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E 2

To ensure long, trouble-free operation, THE FCC REGULATION WARNING (for U.S.A.)
please read this manual carefully. This equipment has been tested and found to comply with the
limits for a Class B digital device, pursuant to Part 15 of the FCC
Rules. These limits are designed to provide reasonable protec-
Precautions
tion against harmful interference in a residential installation. This
Location equipment generates, uses, and can radiate radio frequency
energy and, if not installed and used in accordance with the
Using the unit in the following locations can result
instructions, may cause harmful interference to radio communi-
in a malfunction. cations. However, there is no guarantee that interference will not
• In direct sunlight occur in a particular installation. If this equipment does cause
• Locations of extreme temperature or humidity harmful interference to radio or television reception, which can
• Excessively dusty or dirty locations be determined by turning the equipment off and on, the user is
• Locations of excessive vibration encouraged to try to correct the interference by one or more of
the following measures:
Power supply • Reorient or relocate the receiving antenna.
Please connect the designated AC/AC power sup- • Increase the separation between the equipment and receiver.
ply to an AC outlet of the correct voltage. Do not • Connect the equipment into an outlet on a circuit different
from that to which the receiver is connected.
connect it to an AC outlet of voltage other than that
• Consult the dealer or an experienced radio/TV technician for
for which your unit is intended. help.
Unauthorized changes or modification to this system can void
Interference with other electrical devices
the user’s authority to operate this equipment.
This product contains a microcomputer. Radios and
televisions placed nearby may experience reception
CE mark for European Harmonized Standards
interference. Operate this unit at a suitable distance
CE mark which is attached to our company’s products of AC
from radios and televisions.
mains operated apparatus until December 31, 1996 means it
Handling conforms to EMC Directive (89/336/EEC) and CE mark Directive
To avoid breakage, do not apply excessive force to (93/68/EEC). And, CE mark which is attached after January 1,
1997 means it conforms to EMC Directive (89/336/EEC), CE
the switches or controls.
mark Directive (93/68/EEC) and Low Voltage Directive (73/23/
Care EEC).
Also, CE mark which is attached to our company’s products of
If the exterior becomes dirty, wipe it with a clean,
Battery operated apparatus means it conforms to EMC Directive
dry cloth. Do not use liquid cleaners such as ben- (89/336/EEC) and CE mark Directive (93/68/EEC).
zene or thinner, or cleaning compounds or flamma-
ble polishes.
Keep this manual
After reading this manual, please keep it for later Data handling
reference. Malfunctions due to incorrect operation may cause the
contents of memory to be lost, so we recommend that
Keeping foreign matter out of your equipment you save important data on the external media (Smart-
• Never set any container with liquid in it near Media etc.). Please be aware that Korg will accept no
this equipment. If liquid gets into the equipment, responsibility for any damages which may result from
it could cause a breakdown, fire, or electrical loss of data.
shock.
• Be careful not to let metal objects get into the
equipment. If something does slip into the
equipment, unplug the AC/AC power supply
About copyright
from the wall outlet. Then contact your nearest This device is intended for use with material of
Korg dealer or the store where the equipment which you yourself are the copyright owner or for
was purchased. which you have received permission from the
copyright owner to duplicate. If you are not the
copyright owner or have not received permission
from the copyright owner to duplicate the mate-
rial, you are in violation of copyright law, and may
be liable for damages and penalties. If you are
unsure of your rights to the material, please con-
sult a legal specialist.

* SmartMediaTM is a registered trademark of Toshiba Corpora-


tion.

* Company names, product names, and names of formats etc.


are the trademarks or registered trademarks of their respective
owners.

ii
Thank you for purchasing the Korg music workstation.
To ensure trouble-free enjoyment, please read this manual carefully and use the instrument
as directed.

About this manual Conventions in this manual


References to the TRITON Le
The TRITON Le is available in 76-key and 61-key mod-
The owner’s manuals and how to use els, but both models are referred to without distinction
in this manual as “the TRITON Le.” Illustrations of the
them front and rear panels in this manual show the 61-key
model, but the illustrations apply equally to the 76-key
The TRITON Le come with the following owner’s
model.
manuals.
• Basic Guide Abbreviations for the manuals BG, PG, VNL
• Parameter Guide References to the manuals included with the
• Voice Name List TRITON Le are abbreviated as follows in this docu-
ment.
Basic Guide
BG: Basic Guide
First read this manual carefully to gain a basic under-
PG: Parameter Guide
standing of the instrument and to learn basic opera-
VNL: Voice Name List
tion.
“Introduction” explains the function of each part, how Switches and knobs [ ]
to make connections, basic operation, and gives an References to the switches, dials, and knobs on the
overview of each mode. panel are enclosed in square brackets [ ].
“Quick Start” explains basic topics (selecting sounds, Parameters in the LCD display screen “ “
convenient functions for performance). If you wish to Parameters displayed in the LCD screen are enclosed
begin playing immediately, read this section first. in double quotation marks “ “.
“Basic Functions” contains mode-by-mode explana-
tions of what you need to know to edit sounds, record Boldface type
on the sequencer, and record samples (If the separately Parameter values are printed in boldface type.
sold EXB-SMPL option is installed). This section also Content that is of particular importance is also printed
explains how to use the arpeggiator, effects. in boldface type.
“Appendices” contains information on troubleshoot- Procedure steps 1 2 3 ...
ing, specifications, and various other information. Steps in a procedure are listed as 1 2 3 ...
Parameter Guide ☞p.■, ☞PG p.■
The Parameter Guide contains explanations and other These symbols indicate a reference page number in the
information regarding the operations of the parame- Basic Guide or in the Parameter Guide.
ters and settings on the TRITON Le. The explanations
are organized by mode, and page. Explanations and Symbols , ,
other information on the effects and their parameters These symbols respectively indicate cautions, advice,
are also provided for each effect. and MIDI-related explanations.
Refer to this guide when an unfamiliar parameter Example screen displays
appears in the display, or when you need to know The values of the parameters shown in the example
more about a particular function. screens of this manual are only for explanatory pur-
Voice Name List poses, and may not necessary match the values that
This lists the multisamples and drumsamples that are appear in the LCD screen of your instrument.
built into the TRITON Le, and the factory preset com- MIDI-related explanations
binations, programs, drum kits, and user arpeggio pat- CC# is an abbreviation for Control Change Number.
terns. In explanations of MIDI messages, numbers in square
Refer to these lists when you wish to know more about brackets [ ] always indicate hexadecimal numbers.
the preloaded sounds.

iii
Table of Contents Selecting and playing a program...... 20
Selecting a program........................... 20
Introduction ................................. 1
Selecting and playing a combination 22
Overview.......................................... 1 Selecting a combination ..................... 22
Main features.......................................1
Using controllers to modify the sound23
Overview of the modes.........................3
Joystick ............................................. 23
Front and rear panel ......................... 5 SW1, SW2......................................... 23
Front panel...........................................5 REALTIME CONTROLS [1], [2], [3],
[4] ..................................................... 24
Rear panel ...........................................8
Keyboard .......................................... 25
Objects and functions in the
LCD screen .........................................10 Foot pedals........................................ 25

Connections.................................... 12 Using the arpeggiator while you


play ................................................26
Connecting audio equipment etc..........12
1. Connecting the AC/AC power supply.12 Using the arpeggiator in
2. Connecting audio output devices ..........12 Program mode................................... 26
3. Connecting pedals etc..............................13 Settings using controllers ........................... 26
Settings in the LCD screen.......................... 27
Connections to MIDI equipment/
computers (MIDI connectors)................13 Using the arpeggiator as you play in
1. Connections to MIDI equipment............13 Combination mode............................. 28
2. Connections to a computer .....................13 Settings in the LCD screen.......................... 28
Connecting separately sold options......13
1. Audio input connections .........................13 Playing with the RPPR (Realtime Pattern
2. SCSI connections.......................................13 Play/ Recording) function.................. 30

Basic operation ............................... 14 Simple program editing.................... 31


Selecting modes, pages and tabs; setting Performance Edit................................ 31
parameters.........................................14
1. Selecting modes ........................................14
Realtime controls................................ 31
2. Selecting pages and tabs..........................14
3. Selecting parameters ................................15 Simple combination editing .............. 32
4. Setting a parameter ..................................15
An example of editing........................ 32

Sampling (recording a sample) ......... 34


Quick Start ................................ 17 Sampling a sound and playing it back as
“one-shot”......................................... 34
Turning the power on/ off ................ 17 Using the insert effect while you
1. Turning the power on......................17 sample .............................................. 35
2. Turning the power off .....................17 Assigning a name to the sample or
multisample ....................................... 36
Listening to a demo song................. 18 Saving sample data ........................... 37
Loading demo playback data ..............18 Converting a multisample into a
Selecting and playing a demo song in the program............................................ 37
Sequencer mode.................................18 Sampling and looping a drum
Playing a cue list ................................19 phrase............................................... 38

iv
Basic functions........................... 41 Sequencer mode.............................. 61
Features of the sequencer ................... 61
Saving data..................................... 41 The structure of Sequencer mode......... 62
Types of data that can be saved ......... 41 Songs .............................................................. 62
Patterns .......................................................... 62
Writing to internal memory ................ 42 Cue List.......................................................... 62
Writing a program or combination ........... 42
Writing global settings, user drum kits, and Producing a song ............................... 63
user arpeggio patterns............................ 44 Creating the basic song ............................... 63
Song editing methods.................................. 69
Saving on external media................... 45 Creating and playing a Cue List ................ 71
MIDI data dump................................. 46 Creating and recording RPPR (Realtime
Pattern Play/ Record) .......................... 73
Restoring the factory settings............ 47 Creating RPPR data ..................................... 73
RPPR playback ............................................. 74
Loading the preloaded data ............... 47 Realtime-recording an RPPR
performance ............................................. 74
Program mode ................................ 48
Recording the sounds of a
How a program is organized.............. 48 combination....................................... 75
Basic program editing ........................ 48 Caution and other functions in Sequencer
Oscillator settings......................................... 49 mode................................................. 77
Controller settings ....................................... 50
Pitch settings................................................. 50 Recording on the TRITON Le................ 78
Filter settings ................................................ 51 Recording a track,
Amplifier settings ........................................ 53 and recording a pattern .......................... 78
LFO settings.................................................. 54
Arpeggiator settings .................................... 54 Sampling mode ............................... 82
BUS settings .................................................. 54
Insert Effect settings .................................... 54 Features of EXB-SMPL......................... 82
Master Effect settings .................................. 54 How Sampling mode is organized....... 83
More about Alternate Modulation....... 55 In Sampling mode........................................ 83
Samples and Multisamples......................... 83
Combination mode .......................... 56 Sampling ........................................... 84
Preparations for sampling .......................... 84
How a combination is organized ........ 56 Manual sampling ......................................... 85
Basic combination editing........................... 56 Auto sampling .............................................. 86
Timbre 1–8 program, pan and volume ..... 57 Creating multisample indexes and sampling
Controller settings ....................................... 58 87
Settings for status, MIDI channel, and
playing mode ........................................... 58 Loop settings...................................... 88
Note timing and scale settings................... 59 The grid display ........................................... 88
Layer and split settings ............................... 59
Sample (waveform data) editing ......... 89
Velocity switch settings .............................. 60
MIDI filter settings....................................... 60 Multisample editing ............................ 90
Arpeggiator settings .................................... 60 Editing the indices ....................................... 90
Bus settings ................................................... 60 Modifying the settings of an index............ 90
Insert Effect settings .................................... 60
Master Effect settings .................................. 60 Converting a multisample to a
program ............................................ 91
Using Time Slice to divide a sample, and
playing it in Sequencer mode.............. 91

v
Global mode................................... 93 Other functions.............................. 113
Creating a drum kit.............................93 Tuning to another instrument/ Transposing
About drum kits ...........................................93 113
Editing a drum kit ........................................94
Bypassing the effects........................ 113
Media mode ................................... 96 Specifying the function of the Assignable
Switch and Assignable Pedal............ 113
How Media mode is organized ...........96
Media that can be used ................................96 Selecting different Velocity and Aftertouch
curves.............................................. 114
Formatting media ...............................96
Creating original scales.................... 114
Caution when handling SmartMedia....96
Changing the scale........................... 114
Loading data ......................................97
Types of data that can be loaded................97 Setting the function of [SW1] and
Data loading procedure...............................97 [SW2].............................................. 115
Saving data........................................98 Setting the B-mode functions of REALTIME
Types of data that can be saved .................98 CONTROLS [1]–[4] ........................... 115
Adjusting the contrast (brightness) of the
Arpeggiator settings........................ 99
LCD screen....................................... 116
Arpeggiator settings for a program.....99
Arpeggiator on/off ......................................99
Using this instrument as a data filer .. 116
Arpeggiator settings.....................................99 Shortcuts.......................................... 116
Linking the arpeggiator to a program.....101
Arpeggiator settings in Combination and
Sequencer modes .............................101
Arpeggiator on/off ....................................101 Appendices ............................. 117
Arpeggiator settings...................................101
Linking the arpeggiator to the Troubleshooting ............................. 117
combination ............................................102
Creating an user arpeggio pattern.....103 Specifications and options.............. 120
About user arpeggio patterns...................103
Editing a user arpeggio pattern................103 Specifications................................... 120
Dual arpeggiator editing ...........................106 Options ........................................... 121
Synchronizing the arpeggiator ..........107
Synchronization between arpeggiators A MIDI Implementation Chart.............122
and B........................................................107
Synchronization between the arpeggiators
and sequencer in Sequencer mode......107
Index............................................. 123
Synchronization with an external sequencer
in Program, Combination, or Sequencer
modes ......................................................107

Effects settings............................... 108


Effects in each mode .........................108
Routing settings and effect settings....108
Effect settings for a program.....................108
Effect settings in combination, and song 110
Effect settings in Sampling mode (requires
the EXB-SMPL option) ..........................110
Effect settings for the AUDIO INPUT
(requires the EXB-SMPL option) .........111
About dynamic modulation (Dmod) ...111

vi
Introduction

Introduction
Overview

Effect section:

Overview
Main features • One insertion effect (stereo-in/stereo-out), two
master effects (mono-in/stereo-out), and a three-
band master EQ (stereo-in/stereo-out) can all be
Overview
used simultaneously. You can select from 89 types
The TRITON Le is a music workstation featuring the of effect algorithms, and edit them.
HI (Hyper Integrated) synthesis system.
• Highly flexible effect routing is possible. Effects can
It contains high-quality preset multisamples/pro- also be routed freely to the individual outputs.
grams/combinations, an effect section, plus a
sequencer, dual polyphonic arpeggiator, RPPR, four- Alternate Modulation and Effect Dynamic Modula-
channel audio output, and numerous other functional- tion:
ity.
• The synthesis section (filter etc.) provides Alternate
Controllers such as the joystick, [SW1] and [SW2] keys, Modulation functionality, and the effect section
REALTIME CONTROLS [1]–[4] knobs, or connected provides Effect Dynamic Modulation
pedals can be used to control filter or effects, allowing functionality. This allows you to freely apply
you to modify the sound in realtime as you perform. modulation to parameters that affect the pitch,
Arpeggiator gate or velocity, or the tempo of the arpeg- filter, amp, EG, LFO, effects etc.
giator or sequencer can also be controlled.
• LFO and delay time parameters can be
In addition, the optional EXB-SMPL sampling synchronized to MIDI clock/tempo. You can
upgrade can be installed to add two-channel audio synchronize sounds or effects to the tempo of the
input and sampling functionality. (☞p.34, 84, ☞PG sequencer or the arpeggiator.
p.253)
The TRITON Le is the ideal music workstation for Programs and combinations
music production or live performance. • In the Program mode, the TRITON Le provides 512
user programs, and 128 programs + 9 drum sets for
HI (Hyper Integrated) synthesis system GM compatibility.
The HI (Hyper Integrated) synthesis system is a PCM When shipped from the factory, it contains high-
tone generator system with full digital signal process- quality preloard programs that cover a wide range
ing that guarantees pristine sound, and features enor- of musical needs.
mous flexibility in musical extensibility, modulation, The 512 user programs can be modified by adjusting
and effect routing. the numerous editing parameters, the effects and
the arpeggiator, to create your own original pro-
Tone generator section: grams.
• 32 Mbytes of preset PCM ROM contains 425 • The TRITON Le provides 24 user drum kits and
multisamples and 413 drumsamples. nine GM2-compatible ROM drum kits. With the
• The sampling frequency is 48 kHz, and the factory settings, preset drum kits that cover a
maximum polyphony is 62 voices. variety of musical genres are provided. You can
create your own original drum kits by assigning a
Filter/ synthesis section: drumsample or an original sampled sound to each
note of the keyboard. For each note, you can make
• 24 dB/oct Low Pass Resonance type or 12 dB/oct
filter and amp settings, and even route the sound
Low Pass & High Pass type filters can be used. A
through effects and to a individual audio output.
wide variety of filter effects can be achieved, from
active sounds with aggressive resonance to subtle • The TRITON Le provides 384 user combinations.
tones using a high pass filter. The factory settings contain a wide variety of
Preload combinations.
• A broad range of editing parameters gives you
A combination allows you to use layers, splits, or
control over every aspect of the sound.
velocity switches etc. to combine up to eight pro-
grams together with effects and two arpeggiators, in
order to create complex sounds that could not be
produced by a program. You can also make settings
that include external tone generators.

1
Sequencer EXB-SMPL sampling upgrade
TRITON Le provides a high-performance 16-track The following functionality can be added by installing
MIDI sequencer, with more than sufficient power for the separately sold EXB-SMPL option.
use as a stand-alone sequencer. The sequencer can • Sampling mode is added. Input sources from the
serve as the core that brings together TRITON Le’s two-channel audio inputs can be sampled and
numerous capabilities, allowing it to serve as an inte- edited to create original multisamples or samples,
grated music workstation. which can then be used in a program or drum kit.
For more on TRITON Le’s sequencer (☞p.61). For details on the features of Sampling mode, refer
to p.82.
RPPR
• Two-channel audio input is added. This two-
TRITON Le features a RPPR (Realtime Pattern Play/ channel audio input allows 48 kHz 16 bit linear
Recording) function. mono/stereo sampling. A MIC or LINE level select
In Sequencer mode, this function allows you to assign switch and level adjustment control supports a
preset patterns or user patterns (with a specified play- wide range of external audio sources, from mic
back track) to individual keys on the keyboard, and level to line level.
playback or record that pattern in realtime simply by The audio input can also be routed to the effects.
pressing the assigned key. Numerous preset patterns, You can apply an effect while sampling, or use the
including patterns ideal for drum tracks, are built into TRITON Le as a 2-in/4-out effect processor.
the internal memory.
• A SCSI connector is added, allowing external SCSI
Dual polyphonic arpeggiator devices such as hard disks to be connected. A
connected external SCSI device can be used in the
• Five preset arpeggio patterns (UP, DOWN, ALT1
same way as SmartMedia to save or load data.
ALT2, RANDOM) and 216 user arpeggio patterns
are provided. With the factory settings, these
contain a wide variety of preset user patterns.
In addition to providing conventional arpeggiator
functionality, the polyphonic arpeggiator of the
TRITON Le can respond to the pitches or timing at
which you play the keyboard, and produce a
diverse range of chords or phrases. This can be used
to play a variety of drum phrases (using the “Fixed
Note Mode” that is ideal for drums), bass phrases,
or guitar and keyboard backing riffs. The arpeggia-
tor is also effective for use with subtly moving pads,
synth sounds, or sound effects.
In Combination mode, and Sequencer mode, the
TRITON Le provides dual arpeggiators that can
simultaneously play two arpeggio patterns. You can
apply separate arpeggio patterns to drum and bass
programs, or use keyboard splits or velocity to
switch between arpeggio patterns for an even more
dynamic performance.

4 channel audio output


• In addition to the L/MONO and R main stereo
audio outputs, TRITON Le provides two
individual audio outputs, for a total of four
channels of audio output. The sound from each
oscillator, drum, timbre/track, or insertion effect
can be routed freely to any output.

2
• Create drum programs using a drum kit (created

Introduction
Overview of the modes in Global mode)

The TRITON Le has a large number of functions that Combination mode


let you play and edit programs and combinations, • Select and play combinations
record and play sequence data, and manage data on A combination is a set of two or more programs (a
media. The largest unit used to organize these func- maximum of eight), and allows you to produce
tions is called a mode. The TRITON Le has five modes. complex sounds that could not be created by an
If the separately sold EXB-SMPL option is installed, individual program.
Sampling mode will be added (a total of six modes), You can choose combinations from rewritable banks

Overview
and you will be able to record and edit samples. A, B, and C which contain a total of 384 combina-
tions.
Program mode • Edit a combination
• Select and play programs Make settings for volume, pan, layer/split etc. for
You can choose programs from rewritable banks A, each timbre (program), and make settings for effects
B, C, and D which contain a total of 512 programs, and the two arpeggiators etc.
and non-rewritable bank G (128 programs compati-
ble with the GM standard, and nine drum pro- Sequencer mode
grams). • Use the 16-track sequencer to record and playback
• Edit a program songs.
Make settings for the oscillator, filter, amp, EG, LFO, • Make effect settings for the song.
effects, and arpeggiator.
• You can record a performance using the
Select a multisample (the following multisamples
arpeggiator(s) into a song or pattern.
are available)
• 425 internal multisamples (ROM) • You can use a cue list to set up consecutive
• Multisamples (RAM) created in Sampling mode playback of multiple songs, and specify the number
(if the separately sold EXB-SMPL option is of repeats for each song.
installed)

SAMPLING MODE (if the separately sold EXB-SMPL option is installed) PROGRAM MODE
AUDIO INPUT AUDIO INPUT Multi Sample OSC 1 Insert / Master Effect
Multi Sample - H
1 2 Drum Kit
Sample IFX MFX 1
Multi Sample - L MFX 2
Insert Effect Sample

IFX PITCH1 FILTER1 AMP1


MEQ

Sample OSC 2
Multi Sample - H

Arpeggiator
Multi Sample - L

Sample
Sample
Sample PITCH2 FILTER2 AMP2

GLOBAL MODE COMBINATION MODE


DRUM KIT
Insert /Master Effect
TIMBRE 1 PROGRAM
Key
Assign Drum Sample / Sample - H IFX MFX 1
TIMBRE 2 PROGRAM
MFX 2
Drum Sample / Sample - L TIMBRE 3 PROGRAM

TIMBRE 4 PROGRAM MEQ

TIMBRE 5 PROGRAM
ARPEGGIATOR PATTERN
TIMBRE 6 PROGRAM Arpeggiator - A
User Pattern: P0 - 4
TIMBRE 7 PROGRAM
User Pattern: U00 - 215 Arpeggiatpr - B
TIMBRE 8 PROGRAM

SEQUENCER

Insert /Master Effect


TRACK 1 PROGRAM TRACK 9 PROGRAM
IFX MFX 1
MEDIA MODE TRACK 2 PROGRAM TRACK 10 PROGRAM
MFX 2
TRACK 3 PROGRAM TRACK 11 PROGRAM

TRACK 4 PROGRAM TRACK 12 PROGRAM MEQ

TRACK 5 PROGRAM TRACK 13 PROGRAM

TRACK 6 PROGRAM TRACK 14 PROGRAM


Arpeggiator - A
TRACK 7 PROGRAM TRACK 15 PROGRAM
Arpeggiatpr - B
TRACK 8 PROGRAM TRACK 16 PROGRAM

3
• You can use a maximum of 20 cue lists, 200 songs, Sampling mode
and 150 preset patterns. One song can use as many (If the EXB-SMPL option is installed)
as 100 patterns.
• An external audio device or mic connected to the
• The TRITON Le can be used as a 16-track rear panel AUDIO INPUT jacks can be sampled
multitimbral tone generator. (recorded as a sample). An insert effect can also be
• Create and playback patterns in realtime, using the applied to the select input sound while it is being
RPPR (Realtime Pattern Play/Recording) function. sampled.
• Waveform data that was sampled or loaded in
Global mode Media mode can be modified using a variety of
• Make settings that affect the entire TRITON Le, editing functions, such as adjusting the loop point,
such as master tune and global MIDI channel. using Time Slice, or Time Stretch.
• Create drum kits (24 kits), user arpeggio patterns • You can edit multisamples (which consist of
(216 patterns), and user scales (16 one-octave scales multiple samples).
and 1 all-note scale). • You can convert a multisample into a program.
• Create drum kits using the 413 internal drum When this conversion is performed, a multisample
samples (ROM). You can also use samples (RAM) created in Sampling mode can be used in Program,
that were created in Sampling mode (requires the Combination, and Sequencer modes.
separately sold EXB-SMPL option).
• Set the function of the assignable pedals and
assignable switches.
• Transmit data dumps of MIDI exclusive data.
• Adjust the input level from AUDIO INPUT 1 and 2
(if the EXB-SMPL option is installed). This setting is
valid outside of Sampling mode. The internal
effects can be applied to the external input sound.
The settings for Sampling mode are made
independently in Sampling mode itself.

Media mode
• Data of each mode can be saved and loaded using
the SmartMedia slot or an external SCSI device (if
the separately sold EXB-SMPL option is installed).
• Media such as SmartMedia or hard disks (EXB-
SMPL option required can be formatted, and data
can be managed by copying etc.
• Korg format, AKAI, AIFF, and WAVE format
sample data can be loaded. Sample data can also be
saved in Korg format, or exported in AIFF or
WAVE formats. (if the separately sold EXB-SMPL
option is installed)
• Songs that you created in Sequencer mode can be
saved in SMF format. SMF files can be loaded as
Sequencer mode songs.
• You can use the Data Filer function (to save/load
MIDI exclusive data).

