencer, Song Play, and Media modes, check that “Input,” “Level,” and “BUS (IFX/Indiv.) Select” are set correctly in Global P0: Basic Setup, Input/ Sampling page; or in the P0: Sampling pages of Program, Combination, or Sequencer modes; or in the Media mode Play Audio CD page.
133 Program Combination Sequencer Sampling Song Play Global Effect Media, etc Preset Other Appendices Program, Combination Settings for oscillator 2 are not displayed Make sure that the “Oscillator Mode” (Program P1: Program Basic) parameter is set to Double.
134 V olume of a recorded sample is too low/too high A sample that you resampled with “Recording Level” set at approximately –12.0 (dB) plays back at a lower volume than the volume at which you resampled it. → Did you turn on the “Auto +12 dB On” setting when you resampled? ☞ p.
135 Program Combination Sequencer Sampling Song Play Global Effect Media, etc Preset Other Appendices MIDI The TRITON Extreme does not respond to incoming MIDI data Are all MIDI cables connected correctly? ☞ PG p.288 Is the MIDI data being received on the channel on which it is being transmitted? ☞ PG p.
136 → In the case of a CD-R, it may be possible to make the disc be recognized by executing the page menu com- mand “Convert to ISO9660 Format” (Media, Utility page) to convert the disc to ISO9660 format.
137 Program Combination Sequencer Sampling Song Play Global Effect Media, etc Preset Other Appendices Media that can be used with the TRITON Extreme T ypes of media that can used with the TRITON Extre.
138 Specifications and options Specifications System HI (Hyper Integrated) synthesis system T one generator Polyphon y 60 voices (60 oscillators)/Maxim um 120 voices (120 oscillators)* in single mode *: ☞ p.12 30 voices (60 oscillators)/Maxim um 60 voices (120 oscillators)* in doub le mode *: ☞ p.
139 Program Combination Sequencer Sampling Song Play Global Effect Media, etc Preset Other Appendices Options * Appearance and specifications of this product are subject to change without notice.
140 MIDI implementation char t Consult your local Korg distributor for more information on MIDI IMPLEMENT A TION. MIDI Implementation Chart Date : 2003.
141 Program Combination Sequencer Sampling Song Play Global Effect Media, etc Preset Other Appendices Index Numerics 10’s Hold 4 , 13 , 21 , 32 24 dB/oct low pass filter with reso- nance 27 A After Touch 22 Alternate Modulation 30 Amp Amp EG 29 Amp Level 28 Amp Mod.
142 Load Demo song 127 EXB-MOSS 128 Factory settings 127 File 121 Jukebox List 87 Template Song 47 LOCATE 5 , 42 , 130 Lock function 22 Loop Sample 73 , 74 Loop All Track 44 Low Pass & High Pass 2.
143 Program Combination Sequencer Sampling Song Play Global Effect Media, etc Preset Other Appendices T Tab 9 , 13 Tap tempo 7 , 74 , 90 , 130 Template song 39 , 11 3 Tempo 5 , 29 , 33 , 42 , 53 , 60 .
K ORG INC. 15 - 12, Shimotakaido 1 - chome, Suginami-ku, Tokyo, Japan. 2004 KORG INC. 1602 GTH Printed in Japan IMPORTANT NOTICE TO CONSUMERS This product has been manufactured according to strict specifications and voltage requirements that are applicable in the country in which it is intended that this product should be used.
デバイスKorg music workstation/samplerの購入後に（又は購入する前であっても）重要なポイントは、説明書をよく読むことです。その単純な理由はいくつかあります：
Korg music workstation/samplerをまだ購入していないなら、この製品の基本情報を理解する良い機会です。まずは上にある説明書の最初のページをご覧ください。そこにはKorg music workstation/samplerの技術情報の概要が記載されているはずです。デバイスがあなたのニーズを満たすかどうかは、ここで確認しましょう。Korg music workstation/samplerの取扱説明書の次のページをよく読むことにより、製品の全機能やその取り扱いに関する情報を知ることができます。Korg music workstation/samplerで得られた情報は、きっとあなたの購入の決断を手助けしてくれることでしょう。
Korg music workstation/samplerを既にお持ちだが、まだ読んでいない場合は、上記の理由によりそれを行うべきです。そうすることにより機能を適切に使用しているか、又はKorg music workstation/samplerの不適切な取り扱いによりその寿命を短くする危険を犯していないかどうかを知ることができます。
ですが、ユーザガイドが果たす重要な役割の一つは、Korg music workstation/samplerに関する問題の解決を支援することです。そこにはほとんどの場合、トラブルシューティング、すなわちKorg music workstation/samplerデバイスで最もよく起こりうる故障・不良とそれらの対処法についてのアドバイスを見つけることができるはずです。たとえ問題を解決できなかった場合でも、説明書にはカスタマー・サービスセンター又は最寄りのサービスセンターへの問い合わせ先等、次の対処法についての指示があるはずです。