4
Front and rear panel

Introduction
Front panel

Front and rear panel


10
1 5 6 7 9 11 13

2
3

4 8 12 14

1. SmartMedia slot 6. REALTIME CONTROLS


SmartMedia cards can be inserted here, allowing you
to save or load data or song data or other types of data
you edited.
For details on handling SmartMedia, refer to “Caution
when handling SmartMedia” (☞p.96).

2. [SW1] key, [SW2] key


These keys are on/off switches for the functions to
which they were assigned in Program, Combination,
Sequencer and Sampling modes (if the EXB-SMPL
option is installed). When on, the key will light Use the [SELECT] key to select realtime controller
(☞p.23). mode A/B/C, and use knobs [1]–[4] to control the
tone, effects, MIDI control changes, and arpeggiator
3. Joystick etc. while you perform. (☞p.24, 26)
This controls pitch or modulation, etc.
[SELECT] key
Move the joystick up/down or left/right (+Y, –Y,
–X, +X) to control (☞p.23). This key switches the realtime controller between A-
Various program parameters and effect parameters mode, B-mode, and C-mode. The LED of the selected
will determine what is controlled by the joystick. mode will light.

4. Headphone jack [ARP ON/ OFF] key


This key turns the arpeggiator on/off. When on, the
A set of headphones with (1/4") stereo phono plug can
key will light.
be connected here.
The output from the L/MONO and R OUTPUT jacks
[1], [2], [3], [4] knob
can be monitored in stereo through the headphones.
A-mode
5. [VOLUME] slider
This adjusts the volume that is output from the OUT- [1] LPF CUTOFF:
PUT jacks (L/MONO, R) and the headphone jack. Controls the cutoff frequency of the low pass filter.
[2] RESONANCE/ HPF:
Controls the filter resonance level or the high pass filter
cutoff frequency.

5
[3] EG-INTENSITY: [GLOBAL] key
Controls the filter EG intensity. Global mode will be selected
[4] EG-RELEASE:
Controls the filter/amp release time. [MEDIA] key
Media mode will be selected.
B-mode
[COMPARE] key
[1] ASSIGNABLE 1:
Use this key when you wish to compare the sound of
[2] ASSIGNABLE 2:
the program or combination that you are currently
[3] ASSIGNABLE 3:
editing with the un-edited sound that was written into
[4] ASSIGNABLE 4:
memory. You can also use this key to make “before and
Controls the functions that are assigned in each mode
after” comparisons when recording or editing in
(Program, Combination, Sequencer, or Sampling (if the
Sequencer mode (☞p.15).
EXB-SMPL option is installed)).
[SAMPLING] (EXB-SMPL) key
C-mode
This key selects the Sampling mode.
[1] ———: not used This is valid only if the separately sold EXB-SMPL
[2] ARP-GATE: option is installed.
Controls the gate time (note duration) of the arpeggi- If the separately sold EXB-SMPL option is not
ated notes. At the center position (12 o’clock), the set- installed, pressing the [SAMPLING] key will cause
ting of the arpeggiator “Gate” parameter will be used. a message of “No Sampling Upgrade Installed” to
Rotating the knob toward the left will shorten the time, be displayed.
and rotating it toward the right will lengthen the time.
[3] ARP-VELOCITY: 8. [TIMBRE/ TRACK] key,
Controls the velocity (playing strength) of the arpeggi- [F1 T1/ T9] … [F8 T8/ T16] keys
ated notes. At the center position (12 o’clock), the set-
ting of the arpeggiator “Velocity” parameter will be
used. Rotating the knob toward the left will weaken
the velocity, and rotating it toward the right will
strengthen the velocity. Function [F1]–[F8] keys
[4] TEMPO: These keys select the tabs that are displayed in each
Controls the tempo of the arpeggiator or of the page. They are also used to execute utilities and other
Sequencer mode . functions.
The LED beside “TEMPO” will blink at quarter note
intervals of the specified tempo. Timbre/ track select [T1/ T9]–[T8/ T16] keys
By holding down the [TIMBRE/TRACK] key and
7. Mode keys, [COMPARE] key pressing a [T1/T9]–[T8/T16] key, you can select the
timbre/track parameters corresponding to the key
number.
When a single page displays the parameters for tim-
bres 1–8 of a Combination or for tracks 1–8/9–16 of
Sequencer mode, these keys select one of these tim-
bres/tracks.

9. LCD screen
Here you can select pages, and parameters, and set val-
ues. (☞p.10)
These keys are used to enter each mode.
Pressing a key will enter the corresponding mode (the 10.VALUE controllers
key will light). (☞p.14) The following VALUE controllers are used to set the
value of the selected parameter (☞p.15).
[COMBI] key
Combination mode will be selected.

[PROG] key
Program mode will be selected.

[SEQ] key
Sequencer mode will be selected.

6
[VALUE] dial When a dialog box is open, this key will cancel the set-

Introduction
Use this dial to modify the value of the parameter. tings made in the dialog box and close the dialog box
(corresponds to the “Cancel”). If a Utility menu or
[INC]/ [DEC] keys page menu is open, pressing [EXIT] will close the
menu.
These are used to increase or decrease the parameter
value in steps of one. It is convenient to use these to
[MENU PAGE +/ –] key
make fine adjustments.
Use this key to select different pages on screen. When

Front and rear panel


Numeric keys [0] – [9], [ENTER] key, [–] key, [./ you press this key, a list of the pages within the mode
HOLD] key will appear in the LCD screen. Use the function key
[F1]–[F7] or cursor keys [ ], [ ], [ ], [ ] to select the
Use these keys to numerically input a parameter value.
desired page, and press the [F8] key to move to the
Use numeric keys [0]–[9], the [–] key, and the [./
selected page.
HOLD] key to enter the value, and press the [ENTER]
You can also move to a desired page by holding down
key to confirm it. The [./HOLD] key lets you input a
the [MENU] key and using numeric keys [1]–[7] to
value with a decimal point. The [–] key inverts the sign
enter a two-digit page number.
(+/–) of the parameter value.
In addition, you can hold down the [MENU] key and
In addition, [./HOLD] can be used if you wish to select use cursor keys [ ], [ ] to switch pages in the order of
sounds by category in program or combination mode. 1.1→2.1→2.2→2.3. (☞p.14)
By holding down the [ENTER] key and pressing a
numeric key [0]–[9], you can select up to ten utility CURSOR keys [ ], [ –], [ ], [ +]
menu commands for the current page. Use these keys to select different parameters on screen.
In addition, you can hold down the [MENU] key and
11. [CATEGORY] key, [AUDITION] key use cursor keys [ ], [ ] to switch pages in the order of
1.1→2.1→2.2→2.3. (☞p.14)

13. BANK keys


These keys are used to switch Program/Combination
banks.
[CATEGORY] key
In each mode, you can directly access the utility menu
“Select by Category” by choosing a parameter that can
be selected by category and then pressing the [Cate-
gory] key.
This allows you to view and select programs or combi-
nations by category. (☞p.21) PROG BANK: [A], [B], [C], [D], [GM]
When selecting programs, use keys [A], [B], [C], [D],
[AUDITION] key and [GM]. The key of the selected bank will light.
This key activates the Audition function, which plays Each time you press [GM], you will cycle through the
a riff (phrase) suitable for each preloaded or preset pro- GM banks and the drum bank as follows: G, g(d), G ...
gram. etc.
In Program mode, pressing the [AUDITION] key (the
COMBI BANK: [A], [B], [C]
key will light) will cause the audition riff to play
repeatedly. When selecting combinations, use keys [A], [B], and
[C]. The LED of the selected bank will light.
In Sampling mode (if the EXB-SMPL option is In Combination, and Sequencer modes when the edit
installed), the selected sample will be played. cell (highlighted area) is located at the program of a
timbre or track, you can use the BANK keys to select
12.[EXIT] key, [MENU PAGE +/ –] key, CURSOR the bank of the program. The bank key of the program
keys [ ], [ –], [ ], [ +] selected for that timbre/track will light.
In dialog boxes such as Write Program or Write Com-
bination, these keys are used to specify the program or
combination bank that will be the writing destination,
etc.

[EXIT] key
In Program, Combination, Sequencer, Sampling (if the
separately sold EXB-SMPL option is installed), and
Global modes, pressing this key from anywhere other
than page 1.1 will take you to page 1.1 of that mode.
7
14.SEQUENCER/ SAMPLING [LOCATE] key
(If the separately sold EXB-SMPL option is This key resets the playback location of a song or cue
list to a specified location. You can also press this key
installed) when “stuck notes” occur for some reason.
[REC/ WRITE] key
When you press this key in Sequencer mode, the
TRITON Le will enter recording-ready mode (the key
will light). If you then press the [START/STOP] key,
recording will start. (☞p.78)
When you press this key in Program, Combination, or
[PAUSE] key Global modes, a dialog box will appear. If you then
This key pauses playback of a song or cue list (the key press the [F8] (“OK”) key, the edited content will be
will light). Press the key again to cancel Pause (the key written. (☞p.42, 44)
will go dark).
When you press this key in Sampling mode (if the
[ REW] key EXB-SMPL option is installed) and then press the
This key rewinds playback of a song or cue list. [START/STOP] key, sample recording will begin.
Rewind will occur when you press the key (the key (☞p.34)
will light). (This will not operate during recording.)
[START/ STOP] key
[FF ] key In Sequencer mode, this key starts/stops song record-
This key fast-forwards playback of a song or cue list. ing/playback, or cue list playback. (The key will blink
Fast-forward will occur when you press the key (the in time with the beat during recording or playback.)
key will light). (This will not operate during record- In Sampling mode (if the EXB-SMPL option is
ing.) installed), press the [REC/WRITE] key and then press
the [START/STOP] key to start/stop sample recording.
In the SMPL 2.1–2: Sample Edit, Edit2 page, pressing
this key will sound the sample.

Rear panel

7 6 5 4 3 2 1
1. SmartMedia slot Select” to L/R, the output from an oscillator, an inser-
tion effect, an individual drum part, or the metronome
SmartMedia cards can be inserted here (☞p.5).
can be output to the (MAIN) L/MONO and R jacks.
When making connections in stereo, use L/MONO
2. [POWER] switch
and R. When making connections in mono, use the L/
This switch turns the power on/off (☞p.17). MONO jack.

3. AC power supply connector (~AC9V) (INDIVIDUAL) 1, 2


Connect this to the included AC/AC power supply. These are unbalanced phone jacks (☞p.12).
After connecting the power supply cable to TRITON These are individual (independent) audio output jacks.
Le, connect the other end to an AC outlet (☞p.12). By cycling the “Bus Select” through 1, 2, 1/2 an oscilla-
tor, an insertion effect, an individual drum part, or the
4. AUDIO OUTPUT metronome etc. can be assigned to be output from the
Connect these outputs to the input jacks of your amp (INDIVIDUAL) 1, 2 jacks. The output from the 1, 2
or mixer. In addition to the L/MONO and R main ste- jacks is not affected by the [VOLUME] slider.
reo audio outputs, TRITON Le provides two individ-
ual audio outputs. The sound from each oscillator, 5. Pedal connections
drum, timbre/track, or insertion effect can be freely
routed to any output (☞p.108–). ASSIGNABLE PEDAL jack
The separately sold Korg XVP-10 EXP/VOL pedal or
(MAIN) L/ MONO, R EXP-2 foot controller (options) can be connected to this
These are unbalanced phone jacks (☞p.12). jack. (☞p.13).
These are the main audio output jacks. By setting “Bus Its function can be assigned in Global mode, allowing

8
you to use the pedal to control the volume, etc. 7. EXB-SMPL

Introduction
(☞p.113) (If the separately sold EXB-SMPL option is
ASSIGNABLE SWITCH jack installed)
A separately sold on/off foot switch such as the Korg These connectors are used to sample mono or stereo
PS-1 foot switch can be connected here (☞p.13). audio from a mic or audio device (☞p.34, 38), or to use
Its function can be assigned in Global mode, allowing the internal effect processor to apply effects. (☞p.111)
you to use the foot switch as a modulation controller, The MIC/LINE level select switch ([MIC/LINE]
switch) and the level adjustment knob ([LEVEL] knob)

Front and rear panel


to select programs or combinations, or to start/stop the
sequencer (☞p.113). allow a wide range of audio sources to be input, from
mic level to line level.
DAMPER jack SCSI connector
A separately sold switch-type pedal such as the Korg Use a SCSI cable to connect this to a SCSI-compatible
DS-1H damper pedal can be connected here. device (hard disk drive, CD-ROM drive, etc.). (☞ EXB-
If a DS-1H is connected, it will function as a half- SMPL owner’s manual)
damper pedal. In order to ensure that the half-damper
pedal functions correctly, please adjust the polarity and AUDIO INPUT 1, 2 jacks
the sensitivity (☞PG p.124, 126). These are unbalanced phone audio input jacks. (☞p.13)
Connect them to the OUTPUT jack(s) of your external
If any other switch-type pedal is connected, it will
audio device or mic.
function as a damper switch.
Set the polarity according to the pedal that you con- [LEVEL] knob
nected. (☞PG p.126) This knob adjusts the input level of the AUDIO INPUT
1, 2 jacks. (☞p.34)
6. MIDI
[MIC/ LINE] switch
This switch selects the input level of the AUDIO
MIDI IN connector
INPUT 1, 2 jacks. (☞p.34)
Musical data and sound settings etc. are received at
this connector.
Use this to play TRITON Le from another connected
MIDI device (☞PG p.229).

MIDI OUT connector


Musical data and sound settings etc. are transmitted
from this connector.
Use this to control another connected MIDI device
from TRITON Le (☞PG p.229).

MIDI THRU connector


Musical data and sound settings etc. that are received
at the MIDI IN connector are re-transmitted without
change from the MIDI THRU connector.
You can use this to connect multiple MIDI devices via
MIDI cables (☞PG p.229).

9
f: Function buttons
Objects and functions in the LCD By pressing the function key [F1]–[F8] nearest this
button, you can turn various functions on/off.
screen
, :
a: Current page d: Edit cell e: Check box
In Media mode, these select the current directory.
:
Accesses the utility menu where you can execute
utility menu commands.
Other function buttons examples
Sequencer mode: EDIT/DONE, INSERT, CUT,
c: Parameter b: Tab f: Function buttons COPY, JUMP, DONE, Tie, Rest,
Back, Done (used in Cue List,
Event Edit, Step Recording)
a: Current page REVERT (copy and paste RPPR
This indicates the currently selected page within settings)
the mode. From the left, this area shows the mode Global mode: TEXT, KEY+, –
name, page number:name, tab name, and the Sampling mode (if the separately sold EXB-SMPL
parameter name of the edit cell. option is installed):
Mode name Page number:name Parameter name INSERT, CUT, COPY, CREATE
Tab name
(create multisample), L/R,
ZOOM

b: Tab * Utility menu


Most pages are divided into two or more tabs. By
pressing the closest function key [F1]–[F7], you can
select a tab to access the corresponding page.

c: Parameters
The parameters for various settings are displayed In each page, you can press the “UTILITY” func-
in the LCD screen. Use cursor keys [ ], [ ], [ ], tion button (the [F8] key) to access the utility
[ ] to select the desired parameter. menu. The utility menu contains commands that
can be used in that page. The utility menu that
d: Edit cell appears will differ depending on the page that is
When you use the cursor keys [ ], [ ], [ ], [ ], selected.
the selected parameter will be highlighted in the You can also select up to ten utility menu com-
LCD screen. This area is called the edit cell, and mands by holding down the [ENTER] key and
your editing will affect the highlighted area. pressing a numeric key [0]–[9].
The parameter value of the edit cell can be modi- Press the [EXIT] key to close the utility menu.
fied using VALUE controllers such as the [VALUE]
dial or the [INC]/[DEC] keys (☞p.15). For parame- For , press the [F7] key to select the desired
ters that accept a key number or a velocity value, utility menu command. You can also use the cur-
you can also hold down the [ENTER] key and play sor keys [ ], [ ], [ ], [ ] to make your selection.
a note on the keyboard to enter the key number or For , press the [F8] key to open the dialog
velocity value. box of the selected utility menu command.
This key also switches the status of commands that
e: Check box you check or uncheck.
Use cursor keys [ ], [ ], [ ], [ ] to select a check
box (edit cell), and use a VALUE controller such as
the [VALUE] dial or the [INC]/[DEC] keys to add
or remove the check mark.
When checked, the parameter will function, when
unchecked, the parameter will not function.

10
* Dialog boxes * Page menu

Introduction
When you select a utility menu command etc., a In Combination, Program, Sequencer, Global, or
dialog box will open. Sampling (if the separately sold EXB-SMPL option
Use the cursor keys [ ], [ ], [ ], [ ] to select is installed) modes, pressing the [MENU] key will
parameters. Use the VALUE controllers (☞p.15) to display a list of the pages in that mode. (The page
input the parameter values. When selecting pro- in which you where when you pressed the
gram or combination numbers in a dialog box, you [MENU] key will be highlighted.)
can use the BANK [A]–[GM] keys in addition to

Front and rear panel


To select a page, press the nearest function key
the VALUE controllers.
[F1]–[F7]. By pressing the same key you can move
As in the utility menu, press the function key [F1]–
consecutively downward. You can also use cursor
[F8] nearest etc. (function button 2) to access
keys [ ], [ ], [ ], [ ] to move left/up/down/
the execution or operation screen. In some cases, a
right.
dialog box will appear. Follow the directions
shown in the dialog box. You can also move to the desired page by holding
To execute, select (press the [F8] key). To down the [MENU] key and using numeric keys
cancel without executing, select (press the [0]–[7] to enter a two-digit page number. In addi-
[F7] key). The dialog box will close. The [EXIT] key tion, you can hold down the [MENU] key and use
is equivalent to “Cancel,” “Done,” or “Exit.” the cursor keys [ ], [ ] to move in steps of one
page; in the example shown below, this would be
Play → P/M → Ctrl → Prm1 → ... etc.

* Function buttons 2
Press the function key [F1]–[F8] nearest this button
to execute the function. * Other objects
: To use slider- or knob-shaped objects, use the cur-
Utility menu, etc. sor keys [ ], [ ], [ ], [ ] to select the desired
item, and use the VALUE controllers to adjust the
* Text dialog box value.
When you use the function keys to select Other types of objects are shown in the effect rout-
etc, a text dialog box will appear. ing screen. (☞p.108)
In this dialog box you can rename text (e.g., the
name of a program, combination, or song). (☞p.43) Sliders Knobs

* Scroll bar
This indicates that the list contains selections or
parameters that cannot all be shown in the screen
at once. Use the cursor keys [ ], [ ], [ ], [ ] to
move within the list. Routing

Scroll
bar

11
Connections

Connect the AUDIO OUTPUT (MAIN) L/MONO


Connecting audio equipment etc. and R jacks to the INPUT jacks of your powered
monitor system, mixer etc.
Connections must be made with the power turned L/MONO and R are the main outputs. If you are
off. Please be aware that careless operation may outputting in stereo, make connections to the
damage your speaker system or cause malfunc- (MAIN) L/MONO jack and the R jack. If you are
tions. outputting in monaural, make connections to the
(MAIN) L/MONO jack. We recommend that you
playback in stereo if possible.

1. Connecting the AC/ AC power If you wish to output from the AUDIO OUTPUT
(INDIVIDUAL) 1, 2, jacks, connect these jacks to
supply your mixer, and then connect the mixer output to
the INPUT of your powered monitor system etc.
Connect the included AC/AC power supply to the
AC power supply inlet of TRITON Le, and then For details on the output of each jack (☞p.108–
connect the other end of the cable to an AC outlet. “Routing”).

Headphones
When using headphones, plug them into the head-
2. Connecting audio output devices phones jack located on the front panel.

AUDIO OUTPUT(MAIN) L/ MONO, R,


(INDIVIDUAL) 1, 2
Here, you can connect a set of amplified monitor
speakers or your audio system to output TRITON Le’s
sound.
If you wish to use the AUDIO OUTPUT (INDIVID-
UAL) 1–2 jacks of TRITON Le, we recommend that
you use a mixer.

If you playback TRITON Le through your stereo


audio system, be aware that high volumes may
damage your speakers. Be careful not to raise the
volume excessively.

Power Switch
Headphones

PHONES

to an AC outlet
AC/AC power supply

Connecting the power cable

Connecting separately sold

Headphones

Connecting MIDI equipment

INPUT PHONES

Connecting audio output devices

OUTPUT INPUT

Connecting pedals etc


Powered monitors, etc.

12
Introduction
3. Connecting pedals etc. 2. Connections to a computer
Your performance on the TRITON Le, as well as con-
Foot pedal connections
troller and sequencer data, can be sent to a computer
A foot pedal can be connected to control the volume or (connected via MIDI interface), and the tone generator
other functions. of TRITON Le can be played from the computer.
Connect a separately sold Korg assignable pedal such
as the XVP-10 EXP/VOL or EXP-2 to the rear panel Use a MIDI interface to connect the MIDI connec-
ASSIGNABLE PEDAL jack. tors of TRITON Le to the MIDI connectors of your
computer.

Connections
The function controlled by the foot pedal is specified in
GLOBAL 1.1–3: System, Foot page “Foot Pedal ☞ PG p.229 “MIDI applications – Connecting MIDI
Assign” (☞p.113, PG p.125, 223). deveices/computers”

Foot switch connections


A foot switch controls sostenuto, soft pedal on/off,
arpeggiator on/off, to select programs or combina-
tions, and to start/stop the sequencer etc.
Connecting separately sold
Connect a separately sold Korg foot switch such as the options
PS-1 to the rear panel ASSIGNABLE SWITCH jack.
The function that will be controlled by the foot switch By installing the separately sold EXB-SMPL option you
and the polarity of the foot switch can be set in GLO- can add two channels of audio input jacks and a SCSI
BAL 1.1–3: System, Foot page “Foot SW Assign,” and connector.
“Foot SW Polarity” (☞p.113, PG p.125, 222). For details on installing the EXB-SMPL, refer to PG
p.253.
Damper pedal connections
Allows you to sustain the sound while playing.
Connect a Korg DS-1H damper pedal (separately sold
Guitar
option) to the rear panel DAMPER jack. If a DS-1H is
connected, you can produce half-damper effects.
The polarity of the damper pedal can be set in GLO-
BAL 1.1–3: System, Foot page “Damper Polarity,” and
its sensitivity can be adjusted by the GLOBAL 1.1–1
System utility menu command “Half Damper Calibra- Effect processor etc.

tion.” (☞PG p.124, 126)


If a passive type guitar (a guitar
without an internal preamp) is
connected, it will not be possible to
sample at an appropriate level due to
the impedance mismatch. Such

Connections to MIDI equipment/ instruments must be connected via a


preamp or effect unit. CD player, analog record player, etc.

computers (MIDI connectors)


1. Audio input connections
1. Connections to MIDI equipment Connect a mic or the OUTPUT jacks of an external
audio device to the AUDIO INPUT 1, 2 jacks when you
The keyboard, controllers, and sequencer etc. of
want to sample in Sampling mode (if the separately
TRITON Le can be used to control an external MIDI
sold EXB-SMPL option is installed), or in Program,
tone generator. Conversely, another MIDI keyboard or
Combination, or Sequencer mode when you want to
sequencer can control the tone generator of
apply an internal effect to an external input sound and
TRITON Le to produce sound.
output the processed sound from the OUTPUT jacks.
Use MIDI cables to connect the MIDI connectors
For details on connections when sampling in Sam-
of TRITON Le with the MIDI connectors of your
pling mode, refer to p.34.
external device.
For details on connections when applying an
☞ PG p.229 “MIDI applications – Connecting MIDI
effect in other modes and outputting to the OUT-
deveices/computers”
PUT jacks, refer to p.111.

2. SCSI connections
You can connect SCSI-compatible devices (hard disks,
CD-ROM drives etc.). (☞EXB-SMPL Operation Man-
ual)

13
Basic operation

2 Press the [MENU] key.


Selecting modes, pages and tabs; The page menu will appear.

setting parameters

1. Selecting modes
In Media mode there is only one page, so the page
In order to use a particular function on the menu will not appear.
TRITON Le, you must first select the appropriate
mode. Press one of the front panel mode keys to 3 Press the function key [F1]–[F7] that is nearest the
enter the corresponding mode. page you wish to select.
If multiple pages are assigned to one function key,
[COMBI] key: Combination mode
press the same key to move the cursor downward.
[PROG] key: Program mode
You can also use the [ ], [ ], [ ], [ ] cursor keys
[SEQ] key: Sequencer mode to move.
[GLOBAL] key: Global mode
4 Press the [F8] (“Open”) key.
[MEDIA] key: Media mode
[SAMPLING] key: Sampling mode (if the sepa- When you press the [F8] key, you will jump to the
rately sold EXB-SMPL option selected page, and that page will appear.
is installed) As an example here, press the [F3] key three times to
select “KeyZ,” and then press the [F8] (“Open”) key.
The 3.3: Ed-Key Zone page will appear.

You can also use the following alternative methods


to select a page.

• Press the [MENU] key, and then use the [ ], [ ]


2. Selecting pages and tabs keys to move forward or backward through the
pages in the order of 1.1→2.1→2.2→3.1 etc.
Each mode has a large number of parameters, which
are grouped into pages. Each page is further divided • Hold down the [MENU] key, and use numeric keys
into as many as seven groups. These are referred to as [1]–[7] to enter a two-digit page number to move
“tabs.” directly to the corresponding page. (To select the
page shown above, you would press [3], [3].)
If only one page is assigned to each function key
Selecting a page
(group), as in COMBI 1.1: Play or the pages of
1 Make sure that the desired mode is selected. Global mode, the first digit of the numeric key [1]–
To select a mode, press the appropriate mode key. [7] will move to the corresponding page.
Here we will use Combination mode as an example The page selected at this time will be the page that was
for our explanation. Press the [COMBI] key. last selected. If there is no corresponding page, nothing
will happen.

When you press the [EXIT] key, you will return to


1.1 from any page.

14
Selecting a tab Numeric keys [0]–[9], [ENTER] key, [–] key,

Introduction
5 Press the function key [F1]–[F7] that is nearest the
[./ HOLD] key
tab displayed at the bottom of the LCD screen. Use these when you know the parameter value that
you wish to input.
As an example, we will select the “Slope” tab. Press After using the numeric keys [0]–[9] to input a number,
the [F3] key. press the [ENTER] key to finalize the parameter value.
Use the [–] key to enter negative numbers.
Use the [./HOLD] key to enter a decimal point. In the
1.1: Play page of Program and Combination modes, the

Basic operation
[./HOLD] key will perform the Category Hold or 10’s
Hold function. (☞PG p.2)
Some pages have no tabs.
BANK [A]–[GM] keys
6 To move to another page, press the [MENU] key
and repeat the procedure from step 3.

The BANK [A]–[GM] keys are used in Program mode


3. Selecting parameters to select the program bank and in Combination mode
Use the [ ], [ ], [ ], [ ] cursor keys to select the to select the combination bank. In Combination mode,
parameter that you wish to edit. they are also used to select the program bank for each
In Combination mode pages that display timbres 1–8, timbre of the combination. In Sequencer mode, these
or in Sequencer mode pages that display tracks 1–8 or keys are used to select the bank of the program used by
9–16, you can hold down the [TIMBRE/TRACK] key each track of the song.
and press the nearest function key [F1]–[F8] to select These keys are also used to specify the bank in dialog
the desired timbre or track. boxes such as Write Program or Write Combination.

[COMPARE] key
4. Setting a parameter
The parameter value in the edit cell can be set by using Use this key when you wish to compare an edited pro-
the front panel VALUE controllers ([INC]/[DEC] keys, gram or combination sound with the un-edited origi-
[VALUE] dial, numeric keys [0]–[9], [–] key, [./HOLD] nal (i.e., the sound that is written into memory).
key, and [ENTER] key). As necessary, you can also use When editing a program or combination, press this
the BANK [A]–[GM] keys, and the [COMPARE] key. key. The key will light, and the last-written settings for
In the case of parameters that require you to enter a that program number or combination number will be
note or velocity value, you can enter the value by play- recalled. When you press the [COMPARE] key once
ing a key on the keyboard while holding down the again, the key will go dark and you will return to the
[ENTER] key. settings that you were editing.
If you edit the settings that are recalled by pressing the
VALUE controllers [COMPARE] key (i.e., the settings that are written into
memory), the key will go dark, and it will not be possi-
ble to return to the previous settings by pressing the
[COMPARE] key again.
In Sequencer mode, you can use the [COMPARE] key
to make “before and after” comparisons immediately
after using realtime recording or step recording to
record a song, or after performing a track edit opera-
tion.
For example, this can be used effectively when real-
time-recording a track for a song.
[INC]/ [DEC] keys 1 Realtime-record a track. (Take 1)
Use these when you wish to make fine adjustments to
2 Once again, realtime-record on the same track. (Take
the value.
2)
[VALUE] dial 3 Press the [COMPARE] key. The key will light, and
Use this when you wish to make large changes in a take 1 will be recalled.
value. 4 Press the [COMPARE] key once again. The key will
go dark, and take 2 will be recalled.

15
5 If after recording two different takes on the same
track, you record a third, the Compare function will
now alternate between the second and third takes.
Recording a fourth take will mean that Compare
now alternates between takes three and four, and so
on. In this fashion, Compare always alternates
between the last two recorded passes that are made
on the same track.
In this way, the Compare function lets you recall the
previous recording or the previous state of event edit-
ing.

The Compare function is not available in Global,


Media and Sampling modes.

Keyboard input
When inputting a note name or velocity value as the
value of a parameter, you can use the keyboard to
input the setting. Hold down the [ENTER] key and
play the note that you wish to enter as a value. The
note name (number) or velocity value will be input.
When the GLOBAL 5.1: DKit page or SEQ 5.1: RPPR,
RPPR Setup page is displayed, you can hold down the
[ENTER] key and play a note to recall the settings that
have been assigned to the note you played.

16
Quick Start
Turning the power on/ off

Quick Start
Before you turn on the power, make sure that the • When using Sampling mode (if the separately sold
desired connections have been made as described EXB-SMPL option is installed) utility commands
in “Connections” (☞p.12). (“Move Sample,” “Move MS,” “Conv.To Prog,”
“Time Slice,” etc.) to simultaneously modify
programs or drum kits.

1. Turning the power on


The mode and page that will be selected when the
1 Press the TRITON Le’s [POWER] switch to turn on
the power.
power is turned on
The state of this instrument when the power is turned

Turning the power on/ off


The LCD screen will display the name of your
on will depend on the setting of “Power On Mode”
model, and the software version.
(GLOBAL 1.1: System, Preference page).
(The following graphic shows the factory-set LCD
screen . The version number is subject to change If “Power On Mode” is Reset (factory setting), this
without notice.) instrument will automatically selects the Combination
mode 1.1: Play.
If “Power On Mode” is Memorize, this instrument
will be in the mode and page that were last selected
when the power was turned off.
The Memorize setting will remember the mode and
2 Turn on your powered monitors or stereo amp. page that were last selected, the combination number
that was last selected in Combination mode, and the
3 Raise this instrument’s [VOLUME] slider to an program number that was last selected in Program
appropriate level, and adjust the volume of your mode. If another mode is selected when the power is
powered monitors or stereo amp. turned on, you can press the [COMBI] key or [PROG]
key to select the 1.1: Play page with the last-selected
combination number or program number.

2. Turning the power off


1 Set this instrument’s [VOLUME] slider and the LCD screen messages when separately sold
volume of your powered monitor or stereo amp to options are installed (When the power is turned
zero. on)
2 Turn off the power of your powered monitor or This instrument allows you to install separately sold
stereo amp. options.
When the power is turned on, the type of installed
3 Press this instrument’s [POWER] switch to turn off
options will be displayed. After installing an option, be
the power.
sure to check this display to verify that the option was
Never turn off the power while data is being writ- installed correctly. If the option is not displayed here
ten into internal memory. even though it was installed, it was not installed cor-
If the power is turned off while processing is being rectly. Turn off the power and re-install the option.
performed, memory write operations will not be (☞For details on installing an option, refer to PG p.253)
completed correctly. If this occurs, this instrument
will automatically initialize its internal memory so
that it will operate correctly. This is not a malfunction.
While data is being written, the LCD screen will
indicate “Now writing into internal memory.”
Data is written into internal memory by the fol- OPTIONS
lowing operations. EXB-SMPL:
The EXB-SMPL option is installed.
• Writing (updating) a Program, Combination,
Global Setting, Drum Kit, or Arpeggio Patterns SIMM:
• Loading Program, Combination, Global Setting, Slot1 (**MB)/Slot2 (**MB): SIMM’s are installed in
Drum Kit, or Arpeggio Patterns data in Media mode SIMM slots 1 and/or 2. The capacity of each SIMM is
• Receiving a MIDI data dump for Program, shown in parentheses.
Combination, Global Setting, Drum Kit data, or
Arpeggio Patterns 17
Listening to a demo song

From the powered-off state, if you turn on the


Loading demo playback data power while holding down the [MENU] key and
[EXIT] key, the Load All (Preload PCG and Demo
The TRITON Le contains demo songs (and preloaded Songs) operation will be executed automatically.
data). This data can be loaded in Global mode. (The LCD screen will show a message of “Now
Writing Internal Memory.”) This will load all PCG
1 Press the [GLOBAL] key (the key will light).
data and demo song data. Never turn off the
You will enter Global mode. power while the data is being loaded.
Verify that the GLOBAL 1.1: System page is dis-
played. If it is not displayed, press the [EXIT] key.
2 Press the [F8] (“UTILITY”) key to access the Utility
menu. Selecting and playing a demo
3 Press the [F7] (“ ”) key to select “Load Pre-
load/Demo Data,” and press the [F8] (“OK”) key.
song in the Sequencer mode
1 Press the [SEQ] key (the key will light).
You will enter Sequencer mode.
2 Access the SEQ 1.1: Play/REC, Play/REC page.
Play/REC page
SEQ 1.1:
Play/REC
A dialog box will appear. Song Select

4 Use the [INC]/[DEC] keys to select the data that


you want to load.
If the SEQ 1.1: Play/REC, Play/REC page does not
appear, select it as follows.
1) Press the [MENU] key.
The LCD screen will show a list of the pages in
Sequencer mode.
In the “Kind” field, select the data that you want to
load.
In this case, select All (Preload PCG and Demo
Songs). When you execute the Load operation, the
demo song data and preloaded data will be loaded.
2) Press the [F1] key to select “P/R,” and press the
5 Press the [F8] (“OK”) key. [F8] (“OPEN”) key.
A dialog box will ask you for confirmation. 3) Press the [F1] key. The SEQ 1.1: Play/REC, Play/
REC page will be displayed.
3 Use the cursor keys [ ], [ ] to choose “Song
Select.”
The song name will be highlighted.
6 Press the [F8] (“OK”) key once again.
4 Use the [INC]/[DEC] keys or other VALUE control-
The preloaded data and demo song data will be
lers to select the demo song that you wish to play.
loaded.
5 Press the [START/STOP] key.
Never turn off the power while the data is being
loaded. The key will blink and the selected song will play.
6 If you wish to stop playback, press the [START/
If the Memory Protected dialog box appears, un- STOP] key once again.
check the memory protect setting, and perform the
Load operation again. (☞p.42)

18
Playing a cue list
Here’s how to playback the demonstration cue list. By
using a cue list, you can repeatedly play multiple
songs that you specify in the cue list, or play songs
consecutively. (☞p.71)
1 Press the [MENU] key.

Quick Start
2 Press the [F2] key to select “Cue,” and then press
the [F8] (“OPEN”) key.
The SEQ 2.1: Cue List, Setup&Play page will appear.

3 Press the [START/STOP] key.

Listening to a demo song


4 To stop playback, press the [START/STOP] key
once again.
If the last step is End, playback will stop automati-
cally when it reaches that point. If the last step is
Continue to Step01, playback will return to the first
step and continue.
To select a cue list, choose “Cue List Select,” and
use the same procedure as when selecting a song.
Refer to step 4 above.

Contents of the preloaded data and demo songs


Preload PCG
• Preloaded data (programs, combinations, drum
kits, arpeggio patterns, global settings)

When you load the preloaded data, it will be writ-


ten into internal memory. This data is preserved
even when the power is turned off.

When this data is loaded, the PCG data that had


been previously written will be replaced. If you do
not want to lose this data, save it on SmartMedia
beforehand. (☞p.45)

Demo Songs
• Demonstration song and demonstration cue list
data

This data is loaded into the internal sequencer


memory. The data will be lost when the power is
turned off.

When you load All Demo Songs, the data that had
been written before loading this data will be
rewritten. If you wish to keep this data, you must
first save it on a SmartMedia before loading All
Demo Songs. (☞p.45)

19
Selecting and playing a program
In Program mode you can select and play a program Selecting the program bank
from banks A–D, G, g(d). Here we will show how to
In Program mode, you can switch banks to select pro-
select preset programs. Select various programs and
grams from another bank.
hear how they sound.
With the factory settings, banks A, B, C, D000–063 and
G, g(d) contain programs. (☞ table bellow)
5 Press a BANK [A]–[GM] key to select a bank.
Selecting a program The key will light, and the selected bank will be dis-
played in the left of the LCD screen. For example to
1 Press the [PROG] key (the key will light). select bank B, press the BANK [B] key. (The [B] key
You will enter Program mode. Make sure that the will light, and the upper left of the LCD screen will
upper line of the LCD screen indicates “PROG 1.1: indicate Bank B.)
Play.” Bank Prog. No. Explanation
Category A, B, C 000…127
for preloaded programs
Program Bank D 000…063
Program Select D 064…127 for user programs
G 001…128 GM programs
g(d) (☞VNL) GM2 drum programs

Selecting a program number A, B, C, D000–063


With the factory settings, these banks contain
2 Make sure that “Program Select” is selected.
a wide variety of preloaded programs that
If it is not selected, use the cursor keys [ ], [ ], use the internal PCM ROM multisamples,
[ ], [ ] to highlight the program name in “Pro- effects, and arpeggio patterns.
gram Select.” D064–127
3 Use the VALUE controllers to select the program With the factory settings, these banks do not
that you wish to play. contain programs. Programs you yourself
create can be stored in these banks.
You can use the following methods to select a pro- 128 programs can be written or rewritten to each bank
gram. A–D (for a total of 512).
• Rotate the [VALUE] dial. G, g(d) These banks contain 128 GM programs and 9
• Press the [INC] or [DEC] key. GM drum programs that are compatible
• Use numeric keys [0]–[9] to specify the number, with the GM sound map. The programs of
and press the [ENTER] key. these banks are read-only. Bank G contains
4 Audition the sound. the GM programs. G lets you select 128 pro-
Play a note on the keyboard to hear the sound you grams numbered from 001–128, and g(d) lets
selected. you select nine drum programs (☞VNL).
Each time you press the [GM] key, the bank
Alternatively, you can press the [AUDITION] key will alternate as shown below.
(the key will light) to turn on the Audition function G→g(d)→G→g(d)→G…
and the TRITON Le will automatically play a riff
☞ For details of the program names etc., refer to
(phrase) suitable for the selected program.
“VNL” (Voice Name List).

With the factory settings, the Audition function


can be used only on the preloaded programs of
banks A–C, D000–063, and the preset programs G,
g(d).

20
Selecting programs by category Using 10’s HOLD to select programs
You can select programs by categories such as key- You can fix the ten’s place of the program number as
board, organ, bass, and drums. you select programs.
With the factory settings, all the preloaded programs 1 Press the [./HOLD] key to make the display indi-
are organized into sixteen categories. You can choose a cate .
category, and then select from the programs in that cat-
egory. The ten’s place of the program number will be held
(fixed).

Quick Start
On this instrument, you can use one of the following
two methods to select programs by category.

Select by Category
1 Make sure that PROG 1.1: Play is displayed.
2 Press the [CATEGORY] key.
2 By pressing a numeric key [0]–[9], you can input
the one’s place in a single action.
3 You can use the [INC]/[DEC] keys to change the

Selecting and playing a program


ten’s place.
4 To cancel the 10’s HOLD function, press [./HOLD]
The Select by Category dialog box will appear. The to erase the display.
categories are displayed in the left side of the screen,
and a list of the programs in the selected category
are displayed in the right side.
Using a connected switch to select programs
A separately sold on/off-type switch (such as the sepa-
rately sold Korg PS-1) can be connected to the rear
panel ASSIGNABLE SWITCH connector, and assigned
a program select function. (☞p.113)
Category Program

3 Use the [F1] (“ ”), [F2] (“ ”), [F3] Selecting programs from a MIDI device
(“ ”), and [F4] (“ ”) keys to select the
desired category. MIDI program change messages can be transmitted
from an external MIDI device, and received by this
4 Use the [ ], [ ] cursor keys to select the desired instrument to select programs.(☞PG p.230)
program.
5 To execute, press the [F8] (“OK”) key. To cancel
without executing, press the [F7] (“Cancel”) key.

Cat. HOLD (Category Hold)


1 Press the [./HOLD] key to display .
The category will be held.
Category

Program
Select

2 Use the cursor keys [ ], [ ], [ ], [ ] to choose


“Category,” and use the VALUE controllers to
specify the category.
3 Use the cursor keys [ ], [ ], [ ], [ ] to choose
“Program Select,” and use the VALUE controllers
to successively select programs in that category.
4 To exit the Category Hold function, press the [./
HOLD] key twice to erase the display.

In PROG 1.1: Play, pressing the [./HOLD] key will


cycle through → → cancel.

21
Selecting and playing a combination
In Combination mode you can select and play a combi- A, B, C With the factory settings, these banks con-
nation from banks A–C. Select various combinations tain a wide variety of preloaded combina-
and hear how they sound. tions that use multiple programs, effects,
and arpeggio patterns.
128 programs can be written or rewritten to each bank
A–C (for a total of 384).
Selecting a combination ☞ For details of the combination names etc., refer to
1 Press the [COMBI] key (the key will light). “VNL” (Voice Name List).

You will enter Combination mode. Make sure that


the upper line of the LCD screen indicates “COMBI
1.1: Play.” Selecting combinations by category
You can select combinations from sixteen categories in
Category
the same way as for programs.
Combination With the factory settings, all the preloaded combina-
Bank
tions are organized into sixteen categories. You can
Combi Select
choose a category, and then select from the combina-
tions in that category.
☞p.21 “Selecting programs by category”
Selecting a combination number
2 Make sure that “Combi Select” is selected.
If it is not selected, use the cursor keys [ ], [ ], Using 10’s HOLD to select combinations
[ ], [ ] to highlight the combination name in You can fix the ten’s place of the combination number,
“Combi Select.” so that a combination can be selected simply by press-
ing a numeric key once to change the one’s place.
3 Use the VALUE controllers to select the combina-
tion that you wish to play. ☞p.21 “Using 10’s HOLD to select programs”
☞p.20 “Selecting a program” 3
4 Audition the sound.
Using a connected switch to select combinations
Play a note on the keyboard to hear the sound you A separately sold on/off type foot switch such as the
selected. Korg PS-1 can be connected to the rear panel ASSIGN-
ABLE SWITCH jack, and used to select combinations.
Selecting the combination bank (☞p.113)
In Combination mode, you can switch banks to select
combinations from another bank.
With the factory settings, banks A, B, and C contain Selecting combinations from a MIDI device
combinations. (☞ table bellow)
MIDI program change messages can be transmitted
5 Press a BANK [A]–[C] key to select a bank. from an external MIDI device, and received by this
The key will light, and the selected bank will be dis- instrument to select combinations. (☞PG p.230)
played in the left of the LCD screen. For example to
select bank B, press the BANK [B] key. (The [B] key
will light, and the upper left of the LCD screen will
indicate Bank B.)
Bank Prog. No. Explanation
A, B, C 000…127 for preloaded combinations
(for user combinations)

22
Using controllers to modify the sound
The TRITON Le provides various controllers – a joy- You can specify the way in which the [SW1] and [SW2]
stick, the SW1 and SW2 switches, and the REALTIME keys will operate: either Toggle, when the assigned
CONTROL [1], [2], [3], [4] knobs – that let you modify function will be switched on/off each time the key is
the tone, pitch, volume, or effects in realtime while you pressed, or Momentary, when the assigned function

Quick Start
play. will be switched on only as long as you hold down the
Each time you select a program or combination, try out key.
these controllers to hear how they affect the sound.
The function of the [SW1] and [SW2] keys can be
Tonal changes etc. created using these controllers verified for Program mode in the 1.1: Play, Pro-
can be recorded on the internal sequencer or on an gram page, or for Combination mode in the 1.1:
external MIDI sequencer. Play, Combination page. (☞p.25)

Using controllers to modify the sound


When you write a program or combination, the
on/off status of the [SW1] and [SW2] keys is
Joystick saved.

For details on making these settings, refer to “Set-


ting the function of [SW1] and [SW2]” (☞p.115).

The Lock function


1 Select program bank A001: Acoustic Piano, and
play the keyboard.
JS(+X): Move the joystick toward the right to apply an
To select a program, make sure that you are in Pro-
effect. Normally this is used to control the
gram mode, and press the Bank [A] key, numeric
pitch (bend up).
key [1], and then the [ENTER] key.
JS(–X): Move the joystick toward the left to apply an
effect. Normally this is used to control the 2 Move the joystick toward yourself (the –Y direc-
pitch (bend down). tion).
JS(+Y): Move the joystick away from yourself to apply The modulation will deepen, and at the same time,
an effect. Normally this is used to control the resonance will be applied to give a unique character
oscillator LFO (vibrato). to the sound.
JS(–Y): Move the joystick toward yourself to apply an 3 While holding the joystick toward yourself, press
effect. Normally this is used to control filter the [SW2] screen (The [SW2] key will light).
LFO (wah).
The tone at this point will be maintained. (Lock
You can use the Lock function of [SW 1] or [SW 2] function)
keys to hold the effect in the current joystick posi-
tion, before the joystick is released to the center
position. For the procedure, refer to “The lock
function.”

You can use the joystick as a source for alternate


modulation or effect dynamic modulation, to con-
trol program parameters or effect parameters.

SW1, SW2
4 Release the joystick, and play the keyboard.
The tone will stay the same as it was when the
[SW2] key was pressed. Moving the joystick toward
You can use these keys as sources for alternate modula- yourself will not affect the sound.
tion or effect dynamic modulation to control program
parameters or effect parameters. In the lower part of the LCD screen, SW2 will indi-
These switches can also be used to switch the octave, to cate JS-Y Lock. This means that the function of the
turn portamento on/off, or to lock the position of the [SW2] key is set to JS-Y Lock. (It will operate as a
after touch lock function (☞p.24). Toggle switch.)
If the function of the [SW1] or [SW2] key is set to

23
JS X Lock, JS+Y Lock, or JS-Y Lock, the tone that Knob [2]: RESONANCE/ HPF
was heard when the joystick is tilted can be main- Adjust the resonance level of a low pass filter or the
tained even after the joystick is returned to the cutoff frequency of a high pass filter.
center position. The content that is controlled will depend on the filter
Similarly, there is an AfterT Lock function that type specified by the program.
locks the aftertouch effect. (☞PG p.220)
By adjusting the filter resonance level, you can increase
5 Press the [SW2] key once again to defeat the lock. or decrease the resonance level to add a unique charac-
ter to the sound.
In many programs and combinations, the joystick -
Y axis lock function is assigned to the [SW2] key.

REALTIME CONTROLS [1], [2], [3], Adjusting the cutoff frequency of the high-pass filter
will modify the thickness of the sound from which the
[4] low frequency range has been filtered out.
These knobs can be used to control the filter cutoff fre- Level

quency and resonance, the amp and filter EG, volume,


portamento time, pan, pitch LFO, or the send levels to
LPF HPF
the master effects, etc.
1 Press the REALTIME CONTROLS [SELECT] key
Cutoff
to switch the function of the realtime controllers to frequency
A-mode, B-mode, or C-mode.
Each time you press the key, A-mode, B-mode or C- Knob [3]: EG-INTENSITY
mode will be selected alternately, and the corre- Adjust the filter EG intensity (the depth at which the
sponding LED will light. filter EG is applied).
Rotating the knob will affect the depth of the filter EG.
Normally, rotating the knob toward the left will make
the filter EG apply less deeply, and rotating it toward
the right will make the filter EG apply more deeply.
Since the filter EG will operate based on the cutoff fre-
quency of the filter, knobs [1] and [3] will work
together to control the tonal changes produced by the
filter.
Level

2 Rotate the desired knob to control the sound, etc.

A-mode controls Time

In A-mode, knobs [1]–[4] will control/edit the follow-


ing functions.

Placing the knobs in the center (12 o’clock) posi-


tion will produce the values specified by the pro- Knob [4]: EG-RELEASE
gram parameters. Adjust the EG release times of the filter and amp. This
will determine the time from note-off until the sound
Knob [1]: LPF CUTOFF disappears.
Adjust the cutoff frequency of the low pass filter.
When you adjust the knob, the release times of the fil-
When you adjust the cutoff frequency of the filter, the
ter EG and the amp EG will change. Normally, rotating
brightness of the sound will change. The effect will
the knob toward the left will shorten the release time,
depend on the settings of the program parameters, but
and rotating it toward the right will lengthen the
normally, rotating the knob toward the left will darken
release time.
the sound, and rotating it toward the right will
brighten it. note-on Attack Level note-off
Break Level
Level
Level

Release Level
LPF Sustain Level

Frequency
Low Cutoff High
Time
frequency
Decay Time Slope Time Release Time
Attack Time

Start Level

24
B-mode controls
You can control parameters such as volume, porta- Foot pedals
mento time, pan or filter and amp EG, pitch LFO, and
master effect send levels etc. Damper Pedal
The B-mode function settings are made for each indi- A separately sold Korg switch-type damper pedal such
vidual program, combination, or song. as the DS-1H can be connected to this instrument. If a
In Sampling mode, the B-mode functions are set for the DS-1H is connected, it will function as a half-damper
entire mode (if the EXB-SMPL option is installed) pedal. The half-damper function cannot be controlled

Quick Start
(☞p.115). by other pedals.

C-mode control Assignable Foot Switch


You can control the effect of the arpeggiator in real- A separately sold on/off switch such as the Korg PS-1
time. For details on operation, refer to p.26. foot switch can be connected to this instrument, allow-
ing you to turn an assigned function on/off by step-
ping on the foot switch.
Viewing the parameters that are assigned to

Using controllers to modify the sound


The function of the foot switch is assigned in GLOBAL
[SW1], [SW2] keys, and the REALTIME CONTROLS 1.1: System “Foot SW Assign” (☞p.113).
B mode
In Program and Combination modes, the B-mode func- Assignable Foot Pedal
tions of the REALTIME CONTROLS knobs [1], [2], [3], A separately sold Korg expression pedal such as the
and [4] and [SW1]/[SW2] keys can be verified in the EXP-2 foot controller or XVP-10 EXP/VOL pedal can
1.1: Play page. be connected to the rear panel ASSIGNABLE PEDAL
jack, and used to apply an effect.
The function of the foot pedal is assigned in GLOBAL
1.1: System Foot page “Foot Pedal Assign” (☞p.113).

Functions assigned to the Functions assigned


[SW1] and [SW2] keys to Knob1–4

Keyboard
Velocity
The force with which you initially strike a note can
apply an effect.
Normally this is used to control volume, or the speed
or sensitivity of the EG.

After Touch
This effect can be applied by varing pressure on a key
that is already being held down.
Normally this is used to control volume, tone (cutoff
frequency), or LFO sensitivity etc.

Note Number
Varing 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
frequency), LFO sensitivity, and EG sensitivity etc.

This can be used as a source for alternate modula-


tion or effect dynamic modulation, to control pro-
gram parameters or effect parameters.

25
Using the arpeggiator while you play
The arpeggiator is a function that automatically gener-
ates arpeggios (broken chords). Most arpeggiators pro- Using the arpeggiator in Program
duce an arpeggio when you play a chord on the
keyboard. mode
1 Press the [PROG] key to enter Program mode, and
select a program. (☞p.20 “Selecting and playing a
program”)
As you select various programs, you will notice that
the [ARP ON/OFF] key LED will light for some
programs. (☞p.29 “Other settings for the arpeggia-
The chord you played on tor”) Play the keyboard of the TRITON Le and the
the keyboard is sounded as
an arpeggio (broken chord) arpeggio will start.
For other programs, you can press the [ARP ON/
In addition to this, the TRITON Le’s arpeggiator is a OFF] key (the key will light) to turn on the arpeggia-
polyphonic arpeggiator that is able to produce a vari- tor. Arpeggios will begin sounding when you play
ety of chordal transformations or phrases based on the the keyboard.
pitch or timing of the notes you play on the keyboard. 2 As described in the following sections “Settings
These functions let you use the arpeggiator to play a using controllers” and “Settings in the LCD
wide range of patterns including drum or bass screen,” move the controllers or modify the param-
phrases, and guitar or keyboard backing riffs. It is also eters to change the way in which the arpeggios are
effective to use the arpeggiator as part of the sound- played.
creating process when creating subtly-moving pads,
synth-sounds, or sound effects.
In addition, the TRITON Le features a Dual Arpeggia- Settings using controllers
tor that lets you simultaneously use two arpeggio pat-
terns in Combination mode and Sequencer mode. You
can take advantage of this in many ways, such as Arpeggiator on/ off
applying separate arpeggio patterns to a drums pro- Each time you press the [ARP ON/OFF] key, the
gram and a bass program, or using keyboard split or arpeggiator will be switched on/off.
velocity to switch between two arpeggio patterns.
When this is on, the key will light, and playing the
The TRITON Le provides five preset arpeggio patterns keyboard will start the selected arpeggio pattern.
(the standard UP, DOWN, ALT1, ALT2, and RAN-
DOM), and lets you program and store 328 user arpeg-
gio patterns. With the factory settings, these contain a
wide variety of preload user arpeggio patterns
(☞VNL). An arpeggio pattern that you create can also
be stored as a user arpeggio pattern (☞p.103).

The on/off status is saved when you write the pro-


gram, Combination.

In Combination and Song, depending on the


arpeggiator A, B settings, the arpeggio may not
start when you press the [ARP ON/OFF] key to
turn it on (☞p.28).

26
Adjusting the arpeggiator tempo HPF), and [3] (EG-INTENSITY) knobs.
1 Press the REALTIME CONTROLS [SELECT] key
to make the right “C” LED light.
2 Rotate the [TEMPO] knob to adjust the tempo. Settings in the LCD screen
The “! =” value in the upper right of the LCD screen In PROG 1.1: Play, press the [F3] key to select the
will change. You can set this in the range of 40–240. Arp. Play page.
The [SELECT] key LED will blink at quarter-note (! )

Quick Start
intervals.
You can also Use the cursor keys [ ], [ ], [ ], [ ]
to select “! =,” input the tempo using numeric keys
[0]–[9], and press the [ENTER] key to set the tempo.
Alternatively, you can set the tempo using the
[VALUE] dial or the [INC]/[DEC] keys. The tempo
will blink at the specified tempo. Selecting an arpeggio pattern
An arpeggio pattern can be selected from preset arpeg-
The Tempo knob setting is saved when you write

Using the arpeggiator while you play


gio patterns P000–P004 and user arpeggio patterns
the program.
U000 (INT)–215 (User). With the factory settings,
The arpeggio playback speed is affected by the U000–199 (INT) contain a wide variety of preset user
“Reso (Resolution)” setting (1.1: Play, Arp. Play arpeggio patterns (☞VNL)
page, 6.1: Ed–Arp., Arpeg. Setup page). Use the cursor keys [ ], [ ], [ ], [ ] to select
If “MIDI Clock” (GLOBAL 2.1: MIDI) is set to “Pattern,” and use the [VALUE] dial or the [INC]/
External, the display will indicate “! = EXT.” The [DEC] keys to select the arpeggio pattern. To select
tempo will be synchronized to an external MIDI a user arpeggio pattern, use numeric keys [0]–[9] to
device, and it will not be possible to adjust the input the pattern number, and press the [ENTER]
tempo on the TRITON Le. key.

Adjusting the length of the arpeggio notes Changing the timing value of the arpeggio
notes
1 Press the REALTIME CONTROLS [SELECT] key
to make the right “C” LED light. The “Reso (Resolution)” parameter in the LCD screen
lets you set the timing valueof the arpeggiated notes in
2 Rotate the [ARP-GATE] knob to adjust the dura- a range of " 3 – ! .
tion of the arpeggiated notes.
Use the cursor keys [ ], [ ], [ ], [ ] to select
Rotating the knob toward the left will shorten the “Reso,” and use the [VALUE] dial or the [INC]/
notes, and rotating it toward the right will lengthen [DEC] keys to specify the spacing of the arpeggi-
the notes. At the center position (12 o’clock), the ated notes.
note length will be as specified by the program
parameter “Gate” (6.1: Ed-Arp., Arpeg. Setup
Selecting the octave range in which the
page).
arpeggio is sounded
The knob setting is saved when you write the pro- Use the “Octave” in the LCD screen to specify the
gram. range of octaves in which the arpeggio will be sounded
You can control the effect by simultaneously (☞p.100).
adjusting the REALTIME CONTROLS A-mode [4] Use the cursor keys [ ], [ ], [ ], [ ] to select
(EG-RELEASE) knob. “Octave,” and use the [VALUE] dial or [INC]/
[DEC] keys to specify the range of octaves in
Adjusting the strength of the arpeggio notes which the arpeggio will be sounded.
1 Press the REALTIME CONTROLS [SELECT] key
to make the right “C” LED light.
Sounding an arpeggio in the order of the
pitches in the chord you played
2 Rotate the [ARP-VELOCITY] knob to adjust the
strength of the arpeggiated notes. You can select whether the notes of the arpeggio will
be sounded in the order of the pitches in the chord you
Rotating the knob toward the left will make the played (regardless of the order in which you actually
notes weaker, and rotating the knob toward the played the notes), or in the order in which you played
right will make the notes stronger. At the center the notes.
position (12 o’clock), the velocity will be as specified
by the program parameter “Velocity” (6.1: Ed-Arp., Use the cursor keys [ ], [ ], [ ], [ ] to select the
Arpeg. Setup page). “Sort” check box, and use the [VALUE] dial or the
[INC]/[DEC] keys to make the setting.
The knob setting is saved when you write the pro-
Checked: the arpeggio will sound each note in the
gram.
order of its pitch, regardless of the order in which
You can control the tone effectively by simulta- you actually played the notes.
neously adjusting the REALTIME CONTROLS A- Unchecked: the arpeggio will sound each note in
mode [1] (LPF CUTOFF), [2] (RESONANCE/ the order in which you actually played the notes.
27
Letting the arpeggio continue playing even
after you take your hand off the keyboard Using the arpeggiator as you
You can select whether the arpeggio will continue play in Combination mode
playing when you take your hand off the keyboard, or
whether the arpeggio will stop playing when you take In Combination mode the TRITON Le provides dual
your hand off the keyboard. arpeggiators, allowing you to run two arpeggio pat-
Use the cursor keys [ ], [ ], [ ], [ ] to select terns simultaneously.
“Latch,” and use the [VALUE] dial or the [INC]/ 1 Press the [COMBI] key to enter Combination
[DEC] keys to make the setting. mode, and select a combination. (☞p.22 “Selecting
Checked: The arpeggio will continue playing even and playing a combination”)
after you remove your hand from the keyboard. As you select various combinations, you will notice
Unchecked: The arpeggio will stop playing when that the [ARP ON/OFF] key will light for some
you remove your hand from the keyboard. combinations. (☞“Other settings for the arpeggia-
tor”) When you play a key on the keyboard, the
Synchronizing the arpeggiator to your key- arpeggiator will start.
board timing For other combinations, you can press the [ARP
ON/OFF] key (the key will light) to turn on the
You can specify whether the arpeggio will begin at the
arpeggiator.
moment you play the keyboard, or whether it will
always play in synchronization to the MIDI clock 2 As described in the preceding section “Settings
tempo. using controllers” and the following section “Set-
tings in the LCD screen,” move the controllers or
Use the cursor keys [ ], [ ], [ ], [ ] to select
modify the parameters to change the way in which
“Key Sync.,” and use the [VALUE] dial or the
the arpeggios are played.
[INC]/[DEC] keys to make the setting.
The [ARP ON/OFF] key and the REALTIME
Checked: When you take your hand completely off
CONTROLS C-mode [TEMPO], [ARP-GATE], and
of the keyboard and then play the first note-on, the
[ARP-VELOCITY] knobs are valid for both arpeg-
arpeggio pattern will start from the beginning. This
giators A and B. Their state will be memorized
setting is suitable when you want the arpeggio to
when the combination is written.
start from the beginning of the measure as you are
playing in realtime.
Unchecked: The arpeggio will always be synchro-
nized to the MIDI clock tempo. Settings in the LCD screen
Sounding both the arpeggio notes and the In COMBI 1.1: Play, press the [F4] key to select the
notes you play Arp. Play A page, and make settings for arpeggia-
tor A.
Use the cursor keys [ ], [ ], [ ], [ ] to select
“Keyboard” check box, and use the [VALUE] dial In COMBI 1.1: Play, press the [F5] key to select the
or the [INC]/[DEC] keys to make the setting. Arp. Play B page, and make settings for arpeggiator
B.
Checked: The notes you play on the keyboard and
the notes played by the arpeggiator will both sound.
Unchecked: Only the arpeggio notes will sound.

Select the arpeggiator(s) that will run


Use the “Arpeggiator Run” check boxes to specify the
arpeggiator(s) that you want to run. The arpeggiator(s)
that are checked here will operate when the [ARP ON/
OFF] key is on.
However, the arpeggiator will play a timbre only if the
table displayed beside the check boxes assigns arpeg-
giator A or B to a Ttimbre 1–8. These settings are made
in COMBI 6.1: Ed-Arp., Setup page “Assign” (☞p.101).
Arpeggiator-A, Arpeggiator-B
For each arpeggiator A and B, you can make settings
for “Pattern,” “Reso (Resolution),” “Octave,” “Sort,”
“Latch,” “Key Sync,” and “Keyboard.” (☞p.27)

28
Checking the structure of a user arpeggio
pattern Other settings for the arpeggiator
You can also set “Gate,” “Velocity,” “Swing,” and
Let’s see how combination C053: Echo Jamm is con-
“Scan Zone.” These parameters are set in PROG 6.1:
structed.
Ed–Arp, COMBI 6.1: Ed–Arp. (☞p.100).
1 Select combination C053: Echo Jamm, and look at
the Arp. Play A page and Arp. play B page. Linking the arpeggiator to program, combinations
You can specify whether the arpeggiator settings writ-

Quick Start
ten in a program or combination will also be selected
when you switch programs or combinations, or
whether the arpeggiator status will not change when
you switch programs or combinations.
With the factory settings, the former is selected. Use
the latter when you want to keep the same arpeggio
pattern running, and change only the program sound.
This setting is made in “Auto Arp.” (GLOBAL 1.1: Sys-
tem, Basic).

Using the arpeggiator while you play


Creating an user arpeggio pattern
• As you can see from the “Timbre Assign” table in
the upper right, arpeggiator A is assigned to timbre Arpeggio patterns that you create can be written to
4 and 8, and arpeggiator B is assigned to timbre 2. U000 (INT)–215 (User).
When you play the keyboard the U126 (INT): Dr- These can be created in GLOBAL 6.1: Arp.Pattern
BigBeats 2 arpeggio pattern will play the program (☞p.104).
B084: Drum’n’Bass Kit of timbre 4. The U043
(INT): Gt-Stab Rhythm arpeggio pattern will play
the program B108: Funkin’ Guitar of timbre 2.
• If you uncheck “Arpeggiator Run A” or
“Arpeggiator Run B,” the unchecked arpeggiator
will stop.
If you check it once again and play the keyboard,
the arpeggiator will begin running.
• Look at the COMBI 6.1: Ed-Arp., Zone page, and
you will see that the A keys “Btm” and “Top” are
set so that arpeggiator A will operate only for B3
and lower keys, and that the B “Top Key” and
“Bottom Key” are set so that arpeggiator B will
operate only for C4 and higher keys.

29
Playing with the RPPR (Realtime Pattern
Play/ Recording) function
This instrument’s Sequencer mode provides an RPPR
(Realtime Pattern Play/Recording) function. Shutdown Keys:
Using the RPPR function, each note of the keyboard When you play a key in the range of C–1 – C2, the cur-
can be assigned to a preset pattern or user pattern and rently-playing pattern will stop.
a track that will play the assigned pattern. You can
then playback the assigned pattern in realtime (and Pattern Assignable:
record it, if desired) simply by playing a note. (Preset A pattern and track can be assigned to each of the 72
patterns suitable for playing by the drum track are keys in the range of C#2–C8. If you do not assign a key,
already provided in internal memory.) it can be used to play as usual.
Here we will explain how to play a demo song using As in the example shown in the following diagram,
the RPPR function. you can make one key play a drums pattern, another
1 Load the demo song data as described in “Loading key a bass phrase, and yet another key play guitar
demo playback data” (☞p.18). chords, all by specifying a different pattern and track
for each key.
2 Press the [SEQ] key (the key will light) to enter
Sequencer mode, and access the SEQ 1.1: Play/ E1 76 keys G7
REC, Play/REC page. C2 61 keys C7

3 In “Song Select,” select 000:Midnight Sun. G9

Select the song as described in “Selecting and play-


ing a demo song in Sequencer mode” (☞p.18).
Shutdown Keys Pattern Assignable
C-1 ... C2 C#2 ... C 8

Pattern P000 Track01 (Drums Program)


Pattern U000 Track02 (Bass Program)
Pattern P001 Track01 (Drums Program)
Pattern U001 Track02 (Bass Program)
Pattern U002 Track03 (Guitar Program)
4 Make sure that the RPPR check box is checked.
Checked: The specified RPPR (set in SEQ 5.1:PPPR,
RPPR Setup) will function.
Unchecked: RPPR will not function. Operation will
be as in normal Sequencer mode.
5 Press a key.
The pattern assigned to that key will playback.
In some cases, the pattern will continue playing
after you release your hand from the keyboard. You
can stop playback either by pressing that key once
again, or by pressing a key in the area of C2 or
below.

30
Simple program editing
By operating the performance editor and the realtime Amp Level: Indicates the amp level. This will adjust
controllers you can easily and intuitively modify the the volume of the entire program.
sound of a program.
Attack Time: Indicates the attack time of the filter EG

Quick Start
Program editing refers to the process of modifying the and amp EG. This will adjust the speed of the attack
parameters that make up a program, in order to mod- from note-on.
ify the sound or change the controller, effect settings
etc. In order to maximize the effect of the Attack Time
adjustment, the amp EG Start Level, Attack Level,
More detailed editing can be performed in PROG Start Level Modulation, and Attack Time Modula-
2.1: Ed-Basic – 7.2: Ed-MasterFx. tion parameters are also adjusted.

Decay Time: Indicates the decay time and slope time


of the filter EG and amp EG.

Performance Edit IFX Balance: This simultaneously adjusts the “W/D

Simple program editing


(Wet/Dry)” balance of all insert effect.
By using the eight sliders of the Performance Editor,
MFX Balance: This simultaneously adjusts the
you can make overall adjustments to the sound. When
Return 1 and 2 parameters of the master effects.
you move a slider, multiple program parameters are
adjusted simultaneously. Depending on the settings of the program parame-
1 Press the [PROG] key (the key will light) to enter ters, the result may not be noticeable.
Program mode.
5 If you want to save the modified sound, select the
2 Press the [F2] (“P.Edit”) key. utility menu command “Write Program,” and
The Perform. Edit page will appear. write the program. (☞p.42)
It is a good idea to write the program into program
number D065 or higher. It is also a good idea to edit
the name when you write the program.

If you want to overwrite the program using the


same program number, press the [REC/WRITE]
key and then press the [F8] key.
3 Select the Program.
The edited content will be lost if you select another
4 Use the Performance Editor to adjust the sound.
program or turn off the power before saving.
(☞PG p.3)
Use the cursor keys [ ], [ ], [ ], [ ] to select the
desired performance editor slider, and use the
VALUE controller to adjust the setting.
Realtime controls
If you want to reset the value, press numeric key
[0] and then press the [ENTER] key to restore the The REATIME CONTROLS [1]–[4] knobs can be used
previous setting. to edit parameters such as the filter cutoff frequency,
resonance, the amp and filter EG, volume, portamento
Octave: Indicates the octave setting. time, pan, pitch LFO, and master effect send level etc.
Pitch Stretch: Simultaneously adjusts the transpose (☞p.24).
and tune settings of the oscillator. This allows you to You can also modify settings for the arpeggiator.
produce a variety of tonal changes without losing (☞p.26)
the character of the original sound. If CC#70–79 are assigned to REALTIME CON-
This is particularly effective for acoustic-type pro- TROLS A-mode or B-mode, the sound edited by
grams such as guitar, bass, or piano. Select various knobs [1]–[4] can be saved by the Program Write
programs and try this out. operation (☞p.42). Arpeggiator-related settings in
C-mode can also be saved.
OSC Balance: Adjusts the level balance between
oscillators 1 and 2.

For programs whose “Mode (Oscillator Mode)”


(PROG 2.1: Ed-Basic, Prog Basic page) setting is
Single, oscillator 2 will not sound. Only the level
of oscillator 1 will change. For a Drums program,
this performance editor will have no effect.

31
Simple combination editing
A combination is a set of multiple (up to eight) pro- Selecting the program for a timbre
grams, and allows you to create complex sounds that
could not be produced by a single program. 3 Select the Prog page.

Combination editing refers to the process of modify- Press the [F2] (“Prog”) key. Now you can specify the
ing the sound of a combination by changing the pro- programs for timbres 1–8.
gram selected for each timbre or adjusting the 4 Now let’s change the program of timbre 2 to a dif-
keyboard range and velocity range, or by modifying ferent program.
the controller, and effect settings. Use the cursor keys [ ], [ ], [ ], [ ] to select
You can edit a combination in COMBI 2.1: Ed-Prog/ “Program Select” for timbre 2 (it will be high-
Mix–7.2: Ed-MasterFX, but can also make settings for lighted).
“Program Select, “Pan,” and “Volume” in COMBI 1.1
Play as well.
“Program
Select”

An example of editing Timbre 1 Timbre 2

As an example, here’s how to do some simple editing You can directly select the program for a timbre by
on combination Bank C064: Modern Piano. holding down the [TIMBRE/TRACK] key and
pressing the nearest [F1]–[F8] key. You can select
1 Press the [COMBI] key (the key will light) to enter
pan or volume in the same way.
Combination mode.
2 Select Bank C064: Modern Piano. For this example, select A003: Legato Strings. This
is a layered combination with piano and rich
strings. Then consecutively press the [A] key, the [3]
key, and the [ENTER] key.
Alternatively, the program for a timbre can be
selected by category.
Choose “Program Select,” and press the [CATE-
This combination layers (simultaneously sounds) GORY] key.
the programs of timbre 1 and timbre 2. Timbre 1 The Select by Category dialog box will appear.
sounds B001: Attack Piano, a piano with a crisp
attack. Timbre 2 sounds C033: Vintage EP, a classic
electric piano. These two programs are layered to
produce a piano-type sound that you may have
heard in various contexts.

A timbre consists a of program together with mul- Use the [F1] (“ ”), [F2] (“ ”), [F3]
tiple parameters that control that program. A com- (“ ”), and [F4] (“ ”) keys to select the
bination can use up to eight of these timbres. desired category. For example if you want to select
string-type programs rather than the 00: Keyboard
category shown in the above display, press the [F2]
(“ ”) key three times to select 03: Strings.
You can use the cursor keys [ ], [ ] to successively
select string-type programs.
When you are happy with the selected program,
press the [F8] (“OK”) key to finalize your selection.

32
Listening to the program sound of just one timbre Adjusting the volume while preserving the volume
Press the [F8] (“UTILITY”) key to access the utility balance between timbres
menu, and press the [F7] key to choose “Solo Press the [F8] (“UTILITY”) key to access the utility
Selected Timbre.” Press the [F8] (“OK”) key. menu, and press the [F7] key to choose “Hold Bal-
ance.” Press the [F8] (“OK”) key.

Quick Start
Now you will hear only the program sound of the
currently selected timbre. The lower part of the LCD The upper right of the LCD screen will indicate
screen will indicate [Solo]. “Hold Bal.”

Simple combination editing


To cancel this setting, choose “Solo Selected Tim- When you change the “Volume” value of any tim-
bre” once again and press the [F8] (“OK”) key. bre, the volume of all timbres will also change to
preserve the volume balance at the time you
checked the Hold Balance setting.
Adjusting the stereo location of the sound To cancel this setting, choose “Hold Balance” once
again and press the [F8] (“OK”) key.
5 Select the Mixer page.
Press the [F3] (“Mix”) key. Here you can adjust the
pan and volume for timbres 1–8. Writing the combination
8 If you want to save the sound you modified, select
the utility menu command “Write Combination,”
and write it. (☞p.42)
It is a good idea to edit the name when you write
the combination.
6 Adjust the stereo location in “Pan” of timbre 2. If you want to overwrite the edited combination
Use the cursor key [ ], [ ], [ ], [ ] to choose onto the same combination number, press the
“Pan” (highlighted) for timbre 2. [REC/WRITE] key and then press the [F8] key.
Use the VALUE controller to change the value. The edits you make will be lost if you select
A setting of C064 is center, L001 is far left, and R127 another combination or turn off the power before
is far right. With a setting of RND, the stereo loca- saving.
tion will change randomly between left and right
each time a note is played.

Adjusting the volume


7 Adjust the “Volume” of timbre 2.
Use the cursor key [ ], [ ], [ ], [ ] to choose
“Volume” (highlighted) for timbre 2.
Use the VALUE controller to change the value.

33
Sampling (recording a sample)
If the EXB-SMPL option (sold separately) is installed, 5 In the Input1 area, set “BUS” to L/R, specifying the
you will be able to record 48 kHz 16 bit stereo samples. bus to which the AUDIO INPUT 1 jack will be
Sampled sounds can be used in a program, combina- input.
tion, or song. Make sure that the Input1 level (“Lvl”) is 127, and
Here we will explain the process of making sampling the “Pan” is L000.
settings, recording the actual sample, saving it, and
converting a multisample into a program. We will also Be aware that when “BUS” is changed from Off to
explain how a sample such as a drum phrase can be L/R or IFX, the volume level to the AUDIO OUT
played back repeatedly. For other procedures and more L/MONO and R jacks or to the headphones may
detailed explanations, refer to p.84 and PG p.87. rise abruptly.

In order to perform the steps described below, the 2. Set the recording level
EXB-SMPL option must be installed. (☞PG p.253)
1 Speak into the mic at the volume that you will use
for recording.
If the display indicates “ADC OVER!” (AD con-
verter input overload!), turn the rear panel [LEVEL]
Sampling a sound and playing it knob in the direction of MIN to adjust the level
back as “one-shot” appropriately.

For the ideal audio quality, the level should be


1. Connect a mic and make input settings slightly lower than when the “ADC OVER!” dis-
play appears (i.e., the highest level that does not
1 Turn off the power. Then turn it on again.
produce an overload).
When you turn off the power, all unsaved sample
2 Press the [REC/WRITE] key.
data will be erased. If you want to keep any of the
sample data, save it before you continue. Speak into the mic at the volume that you will use
for recording.
This explanation assumes that you are starting The level meter will show the input volume.
from the initial power-on state.

2 Connect a mic to the AUDIO INPUT 1 jack located


on the rear panel of the EXB-SMPL.
Set the AUDIO INPUT [MIC/LINE] switch to the
MIC position, and set the [LEVEL] knob to the cen-
ter. If the display indicates “CLIP!,” use the VALUE
controller to lower the “Recording Level” slider
(located in the right of the display) from the +0.0
setting down to an appropriate level.
EXB-SMPL
3 When you have finished making adjustments,
press the [REC/WRITE] key.
MIC
3. Specify the recording method (Auto)
1 In the lower left of the SMPL 1.1: Recording,
3 Press the [SAMPLING] key to enter Sampling Input/Pref page, select the “Auto Loop On” check
mode. box, and press the [DEC] key to un-check it.
If the EXB-SMPL option is not installed, the dis- 2 Press the [F2] (“Rec.”) key to select the SMPL 1.1:
play will indicate “No Sampling Upgrade Recording, Recording page.
Installed,” and it will not be possible to enter this
mode.

4 Press the [F3] (“In/Pref”) key to select the SMPL


1.1: Recording, Input/Pref page.

3 In REC Setup, set “Mode (REC Mode)” to “Auto,”


and set “Threshold” to –30.
With this setting, recording will begin automatically
when the audio input reaches –30 dB or higher in
record-ready mode.

34
Set “Pre Trigger” to 5 ms. Speak the word that you want to sample. (Exam-
With this setting, sample recording will begin 5 ms ple: “It’s”)
earlier than (i.e., immediately before) sampling is Recording will start when the input exceeds the
actually triggered, so that the very beginning of the “Threshold” level.
sound is not lost. When you finish speaking, press the [START/
As an alternative to the Auto setting for “Mode STOP] key to stop sampling.
(REC Mode),” you can set this to Manual and A sample has now been created. The sample you
record manually. (☞p.38) recorded is automatically assigned to “SMPL.”

Quick Start
4 In Sample Setup, set “Mode (Sampling Mode)” to
L-Mono.
With this setting, the internal L channel will be sam-
pled in mono.

4. Create a multisample and indexes You can listen to the sampled sound by playing the
“Orig.K” note or pressing the [AUDITION] key.
1 Press the [F1] (“Sample”) key to select the SMPL
1.1: Recording, Sample page. 3 Press the [F6] (“CREATE”) key to create a new

Sampling (recording a sample)


index.
Immediately after the power has been turned on,
000 will be selected as the multisample “MS.” 4 Press the [REC/WRITE] key.
Press the [START/STOP] key.
Speak the word that you want to sample. (Exam-
ple: “So”)
When you finish speaking, press the [START/
STOP] key to stop sampling.
5 Repeat steps 3 and 4 to record additional sam-
If you want to create a new multisample, use the ples.
numeric keys to input the number of the multi- (Example: “Easy,” “To,” “Sample,” “With”
sample that you want to create, and press the “TRITON Le”)
[ENTER] key.
6 Play consecutive notes on the keyboard.
2 Set “Orig.K (Original Key)” and “TopK (Top Key)”
Play a chromatic scale upward, starting at the C2
to C2 (☞p.30).
key. The samples you recorded will be played one
When you play the key designated by “Orig.K,” the after another.
sample will sound at the same pitch at which it was (In this example, playing notes C2 through F#2 in
sampled. sequence will produce “It’s So Easy To Sample With
TRITON Le”)
You can make this setting easily by holding
down the [ENTER] key and pressing the C2 key.

3 Press the [F3] (“In/Pref”) key to access the SMPL


1.1: Recording, Input/Pref page.
Using the insert effect while you
sample
1 In step 5 of the preceding section “1. Connect a
mic and make input settings,” set the Input1 “Pan”
to C064, and “BUS” to IFX.
4 Set Create “Range (Zone Range)” to 001.
When you create a new index, the width of the zone
will be set to one key.

5. Record a sample
1 Press the [F1] (“Sample”) key to access the SMPL 2 Press the [MENU] key to access the PAGE MENU.
1.1: Recording, Sample page.

Press the [F7] (“IFX”) key, and then press the [F8]
(“Open”) key.
2 Press the [REW/WRITE] key.
The SMPL 7.1: Insert Effect, Setup page will appear.
Press the [START/STOP] key to enter record-ready
mode.

35
3 Select “Insert Effect,” use the numeric keys to and press the [F8] (“OK”) key.
enter 52, and press the [ENTER] key to confirm 52:
Rev Hall.
Select “IFX On/Off,” and press the [INC] key to
turn it ON.

A dialog box will appear.

4 Speak into the mic, and verify that reverb is Press the [F5] (“Name”) key to display the text dia-
applied to the sound. log box, and assign a name of SMPL_Demo.
You can adjust the effect settings in the IFX page
([F4] key).
5 After pressing the [EXIT] key, press the [F2]
(“Rec.”) key to access the SMPL 1.1: Recording,
Recording page.
Press the [F1] (“Clear”) key.
Input the first character. Use the [VALUE] dial and
the [INC]/[DEC] keys or [ ], [ ], [ ], [ ] keys to
select “S”.
Input the second character. Press the [F6] key. Use
the [VALUE] dial and the [INC]/[DEC] keys or [ ],
6 In Sample Setup, set “Mode (Sample Mode)” to
[ ], [ ], [ ] keys to select “M”.
Stereo.
Repeat these steps to input all of the characters, and
Now the sound of the internal LR channels can be
then press the [F8] (“OK”) key twice. (☞p.43)
sampled in stereo.
7 Press the [F1] (“Sample”) key, and then press the A stereo multisample will have a -L and -R dis-
[F6] (“CREATE”) key to create a new index. played at the end of the name, meaning that you
will be able to input 14 characters. (The -L and -R
8 Press the [REC/WRITE] key. are fixed.) You can input 16 characters for a mono
Press the [START/STOP] key, and speak the multisample. This also applies to samples.
word(s) that you want to sample.
Recording will begin according to the “Threshold” Naming a sample
setting.
1 Press the [F1] (“Sample”) key to access the SMPL
Press the [START/STOP] key to stop. 1.1: Recording, Sample page.
9 Play the keyboard. 2 Select “Index,” and use the [INC]/[DEC] keys to
When you play the “Orig.K” note or press the select the sample to which you want to assign a
[AUDITION] key, the sampled sound will be heard. name.
For this example, select “Index” 001.

Assigning a name to the sample


or multisample
The TRITON Le allows you to create up to 4,000 sam- It is also possible to select a sample in “SMPL,”
ples and 1,000 multisamples (limited by the amount of but since the sample assigned to each index can
memory). It is a good idea to assign names so that you change, you should use “Index” to select a sample.
can distinguish individual samples and multisamples.
3 Press the [F8] (“UTILITY”) key to access the utility
Naming a multisample menu, use the [F7] key etc. to select “Rename
SMPL,” and press the [F8] (“OK”) key.
1 Press the [F1] (“Sample”) key to access the SMPL
1.1: Recording, Sample page. When the dialog box appears, press the [F5]
(“Name”) key to access the text dialog box, and
2 Select “MS,” and use the [INC]/[DEC] keys to assign the desired sample name. (Example: “It’s”)
select the multisample to which you want to Refer to step 3 of “Naming a multisample.”
assign a name.
4 Select “Index,” select the next sample that you
3 Press the [F8] (“UTILITY”) key to access the utility want to name, and use the utility menu command
menu, use the [F7] key etc. to select “Rename MS,” “Rename SMPL” to assign a name to that sample.

36
The following dialog box will appear.
Saving sample data
Here’s how to save a sample or multisample that you
created.

All samples and multisamples in the TRITON Le


will be lost when the power is turned off. 4 In the “To:” field, select the program into which
the data will be converted.

Quick Start
1 Insert a SmartMedia card into the slot. Alterna-
tively, make sure that settings are made correctly Bank D064–127 contains initialized programs. We
for a connected external SCSI device. recommend you select one of these programs.
2 Press the [MEDIA] key to select Media mode. When you execute the Convert operation, the pro-
3 Press the [F2] (“Save”) key. gram in the conversion destination location will be
overwritten and replaced by the converted pro-
gram.

5 Set the “Use Destination Program Parameters” set-


ting.

Sampling (recording a sample)


For this example, uncheck this. If you execute con-
version with this unchecked, the program will be
4 If you want to save to a different device, use the created with the sound that you heard in Sampling
media select setting (Media:) to select the device mode.
on which you want to save the data.
If you want to use the program parameters of a
5 Press the [F8] (“UTILITY”) key to access the utility
preloaded program (A000–D063), copy that pro-
menu, and press the [F7] key to select “Save Sam-
gram to bank D064–127 before you perform this
pling Data.” Press the [F8] (“OK”) key to display
operation. Use the “To:” field to select that pro-
the following dialog box.
gram, and check “Use Destination Program
Parameters” before you perform the conversion.
However if you want to convert a stereo multi-
sample with “Use Destination Program Parame-
ters” checked, you must change the “Mode
(Oscillator Mode)” to Double for the conversion
6 Press the [F5] (“Name”) key to access the text dia- destination program (“To”) before executing the
log box, assign a filename of SMPL_DM1, and conversion.
press the [F8] (“OK”) key.
6 As necessary, press the [F5] (“Name”) key to access
7 Make sure that All is selected for the “To:” field, the text dialog box and assign a program name.
and press the [F8] (“OK”) key to save the data.
Press the [F8] (“OK”) key. A dialog box will ask
When saving is completed, a file with an extension you for conformation. Press the [F8] (“OK”) key
of .KSC together with .KMP and .KSF files in folders once again, and the conversion will begin.
will be saved. For details on each file, refer to PG
p.144 “About Korg format PCM data files.” 7 Listen to the converted program.
Move to Program mode, select the program (D064
in the above example), and play the keyboard to
hear the sound.
Converting a multisample into a The converted program settings will automatically
be stored in internal memory, but the sample data
program you created will be lost when the power is turned
A multisample you created can be converted into a off. In order to reproduce the sound of the pro-
program. By converting the data into a program, a gram after the power is turned on again, you must
sample or multisample you created in Sampling mode first load the previously-saved sample data in
can be used in Program mode, Combination mode, or Media mode. When loading, it is best to set “.KSC
Sequencer mode. Allocation” to Clear. When saving, it is a good
idea to execute “Save All” (☞PG p.148) to save the
1 Create a multisample. (☞p.35) samples and multisamples along with the con-
2 Press the [F1] (“Sample”) key to access the SMPL verted program, and then load all of this data
1.1: Recording, Sample page. together. (☞PG p.141, 145)
3 Press the [F8] (“UTILITY”) key to access the utility
menu.
Press the [F7] key to select “Conv.To Prog,” and
press the [F8] (“OK”) key.

37
2. Set the recording level
Sampling and looping a drum 1 Play back the audio source that you want to record.
phrase If the display indicates “ADC OVER!” (AD con-
verter input overload!), lower the level by turning
Here’s how you can sample a drum phrase (or similar the rear panel [LEVEL] knob to an appropriate posi-
phrase) from an audio CD, and loop the playback. tion. Alternatively, lower the level of the output
You will need to provide a drum rhythm loop sample. source.
Initially, it is a good idea to begin with a rhythm loop The best audio quality will be obtained at a level
sample that has a fairly simple beat. As an example, we slightly lower than when the “ADC OVER!” indi-
will sample one measure of a 140 BPM drum phrase in cation appears (i.e., the highest level that does not
a 4/4 time signature. cause an input overload).

1. Connect your external audio device and 2 Press the [REC/WRITE] key.
make input settings The level meter allows you to check the volume of
1 Turn off the power. Then turn it on again. the input.

When you turn off the power, all sampling data


will be erased. Be sure to save any important data
before you perform this step.

This explanation assumes that you are starting


from the default state immediately after power-on.
If the display indicates “CLIP!,” use the VALUE
2 Connect the AUDIO INPUT 1, 2 jacks on the rear controller to lower the “Recording Level” slider
panel of the EXB-SMPL to the AUX OUT L and R (located in the right of the display) from the +0.0
jacks of your CD player. position to an appropriate level.
Set the AUDIO INPUT [MIC/LINE] switch to the 3 When you have finished making adjustments,
LINE position, and set the [LEVEL] knob near the press the [REC/WRITE] key. Also stop playback of
center. your audio source.

3. Specify the recording method (Manual)


EXB-SMPL 1 Press the [F2] (“Rec.”) key to access the SMPL 1.1:
Recording, Recording page.

CD player
L

AUX OUT

3 Press the [SAMPLING] key to enter Sampling 2 In REC Setup, set “Mode (REC Mode)” to Manual
mode. to specify how recording will begin.
4 Press the [F3] (“In/Pref”) key to select the SMPL As an alternative to setting “Mode (REC Mode)”
1.1: Recording, Input/Pref page. to Manual and recording manually, you can select
Auto for automatic recording. Recording can be
performed using either method. (☞p.34)

3 In Sample Setup, set “Mode (Sample Mode)” to


Stereo.
With this setting, the sound of the internal LR chan-
5 Set various parameters so that the signal from the nels can be sampled in stereo.
AUDIO INPUT jacks will be input to the
TRITON Le. 4. Record the sample
Make the following settings. 1 Press the [F1] (“Sample”) key to access the SMPL
1.1: Recording, Sample page.
Input 1: “Lvl” 127, “Pan” L000, “BUS” L/R
Input 2: “Lvl” 127, “Pan” R127, “BUS” L/R

When you change the setting from Off to L/R or


IFX, the volume level of the AUDIO OUT L/
MONO and R jacks or the headphone volume may
rise abruptly. Please use caution.
2 Press the [REC/WRITE] key.

38
3 At the moment that you wish to start sampling, The sample will sound as follows.
press the [START/STOP] key. When looping is on: S → E → LpS → E → (continue
Sampling will start. repeating LpS → E)
When looping is off: S → E
It is a good idea to allow a bit of extra time before Use the [ ], [ ] to select “S (Start)” (highlighted),
you start and after you stop sampling. and use the [VALUE] dial etc. to specify the location
4 At the moment that you wish to stop sampling, at which the sample will begin sounding. The verti-
press the [START/STOP] key. cal line in the display will move accordingly.

Quick Start
Sampling will stop. As necessary, you can press the [F4]–[F7] keys to
A 140 BPM drum phrase has now been sampled. expand or shrink the waveform display. Zoom will
The sample will automatically be assigned to expand/shrink the display starting at the selected
“SMPL.” “S (Start),” “LpS (Loop Start),” or “E (End)”
points.
Sampling will stop automatically if the remaining If you check “Zero (Use Zero),” locations where
amount of memory reaches zero. the waveform is at zero will automatically be
5 Listen to the sampled sound, and assign a name to found and selected when you use the [VALUE]
the sample. dial etc. to set “S (Start),” “LpS (Loop Start),” or

Sampling (recording a sample)


“E (End)” points. This makes it easy to set these
Press the C2 note or the [AUDITION] key, and the points to addresses that will not produce clicks or
sampled sound will play. After you have verified noise.
the sound, assign a name to the sample (☞p.36)
(e.g., LOOP1-140 BPM). Up to 14 characters can be
input as the name of a stereo sample (the two char-
acters -L and -R at the end are fixed). When you
assign a name to either the L or R channel, the other
sample will be named automatically.
For this example, set “LpS (Loop Start)” and “S
5. Make loop settings (Start)” to the same value.
Next we will delete unwanted portions from the sam- If desired, you can make a dotted vertical line
ple, and make settings so that the sample will be appear in the sample waveform display to indicate
looped smoothly. the BPM. If you use this function with waveforms
that have a specific BPM, it will be easier to make
By default when the power is turned on, sampled
accurate settings for “E (End).”
sounds will be looped automatically. (1.1: Record-
Press the [F8] (“UTILITY”) key to access the utility
ing, Input/Pref page “Auto Loop On” On)
menu, and press the [F7] key to select “Grid.”
1 Press the [MENU] key to access the page menu. Press the [F8] (“OK”) key. The following dialog
Press the [F3] key, and then press the [F8] (“Open”) box will appear.
key to select 3.1: Loop Edit.

Check “Grid,” set “Resolution” to ! , and press the


[F8] (“OK”) key. Set “! (Grid Tempo)” to 140. With
these settings, vertical dotted lines will be dis-
2 Notice that 0000: LOOP1-140BPM -L is selected for played at 140 BPM quarter note intervals.
“SMPL.”
3 Press the [F2] (“Edit2”) key to access the Edit2
page.
The waveform data of the currently selected sample
will be displayed.
Set “E (End).”
When “Lp (Loop)” is On, the dotted vertical “Grid”
lines will start at “LpS (Loop Start).” If you want to
set “End” at the end of one 4/4 measure, the fourth
vertical line from the “LpS (Loop Start)” line will be
The selected sample is a stereo sample. The L and the end of the first measure. Place “E (End)” at this
R waveforms will be displayed alternately when vertical line.
you press the [F3] (“L/R”) key.
4 Use “S (Start)” to set the start address, “LpS (Loop
Start)” to set the loop start address, and “E (End)”
to set the end address.

39
5 Use “Truncate” to delete the unwanted data that is
outside of the start (or loop start) and end
addresses.
Press the [F8] (“UTILITY”) key to access the utility
menu, and press the [F7] key to select “Truncate.”
Press the [F8] (“OK”) key. The following dialog box
will appear.

Set “Truncate” to Front & End. In this example, we


will not change the settings of the “Save to No.” and
“Overwrite” check boxes, so press the [F8] (“OK”)
key to execute. When you execute the operation, the
truncated samples 0002: LOOP1-140B0002-L and
0003: LOOP1-140B0002-R will be automatically
assigned to Index 1.

Please refer to “A note on saving samples” (☞p.90)


for a cautionary note regarding the “Save to No.”
and “Overwrite” check boxes.

40
Basic functions
Saving data

• Programs, combinations, global settings, user


Types of data that can be saved drum kits, and user arpeggio patterns
• Song and cue lists
On the TRITON Le, there are three ways to save data: • Standard MIDI Files (SMF)
writing to internal memory, saving on external media Sequencer mode songs can be saved as SMF data.
• System exclusive data

Basic functions
(SmartMedia etc.), and MIDI data dump.
System exclusive data received by the TRITON Le
Writing to internal memory from an external MIDI device (The TRITON Le can
function as a data filer.)
The following data that you edit can be written into
• Multisamples and sample data created in
internal memory.
Sampling mode (if the EXB-SMPL option is
• Program installed)
Programs 0–127 in banks A–D
• Combination MIDI data dump
Combinations 0–127 in banks A–C
The following types of data can be transmitted as a
• Global settings (Page 1.1–4.1)
MIDI data dump and saved on an external data filer or

Saving data
• User drum kits 00 (INT)–23 (User)
other device.
• User arpeggio Patterns 000 (INT)–215 (User)
• User template songs U00-U15 • Programs, combinations, global settings, user
Song settings such as the song name and tempo, drum kits, and user arpeggio patterns
track settings (☞p.62), arpeggiator settings, and • Songs, cue lists
effect settings can be saved (Write) to internal mem-
ory. However, the musical data for song tracks and
patterns are not saved to internal memory. Further- About preloaded data and preset data
more, settings that govern how the musical data is Preloaded data is the data that is loaded into memory
played back such as “Meter,” “Metronome,” “Play/ at the factory. This data can be rewritten, and is written
Mute,” “Track Play Loop (including Start/End Mea- into the various locations listed in the preceding sec-
sure),” and RPPR settings will not be saved either. tion “Writing to internal memory.” This data is main-
Use the Sequencer mode Utility menu command tained inside the TRITON Le, and can be reloaded
“Save Template Song” to write this data (☞PG p.53). using the “Load Preload/Demo Songs” command
Data that you edit in Sequencer or Sampling mode (☞p.47).
cannot be saved in internal memory by the Write • Program banks A–C: 000–127, D: 000–063
operation. • Combination banks A–C: 000–127
• User drum kits 00 (INT)–15 (INT)
If the EXB-SMPL (sold separately) option is
• User arpeggio patterns 000 (INT)–199 (INT)
installed, and you are using RAM bank multisam-
• Demo songs 000–001
ples or samples as the Multisample or Drum Kit
of a program, it is not possible to write this multi- Preset data is data that cannot be rewritten by the
sample or sample data (i.e., to save it perma- Write operation. This includes the following data.
nently). This means that the sound of a program or • Program banks G: 001–128, g(d): 001–128
combination that uses RAM bank multisamples or • Preset drum kits 64 (GM)–72 (GM)
samples will not be reproduced the next time the • Preset arpeggio patterns P000-P004
power is turned on. In order to reproduce these • Preset template songs P00–P15
sounds, the saved multisamples and samples must • Preset patterns P000–P149
be loaded from external media (e.g., SmartMedia). • Program audition riffs 000–383

Saving to external media (SmartMedia etc.)


The following data can be saved on external media
(SmartMedia etc.). If the EXB-SMPL option is installed,
this data can also be saved on high-capacity media
such as a hard disk etc.
The following data can be saved.
For details on the file format, refer to PG p.139.

41
You can also access the same dialog box by hold-
Writing to internal memory ing down the [ENTER] key and pressing the [0]
key.
The screen shown is for Program mode

Memory protect
To prevent programs, combinations, songs, user drum
kits, and user arpeggio patterns from being overwrit-
ten accidentally, the TRITON Le provides a Memory
Protect setting that prohibits writing to memory.
2 In “Category,” specify the category of the program/
Before you save edited data or load data from Smart-
combination.
Media or other external media (if the EXB-SMPL
option is installed), use the following procedure to turn If the category you specify here is for a program,
off memory protect (uncheck the appropriate check you can use it when selecting by category in the Cat.
box). Hold function or the Utility menu command “Select
by Category” PROG 1.1: Play, Program page (“Pro-
You must also turn memory protect off before loading
gram Select”) in the COMBI 1.1: Play, Prog page
the above data from SmartMedia or via MIDI data
(“Program Select”), the COMBI 2.1: Ed-Prog/Mix,
dump, or before recording in Sequencer mode.
Prog page, or the SEQ 1.1: Play, Program page Util-
1 Press the [GLOBAL] key to enter Global mode ity menu command “Select by Category.”
(the key will light), and press the [EXIT] key to
In the case of a Combination, the category you spec-
select 1.1: System.
ify here can be selected when you use the Utility
2 Press the [F2] (“Pref.”) key to access the 1.1: Sys- menu command “Select by Category” or the Cat.
tem, Preferences page. Hold function in COMBI 1.1: Play: (“Combi Select”).
3 Use “To” to specify the bank and number of the
writing destination program/combination.
Use the VALUE controller to specify the destination.
4 If you wish to change the name of the program/
combination, press the [F5] (“Name”) key.
3 Uncheck the appropriate “Memory Protect” check
box for the data that you wish to write into inter- The text dialog box will appear. Input the name of
nal memory. the program/combination. ☞“Assigning a name
(Rename)”
After you have input the name, press the [F8]
(“OK”) key to return to the Write Program/Write
Combination dialog box.
Writing a program or combination 5 To execute the Write operation, press the [F8]
(“OK”) key. To cancel without executing press the
The programs or combinations that you create by [F7] (“Cancel”) key.
using the Performance Editor or by editing parameters
When you press the [F8] (“OK”) key, the display
in the various edit (Ed) pages can be saved in the inter-
will ask “Are you sure?” When you press the [F8]
nal memory of the this instrument. This action is
(“OK”) key once again, the data will be written.
referred to as “writing a program” or “writing a combi-
nation.” If you want your edited data to be preserved
after the power is turned off, you must write it. Using the [REC/ WRITE] key to write
This method can only be used to write to the selected
There are two ways to write a program or combination.
program/combination number.
Before you write data into memory, you must turn 1 Press the [REC/WRITE] key.
off the memory protect setting in Global mode.
The following dialog box will appear.
(☞“Memory protect”)
The screen shown is for Program mode
A combination does not contain the actual pro-
gram data for each timbre, but simply remembers
the number of the program used by each timbre. If
you edit a program that is used by a combination,
or exchange it with a different program number,
the sound of the combination will also change.
2 To write the data, press the [F8] (“OK”) key. To
cancel without writing, press the [F7] (“Cancel”)
Using a Utility menu command to write key.
1 Select the Utility menu command “Write Program”
or “Write Combination.”
The Write Program/Write Combination dialog box
will appear.

42
The function buttons will have the following functions.
Assigning a name (Rename) Clear: Erase all text.
You can modify the name of an edited program, combi- Del (Delete): Delete the character at the cursor loca-
nation, song, drum kit, user arpeggio patterns etc.. tion.
Ins (Insert): Insert a space at the cursor location.
You can also modify the category names for programs
Cap. (Capital): Switch between uppercase and
and combinations.
lowercase letters.
These renaming operations can be performed in the : Move the cursor to the left.
following pages. : Move the cursor to the right.
Programs PROG 1.1...7.2 Utility: Write Program The following input operations can also be
Combinations COMBI 1.1...7.2 Utility: Write Combination performed.
Song SEQ 1.1...4.4, 6.1 Utility: Rename Song “0”–“9,” “–,” and “.” can be input using the numeric
Cue list SEQ 2.1 Utility: Rename Cue List
keys. When you input these, the cursor will advance
automatically.
Tracks SEQ 5.1, 5.2 Utility: Rename Track
By pressing the [ENTER] key at the space (blank),

Basic functions
Patterns SEQ 5.1 Utility: Rename Pattern
you can input the selected text before the space.
Multisamples* SMPL 1.1...4.1, 5.2 Utility: Rename MS
Samples* SMPL 1.1...4.1, 5.2 Utility: Rename SMPL
Drum kits GLOBAL 5.1 Utility: Rename Drum Kit
About the Edit Buffer
User arpeggio patterns GLOBAL 6.1 Utility: Rename Arpeggio Pattern
When you select a program or combination in PROG
Program categories GLOBAL 4.1: TEXT 1.1: Play and COMBI 1.1: Play, the program or combi-
Combination categories GLOBAL 4.1: TEXT nation data is called into the “edit buffer.”
File MEDIA, Save Utility: Save All...Save Exclusive When you modify the parameters in 1.1: Play or in the
Edit pages 2.1–7.2 of Program mode or Combination
*: If the EXB-SMPL option is installed
mode, the changes you make will affect the data in the

Saving data
1 Open the text dialog box. edit buffer.
Refer to the above table for the relevant page. If you wish to save this modified data into internal
In the Utility menu commands, press “Name” (the memory, you must perform the Write operation.
[F5] key) in the dialog box that appears. When you perform the Write operation, the data in the
In GLOBAL 4.1, select “TEXT” (press the [F5] key). edit buffer is written to the specified program number
or combination number of the specified bank.
If you select another program or combination without
writing, the data of the newly selected program or
combination will be called into the edit buffer, and
your changes will be lost.

For example if you wish to input the text shown in When you press the [COMPARE] key in Program
the screen shown above, you would use the follow- mode or Combination mode, the data from mem-
ing procedure. ory (i.e., the contents that were written into mem-
ory) will be temporarily called into the edit buffer.
2 Press the [F1] (“Clear”) key.
This allows you to compare the settings you are
All text of the text box will be erased. editing with the original un-edited settings.
3 Input “A”
Editing applies to the data in the edit
Use the [VALUE] dial, the [INC]/[DEC] keys, or buffer. Programs or combinations will
play according to the data in the edit
cursor keys [ ], [ ], [ ], [ ] to select “A.” buffer.
Press the [ENTER] key or [F6] (“ ”) key. The cursor Edit
will move. Edit Buffer
When you write, the program or When you select a program or
4 Input “.” combination settings will be Write Select combination, its data is called from
saved in internal memory. internal memory into the edit buffer.
Use the [VALUE] dial, the [INC]/[DEC] keys, or
cursor keys [ ], [ ], [ ], [ ] to select “.” Internal Memory

Press the [ENTER] key or [F6] (“ ”) key. The cursor Program


Bank A 0...127
Combination
Bank A 0...127
will move.
Repeat this step to input all the characters.
5 Press the [F8] (“OK”) key.
If you selected “Name” in the dialog box of step 1
to access the text dialog box, you will return to the
previous dialog box. Press the [F8] (“OK”) key in
that dialog box to execute the Rename operation.
If you selected “TEXT” in step 1 to access the text
dialog box, the Rename operation will be executed.

43
Using the [REC/ WRITE] key to write
Writing global settings, user drum kits, 1 In the following pages, press the [REC/WRITE]
and user arpeggio patterns key. A dialog box will appear.

The settings you edit in Global mode can be written Global settings: GLOBAL 1.1–4.1
into internal memory. This is done using the operations User drum kits: GLOBAL 5.1
Write Global Setting, Write User Drum Kits, and User arpeggio patterns: GLOBAL 6.1
Write User Arpeggio Patterns. If you wish to use these The example shown is for Update Arpeggio Patterns
settings after turning the power off, be sure to write the
data.
There are two ways to write global settings, user drum
kits, and user arpeggio patterns.

Before you write a user drum kit or user arpeggio


pattern, the Global mode memory protect setting 2 To execute the Write operation, press the [F8]
must be turned off (☞“Memory protect”). (“OK”) key. To cancel, press the [F7] (“Cancel”)
key.
The user arpeggio pattern settings “Tempo,” “Pat-
tern,” “Octave,” “Resolution,” “Sort,” “Latch,”
“Key Sync,” and “Keyboard” are parameters that
are set independently in Program, Combination, Memory in Global mode
and Song. These settings are not saved when you When the power is turned on, the Global mode data is
perform the Write operation described here. called from internal memory into the Global mode
If you moved from Program or Combination mode memory area. Then when you modify the parameters
and set these parameters, you must return to the in Global mode, the data in the memory area will be
original mode and write them. modified. If you wish to save this modified data in
internal memory, you must Write it.
Using a Utility menu command to write When you write, the data in the memory area will be
written into the global settings, drum kits, and arpeg-
1 To write global settings (the various settings in gio patterns of internal memory.
GLOBAL 1.1–4.1), select the Utility “Write Global If you turn off the power without writing, the modified
Setting” in GLOBAL 1.1–4.1, and press the [F8] data in the memory area will be lost.
(“OK”) key.
Editing will affect the data that has
The Write Global Setting dialog box will appear. been called into the memory area.
Edit
Memory Area
When you write, the various
Global mode settings will When the power is turned
be saved in internal Write Power On on, the settings are called
memory. into the memory area.
To write user drum kits, select the Utility “Write Internal Memory
Drum Kits” in GLOBAL 5.1, and press the [F8]
Arpeggio
(“OK”) key. Global Setting Drum Kit
Pattern

The Write Drum Kits dialog box will appear.

To write user arpeggio patterns, select the Utility


“Write Arpeggio Patterns” in GLOBAL 6.1, and
press the [F8] (“OK”) key.
The Write Arpeggio Patterns dialog box will appear.
The example shown is for Write Arpeggio Patterns

The same dialog box will also appear if, in each of


the above pages, you hold down the [ENTER] key
and press the [0] key.

2 To execute the Write operation, press the [F8]


(“OK”) key. To cancel, press the [F7] (“Cancel”)
key.
When you press the [F8] (“OK”) key, the display
will ask “Are you sure?” Press the [F8] (“OK”) key
once again to write the data.

44
5 Select the Utility menu command “Save All.”
Saving on external media
For details on the data that can be saved on external
media (SmartMedia etc.) (☞p.41 “Types of data that
can be saved”).

Song data and cue lists in the TRITON Le’s Press the [F8] (“UTILITY”) key to access the Utility
Sequencer mode, and multisamples and samples menu. Press the [F7] key to select “Save All,” and
in Sampling mode (if the EXB-SMPL option is then press the [F8] (“OK”) key.
installed) cannot be written into internal memory. A dialog box will appear. The contents, settings, and
This data will disappear when the power is turned operations for the dialog box will depend on the
off. If you wish to keep this data, you must save it type of data that you are saving. For details refer to
on a SmartMedia or on other external SCSI storage PG p.148.
media.
Other types of data can also be saved on a Smart-

Basic functions
Media, or (if the EXB-SMPL option is installed) on
external SCSI storage media (maximum 4 GB), and
loaded to restore the original settings even if they
have been modified. It is a good idea to save favor-
ite settings that you create. 6 Press the [F5] (“Name”) key to display the text dia-
log box, and input the desired name. (☞p.43)
As an example, we will explain how to save the
following data. 7 Use the check boxes to uncheck items that you do
• Internal memory programs, combinations, global not want to save.
settings, user drum kits, user arpeggio patterns In order to accurately reproduce the data you cre-
• Songs, cue lists

Saving data
ated, we recommend that you check all of the boxes.
• Multisamples and samples created in Sampling
mode (if the separately sold EXB-SMPL option is 8 Press the [F8] (“OK”) key to execute the Save oper-
installed) ation.
The data will be saved to SmartMedia, and you will
If you save this data to SmartMedia, you may need return to the Save page.
to use more than one SmartMedia card. The time required to save the information will
1 Insert a SmartMedia card into the SmartMedia depend on the amount of data.
slot. If the SmartMedia contains an identically-named
For details on handling SmartMedia, please be sure file, you will be asked whether you want to Over-
to read “Caution when handling SmartMedia” write. If you want to overwrite, press the [F8]
(☞p.96). (“OK”) key. If you want to save without overwrit-
If the EXB-SMPL option is installed, and you want ing, press the [F7] (“Cancel”) key, repeat the proce-
to save data on external SCSI media such as a hard dure from step 5, rename the data in step 6, and
disk, refer to the manual included with the EXB- then save it.
SMPL and make sure that the external SCSI device If when saving a .KSC file, the save destination
is connected correctly. media already contains a directory with the same
You will also need to format the media if necessary. name as the .KSC file you are attempting to save, a
(☞PG p.152) message of “File already exists” will be displayed,
2 Press the [MEDIA] key to enter Media mode. and it will not be possible to execute the Save
3 Press the [F2] (“Save”) key to access the Save page. operation.
If this occurs, you can either change the name of
the .KSC file you are saving, change the name of
the directory on the media, or delete the directory
from the media before executing the Save opera-
tion.
9 When the data has been saved and you return to
the Save page, the LCD screen will show the file
4 If the media contains directories, select the direc-
that has been saved.
tory in which you want to save the data.
To move to a lower level, press the [F6] (“OPEN”)
key. To move to a higher level, press the [F5] (“UP”)
key.

The data will be saved as the following files.

45
.PCG file
Programs, combinations, drum kits, user arpeggio MIDI data dump
patterns, and global settings that were saved in
internal memory The programs (A-D), combinations (A–C), drum kits,
.SNG file user areggio patterns and global settings of internal
Sequencer songs and cue lists memory, and sequencer songs, cue lists, can be trans-
mitted as MIDI exclusive data and saved on a con-
.KSC file nected MIDI data filer, computer, or another
Files listing the multisamples and samples created TRITON Le. (☞PG p.129)
in Sampling mode (if the separately sold EXB-SMPL
option is installed).
Directory
A directory containing the multisamples (.KMP
files) and samples (.KSF files) that are listed in the
.KSC file

Other ways to save


In addition to “Save All,” the page menu commands
include a “Save PCG” command which saves program,
combination, drum kit, user arpeggio pattern, and glo-
bal setting data, a “Save SEQ” command which saves
only the sequencer song and cue list data, and a “Save
Sampling Data” command which saves only the multi-
samples and samples of Sampling mode (if the EXB-
SMPL option is installed). Select the page menu com-
mand that is appropriate for the data you want to save
to external media.

When using “Save All,” “Save PCG & SEQ,” and


“Save PCG” to save combinations, you should also
remember to save the programs used by each tim-
bre (and the drum kits used by the programs) and
user arpeggio patterns at the same time.

Similarly when saving programs, you should also


remember to save the drum kits and user arpeggio
patterns used by the programs.

If your programs or drum kits use multisamples


and samples that were created in Sampling mode
(using the EXB-SMPL option), we recommend that
you use “Save All” to save the data.
When you use “Save PCG” or “Save Sampling
Data” to individually save a program or drum kit,
or a multisample or sample that you created in
Sampling mode (using the EXB-SMPL option), we
recommend that you save them under the same
filename in the same directory. When you use
“Load PCG” to load a .PCG file, the identically-
named .KSC file will also be loaded so that the cor-
rect multisamples/samples will correspond auto-
matically.

When saving .KSC, .KMP, and .KSF files and the


data does not fit on a single SmartMedia (or other
volume of media), another dialog box will appear,
and you will be asked to specify the next volume
of media (☞PG p.148 “If the data does not fit on
the media when saving”)

46
Restoring the factory settings

If the Memory Protected dialog box appears, un-


Loading the preloaded data check the memory protect setting, and perform the
load operation once again (☞p.42).
The factory settings are referred to as the “preloaded
data.” The action of restoring the programs, combina-
tions, and global settings of the TRITON Le to their Loading individual banks or data items
factory settings is referred to as “loading the preloaded The TRITON Le allows you to load individual banks,
data.” programs, or combinations. Drum kits and arpeggio
This operation will rewrite any data that had been patterns can also be loaded individually or as a group.

Basic functions
previously written. If you do not want to lose the This is convenient when you want to restore just one
previously-written data, you must first save it to item of factory-set data, or when you want to rearrange
SmartMedia or external SCSI media (requires the combinations in a specific order for live performance.
EXB-SMPL option) (☞p.45).
It is of course also possible to rearrange programs,
1 Press the [GLOBAL] key to enter Global mode. but you should be aware that this may change the
(The key will light.) sounds that are used by a combination (☞p.42).

Restoring the factory settings


2 Press the [EXIT] key. As an example, here’s how to load the combination
You will be in the Global mode 1.1: System page. B015: Rock Organ into A000: Ballad Layer EP.
1 Perform steps 1–4 described above to access the
dialog box.

3 Press the [F8] (“UTILITY”) key to access the Utility


menu.
2 Use the [INC]/[DEC] keys to set “Kind” to Combi-
nation.
3 Press the [ ] key to move downward, and use the
[INC]/[DEC] keys to select Single.
4 Press the [ ] key to move downward, and use the
[INC]/[DEC] keys to select the combination B015:
4 Press the [F7] (“ ”) key to select “Load Pre-
Rock Organ as the copy source.
load/Demo Data,” and press the [F8] (“OK”) key.
5 Press the [ ] key to move downward, and use the
A dialog box will appear.
[INC]/[DEC] keys to select the combination A000:
Ballad Layer EP as the load destination (“To”).
6 Press the [F8] (“OK”) key twice.
The data will be loaded, and A000 will be the Rock
Organ combination.
5 Use the [INC]/[DEC] keys to select the data that
you want to load.
Use “Kind” to select the data that you want to load.
For this example, select All Preload PCG.
.PCG files contain program, combination, drum kit,
arpeggio pattern, and global setting data.
6 Press the [F8] (“OK”) key.
A dialog box will ask you for confirmation.

7 Once again press the [F8] (“OK”) key.


All the preloaded data will be loaded.

47
Program mode
In Program mode you can select, play and edit pro-
grams. How a program is organized
Program mode consists of pages 1.1: Play–7.2: Ed–Mas-
terFX. A program consists of the many parameters of 2.1: Ed–
In 1.1: Play; you can select and play programs. You can Basic–7.2: Ed–MasterFX. The diagram below shows the
also edit the sound in simple ways, and make arpeg- structure of a program.
giator settings. (☞p.31)
In 2.1: Ed–Basic–7.2: Ed–MasterFX, you can edit the
parameters of the program that was selected in 1.1:
Play.
When shipped from the factory, the TRITON Le con-
Basic program editing
tains numerous preloaded programs. You can edit With the factory settings, this instrument’s program
these preloaded programs to create your own original bunks A, B, C and D contain preloaded programs. You
programs. You can also create original programs using can edit these programs to create your own original
your own sampled waveforms or multisamples that programs.
you sampled in Sampling mode (using the EXB-SMPL
option) or loaded into internal memory in Media For parameters in 2.1: Ed–Basic–5.3: Ed–LFOs that
mode. are set independently for each oscillator 1 and 2,
you can use the Utility “Copy Oscillator” to copy
If the separately sold EXB-SMPL option is settings from one oscillator to the other. This is a
installed, the TRITON Le will have AUDIO INPUT convenient way to make the same settings for two
jacks that allow external audio to be input. In Sam- oscillators, or to copy settings from one oscillator
pling mode you can sample these external audio to the other.
input sources. In modes other than Sampling
mode, the TRITON Le’s internal effects can be If you wish to save an edited program into internal
applied to the external audio input sources, allow- memory, be sure to Write the program. (☞p.42)
ing a wide range of applications (☞p.111, PG
In this section we will give examples of how to modify
p.126).
representative parameters in each page. For details on
All transmission and reception of MIDI data in all parameters, refer to in the PG p.1–.
Program mode is performed on the Global MIDI Programs you edit or create can be written into the 512
channel. The global MIDI channel is set in GLO- program memory areas of banks A–D. They can also be
BAL 2.1: MIDI “MIDI Channel.” saved and managed on SmartMedia in Media mode
(☞p.42).

Program Basic : 2.1-1


Controller Setup:
2.2

Arpeggiator :
OSC1 LFO1 : 5.3-1 OSC1 LFO2 : 5.3-2
6.1

Master Effect 1, 2:
Insert Effect : 7.2-1...3
7.1-1

OSC1 Basic : 2.1-2, 4 Filter1(A/B) : 4.1-1 Amp1 Level/Pan : 5.1-1 AUDIO OUTPUT
OSC1, 2 Insert Effect: MasterEQ : 7.2-4
7.1-2, 3 L/MONO, R
OSC1 Pitch Mod. : 3.1-1, 2 Filter1 Mod. : 4.1-2,3 Amp1 Mod. : 5.1-2
Insert Effect
Master Effect AUDIO OUTPUT
Filter1 LFO Mod. : 4.1-4
Individual- INDIVIDUAL 1,2
Output
Filter1 EG : 4.1-5 Amp1 EG : 5.1-3

OSC 1
Pitch EG : 3.1-5
OSC 2

Oscillator / Pitch Filter Amplifier Effect


1.1-1 and 2.1-2 etc. indicate the page tab screens used when editing on this instrument.

48
Basic (Prog Basic) page
The three elements of sound
Sound can be broken down into three elements: pitch,
tone, and volume.
On this instrument, these elements correspond to the
Pitch, Filter, and Amplifier settings of the program. In
other words you would adjust the Pitch settings to
modify the pitch, the Filter settings to modify the tone, Mode (Oscillator Mode)
and the Amplifier settings to modify the volume.
In Oscillator (Oscillator: 2.1: Ed-Basic settings) you This sets the mode of the oscillator.
select the waveform multisample that determines the Single uses one oscillator and Double uses two oscilla-
basic sound, and specify its pitch. This sound is then tors. In the case of Single the maximum polyphony is
modified by the pitch settings (Pitch: 3.1: Ed-Pitch), fil- 62 notes, and in the case of Double the maximum
ter settings (Filter: 4.1, 4.2: Ed-Filter), and amp settings polyphony is 31 notes. If you wish to use a Drum Kit to
(Amplifier: 5.1, 5.2: Ed-Amp) to create the basic sound create a drums program, select Drums. (☞p.50)

Basic functions
of the program.
This basic sound can then be modified further by using
Mode (Voice Assign Mode)
insert effect (7.1: Ed-InsertFX settings), master effects, Indicates whether the program will sound in Poly
and master EQ (7.2: Ed-MasterFX settings) to apply (polyphonically) or Mono (monophonically).
finishing touches. When arpeggiator settings (6.1: Ed- If this is set to Poly, you will be able to play chords
Arp.) and controller settings (2.2: Ed-Ctrl) are added to using the program. If this is set to Mono, only one note
this, the final result is called a “program.” will sound even if you play a chord. Normally you will
set this to Poly, but it is effective to use Mono when
Programs that are used in Combination mode or you are playing sounds such as analog-synth bass or
Sequencer mode have insert effect, master effect, synth lead. Try switching between Poly and Mono,
master EQ, arpeggiator, and controller settings

Program mode
and listen to the result.
that are separate from those of Program mode.
OSC1 page, OSC2 page

The Compare function


As you are editing a program, you can use the [COM-
PARE] key to listen to the previously saved version of
the sound, (as it was before you began editing). Press
the [COMPARE] key (the key light comes on) to hear Specifies the multisample for oscillator 1, 2.
the original version. Pressing [COMPARE] again (the
light goes dark) returns you to the version you are edit- Selecting a multisample
ing.
The multisample will determine the basic character of
If you edit while the [COMPARE] key is lit, the key the program.
will go dark. That sound will be the sound that is Use “High MS Bank” to select the multisample
recalled when the [COMPARE] key is dark. bank, and use “High Multisample” to select the
multisample.
If the “High MS Bank” is ROM, you can select pre-
set multisamples. “High Multisample” can be
selected from a range of 000–424. (☞VNL)
Oscillator settings 2.1: Ed–Basic If “High MS Bank” is RAM, you can select multi-
In 2.1: Ed–Basic you can make oscillator-related set- samples that were created in Sampling mode or
tings. This instrument provides two oscillators, and for loaded in Media mode (if the EXB-SMPL option and
each oscillator you can select a basic waveform (“mul- sample data RAM is installed). In “High Multisam-
tisample”) and set the pitch. The multisamples pro- ple” you can select from 000–999.
vided by this instrument include waveforms for You can use the Utility “Select by Category” to
musical instruments such as pianos, as well as special select internal ROM multisamples from 15 catego-
waveforms unique to synthesizers. Multisamples ries. (☞PG p.7)
reproduce the complex overtone structure and fre-
quency characteristics that allow us to identify a sound High Multisample and Low Multisample
as being “piano-like” or “guitar-like.” If you specify a High and Low multisample for an
oscillator, either the High or the Low multisample will
sound depending on the velocity of the note (i.e., the
strength at which you play the keyboard). This func-
tion is called velocity multisample switching.
1 Specify different multisamples for “High Multi-
sample” and “Low Multisample.”
2 Specify a velocity value for “Velocity SW L→H.”

49
Notes played on the keyboard at a velocity less than • 24 user drum kits created in Global mode
the value you specify will sound the Low multisam- (Drum samples can be freely assigned to each key to
ple; velocities at or above this velocity value will create a drum kit. For the sound of each key, you can
sound the High multisample. make filter and amp settings, and specify routing to
For example if you set “Velocity SW L→H” to 100, the effects and to the individual audio outputs.)
playing the keyboard softly will sound the “Low”
multisample, and playing strongly will sound the V.Zone (Velocity Zone) page
“High” multisample.
3 Adjust the “Level” for High and Low multisam-
ples to set their volume balance.

If you do not wish to use this function, set the


“Velocity SW L → H” value to 001. Only the High
multisample will sound.
Here you can specify the range of velocities that will
sound oscillators 1 and 2. In the example shown above,
Rev (Reverse) check box
the velocity ranges are as follows.
If this is checked, the multisample will be played back-
ward. This can produce interesting results when used • OSC1 will sound for all velocity values.
on sound-effects, etc. Normally you will not check this. • OSC2 will sound only for strongly played notes (64
and above).
• You can use Velocity Multisample Switching in
When “Oscillator Mode” = Double addition to this (☞“High Multisample, Low
To use OSC2, set “Mode (Oscillator Mode)” to Double Multisample”). For this example, set “OSC1” in
in the Basic (Prog Basic) page. “Velocity SW L→H” to 32 and “OSC2” to 96. The
In the same way as for OSC1, you can set High and settings are shown as vertical lines in the velocity
Low multisamples for OSC2. zone display.

The playback pitch can be set independently. By using In this example, the multisamples will sound over
the same multisample with slightly different “Tune” four levels.
settings, you can “detune” the oscillators to produce a Velocity values 001–031:
richer sound. sound only the OSC1 Low multisample.
Velocity values 032–063:
It will be convenient to use the Utility “Copy sound only the OSC1 High multisample.
Oscillator” to make the oscillator settings match Velocity values 064–095:
each other. sound the OSC1 High multisample and the OSC2
Low multisample.
Velocity values 096–127:
When “Oscillator Mode” = Drums sound the OSC1 High multisample and the OSC2
High multisample.

Controller settings 2.2: Ed–Ctrl

In the Basic (Prog Basic) page, set “Mode (Oscillator Ctrls (Controls) page
Mode)” to Drums. When this is set to Drums, you will For each program, this tab lets you make settings for
be able to create a drum program. the [SW1] and [SW2,] and for the B-mode of REAL-
This will select a drum kit instead of a multisample. TIME CONTROLS knobs [1]–[4] (☞p.115, PG p.9, 220,
This instrument provides sixteen factory preset drum 221)
kits that are suitable for a wide variety of music.
(☞Drumkit name, VNL)
Here you can only select a drum kit. To edit or create a
drum kit, use GLOBAL 5.1: DKit (☞p.94). Pitch settings 3.1: Ed–Pitch
Here you can specify how the pitch of the multisample
selected for the oscillator will change. Pitch EG and
The following multisamples or drum kits can be used LFO settings allow the pitch to varied over time.
for the oscillator.
The parameters of the OSC2 page and OSC2lfo page
• 425 internal multisamples (ROM) are valid only if “Mode (Oscillator Mode)” is set to
• Multisamples (RAM) created in Sampling mode (if Double.
the EXB-SMPL option is installed)
(You can create programs using multisamples/sam-
ples that were sampled in Sampling mode or loaded
in Media mode.)
• Nine internal drum kits (ROM)

50
OSC1 page “Intensity (AMS Intensity)” specifies the depth of
vibrato that will be applied by the LFO when AMS
(Alternate Modulation Source) is operated. For exam-
ple if “AMS (LFO1 AMS)” is set to AfterT and you set
an appropriate value for “Intensity (AMS Intensity),”
vibrato will be applied when you apply pressure to the
keyboard or when MIDI aftertouch messages are
received.
Pitch
The “JS (–X)” and “JS(+X)” settings specify the EG (Pitch EG) page
amount of pitch change (in semitones) that will occur
Here you can make settings for the pitch EG.
when MIDI pitch bend messages are received or when
When you wish to create sound effects etc., set the
the joystick is moved to left or right. A setting of +12
pitch EG to make major changes in pitch over time.
allows the pitch to be controlled a maximum of one
To realistically simulate the slight change in pitch that
octave upward; a setting of –12 allows the pitch to be
occurs when a string is plucked or at the attack of a
controlled a maximum of one octave downward.

Basic functions
brass or vocal sound, you can use the EG to create a
“Ribbon (#16)” specifies the amount of pitch change subtle change in pitch at the attack (☞PG p.10).
(in semitones) that will occur when MIDI control
change (CC) #16 messages are received or when the
ribbon controller of a TRITON or other MIDI-con-
EG and LFO
nected instrument is moved to left or right. With a set-
ting of +12, the pitch will rise one octave at the far right By using an EG (envelope generator) to apply time-
of the ribbon controller, and fall one octave downward varying change or by using an LFO (Low Frequency
at the far left of the ribbon controller. Oscillator) to apply cyclic change to pitch, filter, or
amp, you can create changes in the pitch, tone, or vol-
ume.

Program mode
Pitch EG
When the “Intensity” value is set to +12.00, the pitch EG (Envelope Generator)
EG specified in the Pitch EG page will produce a maxi- This instrument provides a Pitch EG, Filter EG, and
mum of ±1 octave of pitch change. Amplifier EG, which produce time-varying changes in
pitch, tone, and volume respectively.
Portamento note-on Attack Level note-off
Break Level
If “Enable” is checked, portamento will be applied. Level

Portamento makes the pitch change smoothly when


you play the next note before releasing the previous Release Level
Sustain Level
note.
The “Time” parameter specifies the portamento time.
Time
As this value is increased, the pitch will change over a Decay Time Slope Time Release Time
longer time. With a value of 000, there will be no porta- Attack Time
mento. Start Level

If Porta.SW (CC#65) is assigned as the function of LFO (Low Frequency Oscillator)


[SW1] or [SW2] key, the portamento effect can be For each oscillator, this instrument provides two LFO’s
switched on/off by [SW1] or [SW2] key. that can be used to apply cyclical change in pitch, tone,
and volume.
OS1lfo (OSC1 LFO) page Examples of this are vibrato (cyclical change in pitch),
wah (cyclical change in tone), and tremolo or auto-pan
(cyclical change in volume).

LFO 1/ 2 Filter settings


An LFO can be used to cyclically modulate the pitch 4.1: Ed–Filter1, 4.2: Ed–Filter2
(the “vibrato” effect).
The filter allows you to diminish or emphasize speci-
“Intensity (LFO Intensity)” sets the depth to which the
fied frequency areas of the multisample selected for the
LFO specified in 5.3: Ed-LFOs will affect the pitch.
oscillator. The tone of the sound will depend signifi-
With a setting of +12.00, vibrato will produce a maxi-
cantly on the filter settings.
mum of ±1 octave of pitch change.
This instrument provides Filter 1 for OSC1 and Filter 2
“JS+Y Int” specifies the amount of vibrato that the for OSC2. For each of these filters, you can select from
LFO will produce when the joystick is pushed away two types (Low Pass Resonance or Low Pass & High
from yourself. Pass). Filter 2 can be used if “Mode (Oscillator Mode)”
is set to Double.

51
Filter characteristics
Level Level This area of When resonance is applied
overtones will
be diminished Low Pass
Level
Filter

Overtones included Overtones after


in the original multisample passing through
the filter

Frequency (pitch) Frequency (pitch)

Low resonance value High resonance value


Basic page

Mod.1, Mod.2 page

Filter Type, Filter A, Filter B


Selects the type of filter, and specify the “Frequency”
(cutoff frequency) and “Resonance” (resonance level).
• Low Pass Resonance (24 dB/oct low pass filter
with resonance): Make settings for filter A. Controllers and the filter EG can be used to modulate
• Low Pass & High Pass (12 dB/oct low pass filter the filter cutoff frequency that was specified in the
and 12 dB/oct high pass filter in series connection): Basic page. By using a controller to vary the tone or by
Make low pass filter settings in filter A, and high using an EG to create time-varying changes, you can
pass filter settings in filter B. add a rich variety of tonal change to the sound.

Keyboard Track (Mod.1 page)


This varies the cutoff frequency according to the posi-
Low pass filter
tion of the key on the keyboard that you play.
This is the most common type of filter, which passes
the low frequency range and cuts the high frequency • When Ramp “Low” is set to a positive (+) value,
range. When the overtones of the high range are cut, a the cutoff frequency will rise as you play lower on
bright sound will become darker (more mellow). the keyboard, making the sound brighter. When set
24 dB/oct and 12 dB/oct refer to the steepness of the to a negative (–) value, the cutoff frequency will fall
cut. 24 dB/oct means that the gain will decrease 24 dB as you play lower on the keyboard, making the
in one octave (i.e., as the frequency doubles). A 12 dB/ sound darker.
oct filter would decrease the gain 12 dB in one octave. • When Ramp “High” is set to a positive (+) value,
The 24 dB/oct filter produces a steeper cut. the cutoff frequency will rise as you play higher on
the keyboard, making the sound brighter. When set
Low Pass
to a negative (–) value, the cutoff frequency will fall
Level
12dB/oct
as you play higher on the keyboard, making the
24dB/oct
sound darker.
• Int. “to A” and “to B” adjust the effect that
Frequency
keyboard tracking will have on filters A and B
(☞PG p.14).
High pass filter Filter EG (Mod.1 page)
This type of filter passes the high frequency range and
Adjusts the effect produced by the filter EG, whose set-
cuts the low frequency range. Use this when you wish
tings are made in the EG page.
to make the sound thinner. However if the cutoff fre-
quency (Frequency) is raised excessively high, the vol- • Use the Int. “to A” and “to B” settings to specify
ume will become very low. the depth of the filter EG.
• Use the Vel “to A” and “to B” settings to specify
High Pass
the effect of velocity on the filter EG.
Level
• “AMS” and “Int to A, B” adjust the effect that AMS
will have on the filter EG depth.
12dB/oct
Frequency
These three settings will determine the depth of the
tonal change produced by the filter EG.

Resonance Filter Modulation (Mod.2 page)


When “Resonance” is set to a higher value, the over- Set this when you wish to produce tonal change by
tones in the region of the cutoff frequency will be using controllers etc. to vary the cutoff frequency.
boosted as shown in the diagram below, giving a dis-
tinctive character to the sound. lfoMod (LFO Mod.) page
Indicates settings that allow the LFO to produce cyclic
changes in tone (a “wah” effect).

52
Intensity: “to A (LFO1 Int. to A)” and “to B (LFO1 Int. to Lvl/ Pan (Level/ Pan) page
B)” specify by how much the LFO will change the tone.
JS-Y Int.: “to A” and “to B” specify the depth of the
wah effect that will be produced by the LFO when the
joystick of this instrument is moved toward yourself,
or when CC#2 is received.
“Int. to A” and “Int. to B” specify the depth of the wah
effect that will be produced by the LFO when “AMS”
(Alternate Modulation Source) is operated. For exam-
Amp1 Level, Amp2 Level
ple if “AMS” is set to AfterT, applying pressure to the Adjusts the volume of the sound that has passed
keyboard of the TRITON Le, will apply a wah effect. through the oscillator, filter, and amp.

EG page Pan
Indicates settings for the filter EG, which controls time- Specifies the pan (stereo position) after the signal has
variant changes in tone (☞PG p.16). Make settings for passed through the oscillator, filter, and amp. Nor-
mally you will set this to C064. If “Mode (Oscillator

Basic functions
the EG here, and set the depth of its effect in the Mod.1
page “Filter EG” parameter. Mode)” is Double and you wish to create a sense of
stereo, set the 5.1: Ed-Amp1 and 5.2: Ed-Amp2 param-
eter “Pan” to left and right for oscillators 1 and 2
respectively. With a setting of Random, the pan will
Filter EG and Amplifier EG change randomly each time you play a note on this
When the Filter EG changes the cutoff frequency, the instrument, producing an interesting effect.
tone will change. However depending on the volume
changes produced by the Amplifier EG, this can be AMS Intensity
heard in different ways. For example by changing the “Intensity” specifies the depth of the panning effect
speed at which the tone and volume begin (attack) or

Program mode
that will occur when “AMS” is operated.
decay, you can significantly vary the character of the
tonal change. It is a good idea to adjust the changes of If you set “AMS” to Note No., the pan will change
both the Filter EG (tone) and the Amplifier EG (vol- according to the keyboard position at which you play a
ume) as you proceed with editing. (☞“5.1: Ed–Amp1, note on a this instrument. With a setting of LFO1 or 2,
EG page, 5.2: Ed–Amp2, EG page) the pan will sweep from side to side (auto pan). Other
settings allow you to move the oscillator pan by oper-
ating a controller.

Use DKit Setting


Amplifier settings This is valid when “Mode (Oscillator Mode)” is set to
Drums. If this is checked, the pan location specified by
5.1: Ed–Amp1, 5.2: Ed–Amp2 the Drum Kit for each drum sound will be used. If this
is unchecked, all drum sounds will sound at the same
These settings affect the volume. Here you can adjust
location. Preload and GM drum kits are set to stereo
the way in which the Amp EG and LFO produce time-
settings. Normally you will leave this checked.
varying and cyclic changes in volume, and how the
controllers etc. will affect the volume.
Amp1 applies to OSC1, and Amp2 applies to OSC2.
Mod. page
Amp2 can be used if “Mode (Oscillator Mode)” is set
to Double.
For example, the volume of a piano note begins at a
high volume the instant you play the note, and then
decreases gradually. The volume of an organ note
remains constant as long as you continue pressing the
Keyboard Track
key. The volume of a note on a violin or wind instru-
ment can be varied during the note by the musician This lets you vary the volume relative to the position of
(i.e., by regulating the amount of pressure on the bow the key you are playing on the keyboard.
or the force of the breath). • When Ramp “Low” has a positive (+) value, the
Volume Piano Volume Organ volume will increase as you play lower on the
Volume decays gradually
Volume remains constant keyboard. With a negative (–) value, the volume
until note is released
will decrease as you play lower on the keyboard.
• When Ramp “High” has a positive (+) value, the
volume will increase as you play higher on the
Time Time keyboard. With a negative (–) value, the volume
will decrease as you play higher on the keyboard.

53
Amp Mod. OSC1 LFO1, OSC1 LFO2, OSC2 LFO1, OSC2 LFO2
“Velocity Int” is used by most programs to decrease “Waveform” selects the type of LFO. You can choose
the volume of softly played notes and increase the vol- from a variety of waveforms, including standard
ume of strongly played notes, and this Amp Modula- waveforms such as Triangle, Saw, Square, and Sine,
tion parameter adjusts the depth of this control. as well as Step or Random PG waveforms that pro-
Normally you will set Amp Modulation to positive (+) duce a sample-and-hold effect (☞PG p.22).
values. As this setting is increased, there will be greater You can create a wide variety of effects by adjusting the
volume difference between softly played and strongly “Ofs,” “Fade,” and “Dly” settings, and by changing
played notes. the sign (+/–) of the “Intensity” setting in the 3.1: Ed-
Pitch, 4.1: Ed-Filter1, 4.2: Ed-Filter2, 5.1: Ed-Amp1, and
LFO1 Mod., LFO2 Mod. 5.2: Ed-Amp2 pages. “Frequency” specifies the speed
Specify how the LFO’s will produce cyclic changes in of the LFO.
volume (the tremolo effect).
The volume will be affected by the LFO(s) for which Freq.Mod (Frequency Modulation)
you set an “Intensity (LFO1 Intensity, LFO2 Intensity)” “AMS” can be used to vary the LFO speed. This lets
value. you change the LFO speed by operating a controller, or
“Int (AMS Intensity)” adjusts the depth by which the by the EG or Keyboard Track settings.
tremolo effect produced by the LFO will be affected
when you operate an “AMS (LFO1 AMS, LFO2 MIDI/ Tempo Sync.
AMS).” If “MIDI/Tempo Sync” is checked, the “Frequency”
For example if you set “AMS” to JS-Y #02, tremolo will setting will be ignored, and the LFO will synchronize
be applied when you move the joystick of this instru- to the tempo of the sequencer and arpeggiator. This
ment. toward yourself, or when CC#02 is received. lets you produce vibrato, wah, auto-pan, or tremolo
that is synchronized to the playback speed of the
EG page sequencer or arpeggiator.
Here you can make settings for the amp EG, which
changes the volume over time.
Every instrument has its own characteristic curve of
volume change. This is part of what gives each instru-
Arpeggiator settings 6.1: Ed–Arp.
ment its identifiable character. Conversely, by applying Here you can make arpeggiator settings (☞p.99).
a strings-type Amp EG curve to an organ-type multi-
sample, you can produce a sound with a character
unlike a typical organ.
Piano
BUS settings 7.1: Ed–InsertFX BUS
You can specify the oscillator routing (the signal sent to
the insert effect, master effects, and independent out-
puts) (☞p.108).
Organ

Insert Effect settings


Strings
7.1: Ed–InsertFX Setup, IFX
Here you can select insert effect and make settings for
them (☞p.109).

LFO settings 5.3: Ed–LFOs Master Effect settings


For each oscillator, you can use two LFO (Low Fre-
7.2: Ed–MasterFX
quency Oscillator) units: LFO1 and LFO2. You are free Here you can select master effects and make settings
to select the type of each LFO and set its speed. for them. The master EQ is also set here (☞p.109).
The depth of the LFO1 and LFO2 that you specify here
is adjusted by the settings of the 3.1: Ed-Pitch, 4.1: Ed-
Filter1, 4.2: Ed-Filter2, 5.1: Ed-Amp1, and 5.2: Ed-
Amp2 pages.

54
More about Alternate Modulation
Alternate Modulation is a type of modulation that can
be used to control various aspects of the sound.
AMS (Alternate Modulation Source) refers to any of
the numerous sources that can control alternate modu-
lation, and includes controllers that you operate physi-
cally such as the joystick and realtime controllers,
incoming MIDI data, as well as modulators such as the
EG or LFO.
Since this instrument allows you apply modulation to
a modulator, this type of control is referred to as “alter-
nate modulation.”
Intensity is a parameter that sets the degree (speed or

Basic functions
depth) to which AMS will control alternate modula-
tion.
Combinations of modulations that are frequently used
in on the synthesizer. performance (such as using the
joystick to vary the pitch) are also provided as special
parameters separately from alternate modulation.
This instrument provides 29 types of alternate modula-
tion.
In single mode you can use 29 alternate modulation

Program mode
destinations of 29 types, and in double mode you can
use 55 alternate modulation destinations of 29 types.
There are 42 AMS sources. (However depending on the
type of modulation, some sources cannot be selected.)
For details on alternate modulation and AMS, refer to
PG p.211.

Suggestions on using alternate modulation


When making settings for alternate modulation, think
of the effect that you wish to produce, what type of
modulation will be necessary to produce that effect,
and what parameter of the oscillator, filter, or amplifier
needs to be controlled. Then select a source (“AMS”)
and set the “Intensity.” If you proceed logically in this
way, you will achieve the desired effect.
For example if you want to “control a guitar-like sound
so that it appears to be approaching feedback when the
joystick is moved away,” you will make settings so that
the joystick controls filter modulation or the resonance
level.

55
Combination mode
In Combination mode you select, play and edit combi- If a program being edited in Program mode is
nations. used in a combination, it will sound according to
Combination mode consists of pages 1.1: Play–7.2: Ed- the settings being edited.
MasterFX.
In 1.1: Play; you can select and play combinations. You If you wish to save an edited combination in inter-
can also do some overall editing, and make arpeggia- nal memory, you must write it. (☞p.42)
tor settings (☞p.28, 32).
In 2.1: Ed–Basic–7.2: Ed–MasterFX; you can edit the
parameters of the combination that was selected in 1.1: Suggestions for editing procedure
Play. The parameters of each timbre are set in 2.1: Ed-Prog/
Mix–4.4: MIDI Filter4, and 7.1:Ed-InsertFX. This is
where you create the basic combination consisting of
the programs you select here.
How a combination is organized First use 2.1: Ed-Prog/Mix to select the program for
each timbre, and then use 3.3: Ed-Key Zone and 3.4:
A combination consists of a variety of parameters that Ed-Vel Zone to specify the range in which each pro-
can be accessed in 2.1: Ed-Basic–7.2: Ed-MasterFX. The gram will sound (layer, split, velocity switch, etc.).
diagram below shows how a combination is struc- Then adjust the volume of each timbre, and set various
tured. other parameters.
To add finishing touches to the sound, you can make
insert effect settings (in 7.1: Ed-InsertFX) and master
effect and master EQ settings (in 7.2: Ed-MasterFX)
Basic combination editing that are separate from the effect settings of Program
Banks A, B, and C of the TRITON Le contain a variety mode. In addition, you can make arpeggiator settings
of combinations that use the preloaded programs (in 6.1: Ed-Arp.) and controller settings (in 2.2: Ed-Ctrl)
(banks A, B, C) and the preset and preloaded user to create the finished combination.
arpeggio patterns and effects. You can edit these com- By using the Utility “Solo Selected Timbre”, you
binations to create your own original combinations. can listen only to the selected timbre. This is a con-
Original programs using samples/multisamples venient way to audition individual sounds of tim-
recorded in Sampling mode (if the separately sold bres that are layered. (☞p.33)
EXB-SMPL option is installed) or loaded into memory
In pages that display all timbres 1–8, such as 2.1:
in Media mode can also be used in a combination.
Ed-Prog/Mix, you can use the [ ], [ ] keys to
Combinations you edit or create can be written into the
select timbres. You can also select timbres directly
384 combination memory areas of banks A–C. They
by holding down the [TIMBRE/TRACK] key and
can also be saved and managed on SmartMedia in
pressing one of the [F1 T1/T9]–[F8 T8/T16] keys.
Media mode (☞p.42, 45).

Controller Setup : 2.2

Arpeggiator: 6.1

Timbre1 Parameters

Program
Master Effect 1, 2 :
Insert Effect : 7.2-1...3
Timbre2 Parameters 7.1-1
Program

Insert Effect : MasterEQ :7.2-4 AUDIO OUTPUT


Timbre3 Parameters
7.1-2, 3 L/MONO, R
Program Timbre

Timbre4 Parameters AUDIO OUTPUT


Insert Effect INDIVIDUAL 1,2
Program Master Effect
Individual Outputs

Timbre8 Parameters

Program

7.1-1 or 7.2-1 etc. indicate pages or tab screens used on this instrument for editing.

56
Layer, split, and velocity switch The Compare function
Within a combination, you can use keyboard location As you are editing a combi, you can use the [COM-
and velocity to change the program that sounds. The PARE] key to listen to the previously saved version (as
programs assigned to each timbre can sound in three it was before you began editing). Press the [COM-
ways: as a layer, a split, or a velocity switch. A combi- PARE] key (the key light comes on) to hear the original
nation can be set to use any one of these methods, or to version. Pressing [COMPARE] again (the light goes
use two or more of these methods. dark) returns you to the version you are editing.

Layer If you continue editing when the [COMPARE] key


LED is lit, the LED will go dark, and the current
Layer refers to settings which cause two or more pro-
sound will now be the sound that is recalled when
grams to sound simultaneously when a note is played.
the [COMPARE] key LED is dark.
Program A
Program B
Layer: In the section below, we will edit typical parameters
Two or more programs sound

Basic functions
simultaneously. in each page while listening to the effect of each
parameter.
For a more detailed explanation of these parameters,
Split refer to PG p.31–.
Split refers to settings which cause different programs
to sound on different areas of the keyboard.

Program A Program B Timbre 1–8 program, pan and volume


Split:
Different programs will sound in 2.1: Ed–Prog/ Mix

Combination mode
different areas of the keyboard.

Here you can assign programs to each timbre 1–8, and


set pan and volume for each. (These settings can also
Velocity switch be made in the Prog and Mix pages of 1.1: Play.)
Velocity Switch refers to settings which cause different
programs to sound depending on the velocity (key- Prog page
board playing dynamics).
Program B Strong Keyboard playing
Program A Soft dynamics
Velocity Switch:
Keyboard playing dynamics
(velocity) switches between
different programs.

On this instrument, you can use a different program


Program Select
for each of up to eight timbres, and combine two or
Assigns a program to each timbre.
more of the above methods to create even more com-
plex setups. You can use the Utility menu command “Select by
Program A Category” to select programs from 16 categories.
Program B
Program D Strong Keyboard playing (☞p.32)
Program C Soft dynamics
Example:
B and C, D are split. In the lower You can also use the [BANK] and [A]–[GM] keys
keyboard range, A and B are
layered. In the higher keyboard to select the bank of the program.
range, C and D are switched by
velocity and layered with A.
If you wish to select programs by receiving MIDI
As an additional possibility, you can set the slope for a program changes, do so in P1.1: Play.
key zone or velocity zone so that the volume dimin-
ishes gradually. This lets you change a split into a key- Mix (Mixer) page
board crossfade, or a velocity switch into a velocity
crossfade.

Program A Program B Keyboard X-Fade


(keyboard crossfade):
As you play from low notes
to high notes, the volume of
A will fade out, and the
volume of B will fade in.

Program B Strong
Pan
Keyboard playing
dynamics Specifies the panning (stereo location) for each timbre.
Program A Soft
Velocity X-Fade A setting of C064 will reproduce the oscillator pan set-
(velocity crossfade):
As you play with increasingly ting of the program. Moving this to left or right will
stronger velocity, the volume of
A will fade out, and the volume move the sound to left or right while preserving the
of B will fade in.
pan relationship between the oscillators. A setting of
L001 is far left, and R127 is far right.

57
Volume giator settings in Combination and Sequencer
Adjusts the volume of each timbre. modes” (☞p.101, PG p.43), and study the relation-
Create the overall sound by adjusting the volume bal- ship between arpeggiator assignments, “Status,”
ance between timbres. The “Volume” setting is an and “MIDI Channel.”
important aspect of creating the sound, and this setting
will have a significant effect on the overall impression Bank(EX2) MSB, Bank(EX2) LSB
produced by the Combination. This setting is valid when “Status” is set to EX2. It
specifies the Bank Select message that will be transmit-
ted from this instrument.

Controller settings 2.2: Ed–Ctrl OSC page


Ctrls (Controls) page

Force OSC Mode


For each combination, you can specify the functions of Normally you will set this to PRG.
the B-mode functions of REALTIME CONTROLS If you wish to force a polyphonic program to sound
knobs [1]–[4], and the [SW1] and [SW2.] (☞p.115, PG monophonically, set this either to Mono or LGT
p.36, 220, 221) (Legato). Conversely, set this to Poly if you wish to
force a monophonic program to play polyphonically
(☞PG p.37).

Settings for status, MIDI channel, and OSC Select


playing mode 3.1: Ed–Param1 Normally you will set this to Both.
If the timbre is using a program whose “Mode (Oscilla-
MIDI page tor Mode)” is Double, and you want only OSC1 or
OSC2 (not both) to sound, set this to OSC1 (only OSC1
will sound) or OSC2 (only OSC2 will sound).

Portamento
Normally you will set this to PRG.
If you want the portamento setting specified for the
Status program of the timbre to be forced off, set this parame-
ter to Off. Conversely, if you want to forcibly turn the
Here you can specify the state of MIDI and the internal
portamento on, or to change the portamento time, set
tone generator for each timbre. Normally when sound-
this to a value of 001–127 to specify the portamento
ing the internal tone generator of this instrument, you
time.
will set this to INT. Set this to Off for timbres that you
are not using. With settings of Off, EXT, or EX2, this
instrument will not sound. With settings of EXT or
EX2, you can control an external tone generator con-
nected via MIDI. (☞PG p.36)

MIDI Channel
Timbres that you wish to play from this instrument’s
keyboard must be set to the global MIDI channel. Your
playing on the keyboard is transmitted on the global
MIDI channel, and will sound any timbre that matches
this channel. Normally you will set this to Gch. When
this is set to Gch, the MIDI channel of the timbre will
always match the global MIDI channel, even if you
change the global MIDI channel.

On some preloaded combinations that use the


arpeggiator, timbres assigned to the arpeggiator
may not have a “Status” of INT and “MIDI Ch” of
Gch.
The reason for this is that these settings are for tim-
bres that sound only when the arpeggiator is on.
This is a very useful technique for creating combi-
nations that use the arpeggiator. Refer to “Arpeg-

58
Pitch page
Layer and split settings
3.3: Ed–Key Zone
Indicates settings such as layer, split, and keyboard
crossfade.

Key page
Transpose, Detune (BPM Adjust)
Specifies the range of notes that will sound each tim-
These parameters adjust the pitch of the timbre.
bre. Each area that sounds a timbre is referred to as a
• In a layer-type combination, you can set two or Key Zone. By setting key zones, you can create a com-
more timbres to the same program, and create a bination in which different programs sound in differ-
richer sound by using “Transpose” to shift their ent areas of the keyboard.
pitch apart by an octave or by using “Detune” to By combining key zones specified for each timbre, you
create a slight difference in pitch between the two. can create layered or split combinations.

Basic functions
• In split-type combinations, you can use
The upper and lower limits for the key zone of each
“Transpose” to shift the pitch (in semitone units) of
timbre are set by the “Top Key” and “Bottom Key”
the programs specified for each key zone.
respectively.
• If you wish to change the playback pitch of a drum
For example in the following diagram, timbres 1–3 are
program, use “Detune.” If you change the
set to create a layered and split combination. This is
“Transpose” setting, the correspondence between
specified by the key zone settings.
notes and drum sounds will change.
Timbres 2 and 3 create a layer. Timbre 1 and timbres 2/
3 are split between the B3 and C4 note numbers.

Combination mode
Timbre 3 Strings
Adjusting the BPM of multisamples or samples cre- Timbre 2 Brass
ated in Sampling mode (requires the EXB-SMPL Timbre 1 Piano

option be installed)
If a timbre program uses multisamples or samples that
C–1 B3 C4 G9
you created in Sampling mode (or loaded in Media
mode) to a specific BPM value, you can use the Utility As an example here, we will explain how to create a
“Detune BPM Adjust” to call up a new specified BPM combination like the one shown above.
value. This changes the BPM by changing the playback 1 In the 1.1: Play, Prog page or the 2.1: Ed-Prog/Mix,
pitch. (☞PG p.38) Prog page, use the “Program Select” area to select
the program that will be used for each timbre 1–3.
Select a piano program for timbre 1.
Select a brass program for timbre 2.
Select a strings program for timbre 3.
Note timing and scale settings
2 In the MIDI page of 3.1: Ed-Param1, set “Status” to
3.2: Ed–Param2 INT for all the timbres that you wish to use, and
set “MIDI Channel” to either Gch or to match the
Other page global MIDI channel (a “G” will be displayed
after the channel number).
3 In the Key page of 3.3: Edit-Key Zone, set “Top
Key” and “Bottom Key.”
Set timbre 1 to a “Top Key” of G9 and a “Bottom
Key” of C4.
Set timbres 2 and 3 to a “Top Key” of B3 and a “Bot-
Delay [ms] tom Key” of C–1.
Specifies the timing at which the program of each tim-
bre will sound. Specify the time from when you play You can also enter these values by holding down
the keyboard until the program will sound. the [ENTER] key and playing a note on the key-
If you select KeyOff for this parameter, the timbre will board of this instrument.
sound when the note is released.
Slope page
Use Prog’s Scale, Combi’s Scale Here you can specify the range of keys over which the
original volume will be reached, starting at the top key
Specifies the scale for each timbre. If you check “Use
and bottom key.
Prog’s Scale,” the scale specified by the program will
be used. Timbres for which this is not checked will use In the case of the above example, you could set the key
the “Combi’s Scale” setting. zones so that a portion of timbres 1 and 2 overlaps (i.e.,
is layered) with timbre 3, and set “Top Slope” and
“Bottom Slope” so that the sound changes gradually,
instead of changing suddenly between B3 and C4.

59
Velocity switch settings MIDI filter settings
3.4: Ed–Vel Zone 4.1: Ed–MIDI Filter1–4.4: Ed–MIDI
Here you can make settings for velocity switching and Filter4
velocity crossfading.
For each MIDI Filter item, you can specify whether or
not the corresponding MIDI message will be transmit-
Vel (Velocity) page ted and received. The checked items will be transmit-
For each timbre, you can specify a range of velocities ted and received.
for which it will sound. The range of velocities for
which a timbre will sound is called the Velocity Zone. MIDI filter does not turn the function itself on/off,
By setting a velocity zone, you can set up a timbre but specifies whether or not that MIDI message
which will be sounded only by notes played at a cer- will be transmitted and received. For example if
tain strength, and not by stronger or weaker notes. portamento is on, portamento will be applied to
By combining timbres that have differing velocity zone the sound of this instrument even if “Portamento
settings, you can create velocity switched combina- SW CC#65” is unchecked.
tions. For example if you selected a bass program for timbre
The upper and lower limits of the velocity zone of each 1 and a piano program for timbre 2 to create a split-
timbre are determined by the “Top Velocity” and “Bot- type combination, you could make the following set-
tom Velocity” respectively. The following diagram tings so that pressing the connected damper pedal
shows an example of a velocity switched combination would apply the damper effect only to the piano pro-
in velocity will switch between timbres 1 and 2 to play gram of timbre 2.
different programs. Such combinations are created by Set “Damper CC#64” in 4.1: Ed-MIDI Filter1,
setting the velocity zone. MIDI 1-2 page.
127
Timbre 1 Brass 64 Velocity Timbre 1 “Damper CC#64”: unchecked
Timbre 2 63 switch
Strings 1 Timbre 2 “Damper CC#64”: checked

As an example, we will explain how to create a combi-


nation like the one shown above.
1 In the 1.1: Play, Prog page or the 2.1: Ed-Prog/Mix,
Prog page, use the “Program Select” area to select
the program that will be used for each timbre 1
and 2.
Arpeggiator settings
Select a brass program for timbre 1.
Select a strings program for timbre 2. 6.1: Ed–Arp.
2 In the MIDI page of 3.1: Ed-Param1, set “Status” to Indicates settings for the arpeggiator (☞p.101).
INT for all the timbres that you wish to use, and
set “MIDI Channel” to either Gch or to match the
global MIDI channel (a “G” will be displayed
after the channel number). Bus settings 7.1: Ed–InsertFX BUS
3 In 3.4: Ed–Vel Zone Vel page, set the “Top Veloc- Specifies the routing for each timbre (i.e., how it is sent
ity” and “Bottom Velocity.” to the insert effect, master effects, and individual out-
Set timbre 1 to a “Top Velocity” of 127 and a “Bot- puts). (☞p.110)
tom Velocity” of 64.
Set timbre 2 to a “Top Velocity” of 63 and a “Bot-
tom Velocity” of 1.
Insert Effect settings
You can also enter these values by holding down 7.1: Ed–InsertFX Setup, IFX
the [ENTER] key and playing a note on the key-
board of this instrument. Indicates insert effect, and make settings for them.
(☞p.110).
Slope page
Here you can specify the range of values over which
the original volume will be reached, starting from the
top velocity and bottom velocity.
Master Effect settings
In the case of the above example, you could set the
7.2: Ed–MasterFX
velocity zones of the two timbres so that they partially Indicates master effects, and make settings for them.
overlap, and set “Top Slope” and “Bottom Slope” so Here you can also make master EQ settings (☞p.110).
that the sound changes gradually, instead of changing
suddenly between velocity values of 63 and 64.
60
Sequencer mode
This instrument contains a 16-multi track MIDI • Various methods of recording are supported,
sequencer. The sequencer is the center to which including realtime recording in which your
TRITON Le’s numerous functions are integrated, performance on the keyboard and controllers
allowing it to be used in a variety of situations includ- (including MIDI control events) is recorded just as
ing music production and live performance. you play, and step recording in which the timing,
length, and velocity of each note can be specify in
When you turn off the power, the settings made in the LCD as you input the pitches from the
Sequencer mode and the song data, cue list data, keyboard.
and user pattern data that you recorded are not • The musical data and control events that you
backed up. If you wish to keep this data, you must recorded can be edited in various ways (including
save it on external media (SmartMedia etc.) before

Basic functions
event editing and many other edit commands).
turning off the power, or perform a MIDI data • When the “Status” of a track is set to INT or BTH,
dump to save the data on an external data filer etc. an external sequencer can be used to play this
If you wish to save the programs, track parame- instrument as a multi-timbral tone generator.
ters, effects, and arpeggiator function settings etc. When the “Status” of a track is set to BTH, EXT, or
selected for a song as a template song, use the Util- EXT2, the sequencer of this instrument can play
ity menu command “Save Template Song.” external tone generators.
• Playback can be synchronized with an external
Immediately after the power is turned on, this MIDI device.
instrument will not contain any cue list data or • This instrument’s AMS (Alternate Modulation)

Sequencer mode
song data, so if you wish to playback a song on the capability lets you use control changes for realtime
sequencer, you must first load data from external control of the parameters of the programs used in a
media (SmartMedia etc.) or receive a MIDI data program. Its MIDI Sync. functionality lets you
dump from an external MIDI sequencer (☞p.41, synchronize the LFO speed to changes in the tempo.
97, PG p.143) • Dmod (Dynamic Modulation) functionality lets
you control effect parameters in realtime. You can
also use MIDI Sync. to synchronize the LFO speed
or delay time to changes in the tempo.
Features of the sequencer • You can assign names not only to the song, but also
to each pattern and track.
• The sequencer lets you record a maximum of • Combination settings can be copied to a song.
200,000 events (note data etc.), up to 200 songs, and • Sequencer data such as a song or cue list that you
as many as 999 measures per song. create can be saved in this instrument’s native
• Up to 20 cue lists can be created. format, or transmitted as a MIDI data dump.
A cue list is an arrangement of up to 99 songs that • A song you created can be converted into SMF
will be played as a chain. You can specify the num- (Standard MIDI File) data. SMF songs can also be
ber of times that each song will repeat. Songs in a loaded.
cue list can also be converted into a single song. • The PLAY/MUTE/REC and “SOLO On/Off” let
• The arpeggiator function can be used for playback you instantly play/mute any desired track.
or recording. • You can rewind or fast-forward while listening to
• The RPPR (Realtime Pattern Play/Recording) the sound.
function can be used for playback or recording. • The [LOCATE] key lets you move quickly to a
• Sixteen different template songs are built-in, and desired location.
contain program and effect settings suitable for
• If the EXB-SMPL (sold separately)option is
various musical styles. Up to sixteen original
installed, multisamples you create can be played in
templates that you create can be saved as user
Sequencer mode together with the internal
template songs.
programs.
• One stereo insertion effect, two master effects,
The Time Slice function of Sampling mode lets you
and a stereo master EQ can be used for each song.
divide a rhythm loop sample and create perfor-
• Timing resolution is a maximum of ! /192.
mance data that corresponds to the divided sam-
• Sixteen tracks are provided for musical data, and a
ples. In Sequencer mode you can play this
master track contains time signature and tempo
performance data, and adjust the playback tempo
data that controls the playback.
without affecting the pitch of the rhythm loop sam-
• A track play loop function lets you loop specified
ple. You can also exchange the note numbers of the
measures independently for each track.
data, or modify the timing to freely re-create the
• 150 preset patterns ideal for drum tracks are built
original rhythm loop.
in. In addition, you can create up to 100 user
patterns for each song. These patterns can be used
as musical data within a song, or can be played by
the RPPR function.
61
The structure of Sequencer mode Patterns
The following describes the structure of Sequencer There are two types of patterns: preset patterns and
mode. (see diagram below) user patterns.
• Preset patterns: Patterns suitable for drum tracks
are preset in internal memory, and can be selected
for any song.
Songs
• User patterns: Each song can have up to 100
A song consists of tracks 1–16, a master track, song patterns. When using a pattern in a different song,
parameters such as the song name, effect, arpaggiator use the Utility menu commands “Copy Pattern” or
and RPPR parameters, and 100 user patterns. “Copy From Song” etc. to copy the pattern. The
A maximum of 200 such songs can be created on this pattern length can be specified in units of a
instrument. measure.
Tracks 1–16 and the master track each consist of setup
Each pattern consists of musical data for one track. It is
parameters located at the start location, and musical
not possible to create patterns that contain multiple
data within the track.
tracks.
These patterns can be used as track musical data by
Setup parameters being placed in a track (Utility menu command “Put
Tracks 1–16 to Track”) or copied to a track (Utility menu command
Bank/Program No.*, PLAY/MUTE/REC, Pan*, Vol- “Copy to Track”). Alternatively, you can use a pattern
ume*, Track Play Loop, Loop Start Measure, Loop with the RPPR function of a song.
End Measure, Status, MIDI Channel, Bank Select
(When Status=EX2), Force OSC Mode, OSC Select,
Portamento*, Transpose**, Detune**, Bend Range**,
OSC On/Off Ctrl, Delay, Use Program's Scale, MIDI Cue List
Filter, Key Zone, Velocity Zone, Track Name, IFX/
Indiv.Out BUS Select, Send1(MFX1)*, Send2(MFX2)* A cue list allows you to playback multiple songs in
Master track succession. The TRITON Le allows you to create 20 cue
Time signature*, Tempo* lists. Each cue list allows you to connect a maximum of
99 songs in any order, and to specify the number of
Musical data times that each song will repeat.
Tracks 1–16 The page menu command “Convert to Song” lets you
Note On/Off, Program Change (including Bank convert the two or more songs in a cue list into a single
Select), Pitch Bend, After Touch (Poly After), Con- song. This allows you to use a cue list to create the
trol Change, Pattern No. backing, then convert the cue list into a song and add
solo phrases on unused tracks.
* When you change the setting during realtime-
recording, this will be recorded as musical data.
This allows the starting settings to be modified
during the playback.
** Musical data (MIDI RPN data) can be used to
change the starting settings during playback.
For details on control changes and RPN, refer to
PG p.231, 234.

Pattern U00 ... U99


RPPR Setup Controller Setup : 2.2
: 5.1

Arpeggiator: 6.1–1…5
(A, B)
Track 1 Setup parameters Musical data

Track 2 Setup parameters Musical data


Master Effect 1, 2 :
BUS : 7.1–1, 2 7.2–1...3
Track 3 Setup parameters Musical data

Track 4 Setup parameters Musical data

Insert Effect : MasterEQ : 7.2–4


AUDIO OUTPUT
Track 5 Setup parameters Musical data L/MONO, R
7.1–3, 4
Track
Track 6 Setup parameters Musical data

Track 7 Setup parameters Musical data AUDIO OUTPUT


Insert Effect INDIVIDUAL 1,2
Track 8 Setup parameters Musical data Master Effect
Individual Outputs

Track 16 Setup parameters Musical data

Master Track Tempo, time signature data

7.1-1 or 7.2-1 etc. indicate pages or tab screens used on this instrument for editing.

62
Use the cursor keys to move to “Copy Pattern to
Producing a song Track too?” Press the [INC] key to check the check
box.
This section describes how to use the TRITON Le’s If this is checked, a drum pattern will be copied to
sequencer. As an example, we will create a song by fol- the song after the template song is loaded.
lowing the order outlined below.
Press the [F8] (“OK”) key to load the template
“Creating the basic song” song.
Here we will use the convenient functions of the A dialog box will appear.
TRITON Le’s sequencer (e.g., template songs, preset
patterns, arpeggiator) to perform realtime recording
and step recording.
“Editing the song”
Here we will edit the song that we created in “Creating
the basic song.” Make sure that Preset, P109: AcidJazz 1/Std2 is

Basic functions
“Creating a cue list” selected at the right of “Pattern.” If not, use the
Here we will complete the song by creating a cue list VALUE controller to select it.
for the song that we copied etc. in “Editing the song.” You can press the [START/STOP] key to hear the
selected pattern. To stop, press the [START/STOP]
key once again.
Creating the basic song Press the [F6] (“Copy”) key to copy the pattern.
The “Measure” value will change from 001 to 009.
1. Loading a template song, and copying This indicates that the pattern has been copied from

Sequencer mode
preset patterns (drum phrases) measure 1 to measure 8, and that the next time you
press the [F6] (“Copy”) key, the pattern will be cop-
1 Turn off the power. Then turn it on again. ied from measure 9.
When you turn off the power, all songs will be
erased. Be sure to save any important data before
you perform this step.

This explanation assumes that you are starting


from the default state immediately after power-on. Press the [F7] (“Exit”) key.
2 Press the [SEQ] key to enter Sequencer mode. In the SEQ 1.1: Play/REC, Play/REC page, the
“Song Select” field will indicate S000: Acid Jazz.
Song Select

3 Load a template song.


Press the [F8] (“UTILITY”) key to access the Utility Track Select
menu, and then use the [F7] key or the cursor keys
to select “Load Template Song” and press the [F8]
Preset patterns can be used in a song even after the
(“OK”) key.
above steps. This can be done by using the Utility
A dialog box will appear. menu commands “Put Pattern” or “Copy Pattern”
(SEQ 5.1: RPPR, Pattern page) (☞PG p.70).

4 When you play the keyboard, you will hear the


drum program for track 1 of the template song that
was loaded.
Make sure that the template song name at the right
of “From” is highlighted, and use the VALUE con- 5 Press the [ ] key to select “Track Select” T01:
troller to select P13: Acid Jazz. Drums.
“Track Select” is the track that will be used to
There are 16 template songs, each containing pro- record/play song data. Normally, the track selected
gram, pan, volume, and effect settings suitable for here can be played from the keyboard, and during
various styles of music. By loading a template into recording, your performance will be recorded on
a song, you can begin recording immediately with- this track (in cases other than Multi REC or Master
out having to make the same frequently-used set- Track).
tings each time. If you want to specify the program
and volume etc. yourself from scratch, refer to Use the VALUE control to select T02: Bass, and
“Making track settings for a new song” (☞p.68). play it from the keyboard. Next select T03–T08 in
order, and play them from the keyboard. (The

63
TRITON Le has sixteen sequence tracks, but this 3. Recording the bass track
template song specifies only tracks 1–8.)
1 If playback is occurring, press the [START/STOP]
Select T03: Elec.Piano. key to stop playback.
Press the [LOCATE] key to return to the beginning
of the song.
The location will indicate 001:01.000.
2 Press the [EXIT] key to access the 1.1: Play/REC
page.
6 Press the [START/STOP] key to play back the pre-
set pattern that you copied. Play the keyboard 3 Use “Track Select” to select the track that you want
while you listen to the drum pattern. to record.
In this example, select T02: Bass.
7 Press the [START/STOP] key to stop.

2. Repeatedly playing specific measures of


a track (Track Play Loop)
Here’s how to use Track Play Loop to repeatedly play
back a drum phrase.
Press the [START/STOP] key to start playback,
1 Press the [MENU] key to access the page menu.
and practice playing the phrase that you want to
record.
When you are finished rehearsing, press the
[START/STOP] key to stop playback.
Press the [LOCATE] key.
Press the [F1] key to select “Loop,” and press the When the power is turned on, the “Recording
[F8] (“Open”) key. Mode” of the TRITON Le will be set to Over Write
The SEQ 1.2: Loop, Track Play Loop page will recording, in which newly recorded data will be
appear. overwritten. For details on other recording modes,
refer to p.78 and PG p.56.

When recording rapid or difficult phrases, you can


slow down the tempo and record at a more com-
fortable tempo. Simply adjust the “Tempo.” After
recording, restore the original tempo.
2 Check track 1 “Loop On,” leave “Loop Start Meas”
as it is, and set “Loop End Meas” to 008.
3 When you press the [START/STOP] key, the drum
phrase will be played back repeatedly.
When the playback has repeated for the number of
measures in the song as specified by “Length” (the
You can use the Quantize and Resolution func-
power-on default is 64 measures), it will stop auto-
tions to correct the timing of your performance as
matically.
it is recorded.
By using “Play Intro” you can begin the loop after For example during realtime recording, suppose
adding an introduction (☞PG p.57). that you input eighth notes at slightly inaccurate
timing, as shown in line 1 of the diagram below. If
Track Play Loop will continue repeating for the you set “Reso” (Resolution) to # and performed
number of measures specified by “Length.” If you realtime recording, the timing would automati-
want to limit the number of repetitions or place cally be corrected as shown in line 2. With a setting
other performance data (e.g., a drum fill-in) in that of Hi, the performance will be recorded with the
track, you will need to expand the pattern into exact timing at which it was played.
actual performance data. Use the SEQ 5.2: Track
Edit Utility menu command “Repeat Measure” to # # ## # # # #
specify the number of playback repetitions and
expand the pattern as playback data. In the sample

# # # # # # # #
illustration below, performance data will be cre-
ated to play measures 1–8 of track 1 for four times
(i.e., 32 measures).

64
4. Recording arpeggio patterns
The performance of an arpeggio pattern can be
recorded into a song. With the settings of this template
song, the arpeggiator will function on track 4.
1 In “Track Select,” choose T04: Guitar.
There is also a “Quantize” function (SEQ 5.2: Track
Edit Utility menu command) which corrects the tim-
ing of performance data after it has been input. If
you have already recorded (without using realtime
quantize) and later notice during playback that the
timing is not quite right (as in line 1 of the preceding
diagram), you can select the SEQ 5.2: Track Edit 2 Press the [ARP ON/OFF] key.
Utility menu command “Quantize,” set “Resolu-
tion” to #, and press the [F8] (“OK”) key to correct
3 Press the [START/STOP] key and play single
notes or chords.

Basic functions
the timing as shown in line 2.
Verify that arpeggios are sounded in synchroniza-
4 Press the [REC/WRITE] key.
tion with the tempo of the drum and bass perfor-
You will hear the metronome. The TRITON Le will mance, and rehearse your performance.
be in record-ready mode. (☞Refer to PG p.57 for
4 Press the [START/STOP] key to stop playback.
details on metronome settings.)
Then press the [LOCATE] key to move the location
5 Press the [START/STOP] key. to the beginning of the song.
After a two-measure count, recording will begin. 5 Start recording.
Play the keyboard for about 16 measures, and Press the [REC/WRITE] key, and then press the
record your performance.

Sequencer mode
[START/STOP] key.
If you make a mistake or decide to re-record, press If you play notes on the keyboard during the count-
the [START/STOP] key to stop recording, and press in, the arpeggio will begin at the same time that
the [COMPARE] key. recording begins, and then that pattern will be
When you press the [COMPARE] key to execute the recorded.
Compare function, you will return to the state prior Play the keyboard for about 16 measures and
to recording. (☞Refer to p.77 for the content that can record your performance.
be compared in Sequencer mode.)
Press the [START/STOP] key to stop recording.
6 When you are satisfied with your performance,
If you made a mistake or would like to re-record,
press the [START/STOP] key to stop recording.
you can use the Compare function (press the [COM-
For example if your performance in measures 5–8 PARE] key) to re-record as many times as you wish.
was the best take, you can use the Track Play Loop
The arpeggio pattern is recorded as the note data
function to repeatedly play back just this portion.
that was generated. If you operate ARP-GATE or
In the SEQ 1, 2: Loop, Track Play Loop page, check
ARP-VELOCITY while recording an arpeggio pat-
“Loop On” for track 2, set “Loop Start Meas” to
tern, this data will be recorded, but it will not be
005, and set “Loop End Meas” to 008.
possible to add changes by overdubbing ARP-
GATE or ARP-VELOCITY data afterward for
those notes.

5. Recording other tracks


1 As described in “Recording the bass track,” use
When you press the [START/STOP] key, repeated “Track Select” to select T03: Elec.Piano, and record
playback will begin. about 16 measures.

After you press the [START/STOP] key to stop 6. Step recording


playback, we recommend that you press the
The TRITON Le provides two main methods of record-
[LOCATE] key to return to the beginning of the
ing a song. The first is realtime recording, in which
song. After recording, you will automatically
your performance on the keyboard and operations of
return to the measure at which recording began.
the joystick and other controllers are recorded in real-
time. This is how we recorded the bass and electric
piano tracks in the preceding sections.
The second method is step recording, in which you
can specify the timing, note length, and velocity etc. in
the LCD screen, and use the keyboard to input the
pitch of the note. only the note-on/off data is recorded.
Step recording is suitable when you want to create a
distinctive mechanical feel, or when you want to

65
record phrases that would be impossible or too rapid input the next note, the data will be input at that
to play “live.” location.

Rapid phrases can also be recorded in realtime by Continue pressing notes to input a melody.
temporarily slowing down the sequencer tempo. You can also delete notes or rests, or input rests or
Here’s the procedure for step recording. ties. (☞PG p.75)

1 Press the [MENU] key to access the page menu. • To delete a note or rest that you input, press the
Press the [F5] key to select “TEdit,” and press the [F6] (“Back”) key. The previously-input note will
[F8] (“Open”) key. be deleted.
The SEQ 5.2: Track Edit screen will appear. • To input a rest, press the [F4] (“Rest”) key. This
will input a rest of the “Step” value.
• To modify the length of a note, you can modify the
“Step” value before you input the note. However if
you want to extend the length (tie) of the note,
press the [F5] (“Tie”). At this time, the previously-
input note will be extended by the length of “Step.”

2 Press the [ ] key to set “Track Select” to T08


(Ch:08) Lead Synth.
For this example we will input a lead performance If you want to check the note that you will input
using an analog synthesizer sound. next, press the [PAUSE] key. In this state, playing a
key will produce sound, but will not input a note.
3 Press the [ ] key to select “Measure (From),” and
Press the [PAUSE] key once again to cancel the
press the [DEC] key to set this to M:001.
record-pause state, and resume input.
With this setting, step recording will begin from
measure 1. To input a chord, simultaneously press the notes
of the desired chord. Even if you do not press them
4 Press the [F8] (“UTILITY”) key to display the Util-
simultaneously, notes that were pressed before
ity menu, press the [F7] key or the cursor keys to
you took your hand off of all keys will be input at
select “Step Recording,” and press the [F8] (“OK”)
the same location.
key.
However in the above example, the program of
A dialog box will appear. track 8 will not sound chords. This is because the
program is set to mono mode, and the song fol-
lows the setting of the program. In other words
because this track is set to “Force OSC Mode”
PRG, the “Voice Assign Mode” setting of Mono
for the program B042: Express Lead remains valid.
7 When you are finished inputting, press the [F8]
5 Press the [ ] key to select “Step.” Press the [INC] (“Done”) key.
key or [DEC] key to select " (16th note). 8 Press the [START/STOP] key to play back.
The step indicates the basic note value (length of a
When you begin step recording, all data following
note or rest) that will be used when entering notes
the recorded measure will be erased from that
from the keyboard.
track.
To input a triplet or dotted note, select the “–” at
You need to be aware of this if you begin step
the right, and press the [INC] key or [DEC] key.
recording from a measure mid-way through the
Select “3” for a triplet, or “.” for a dotted note.
song.
“Duration” indicates the length that the note itself If you want to re-input data into a measure that
will sound. Smaller values will produce a staccato already contains data, perform step recording in
note, and larger values will produce a legato note. another un-recorded track, and execute “Move
For this example, leave this setting unchanged. Measure” or “Copy Measure” (☞PG p.78).
“Vel.” is the velocity (playing strength), and larger If you want to edit or add to the recorded data,
values will produce a louder volume. Set this to you can use the “Event Edit” function (☞PG p.75).
about 090.
If you select Key for this parameter, the velocity
with which you actually played the keyboard will
be input.
6 On the keyboard, press and then release the first
note that you want to input.
The LCD screen will show numerical values for the
data that you input. In the lower right, Next:[M001
01.000] will change to [M001 01.048], and when you

66
7. Using controllers to record tonal
changes Convenient functions for song production and
checking the track settings
Let’s try using the realtime controllers and the joystick
to add effects to the performance that we just step-
recorded on track 8.
Monitoring just a specific track/ Muting just
a specific track (Solo/ Mute functions)
1 Press the [EXIT] key, and then press the [F6]
(“Pref.”) key to move to the SEQ 1.1: Play/Rec, The TRITON Le provides a Solo function that lets you
Preference page. play only a specific track 1–16, and a Mute function
that silences only a specific track. These functions can
2 Set the “Recording Mode” to Over Dub. be used in various ways. For example you can inten-
Over Dub allows you to add to a previously- tionally mute or solo specific tracks, or listen only to
recorded track. the rhythm section of the previously-recorded tracks
while you record new tracks.
Let’s try out the Mute and Solo functions.

Basic functions
1 In SEQ 1.1: Play/REC, press the [F2] (“Prog..8”) key
to access the Program page.
Press the [START/STOP] key.
3 For “Track Select,” make sure that T08: Lead Synth 2 Select the track 1 “PLAY/MUTE/REC, ” and press
is selected. the [INC] key once.
Press the [START/STOP] key to start playback, and The display will change to “MUTE,” and the play-
operate the realtime controllers and joystick to back of track 1 will no longer be heard. In this way,
rehearse. When you are finished rehearsing, press the “mute” function allows you to silence a speci-
fied track unil the track is un-muted.

Sequencer mode
the [START/STOP] key to stop. Press the [LOCATE]
key.
4 Start recording.
Press the [REC/WRITE] key, and then press the
[START/STOP] key.
After a two-measure count-in, recording will begin. Select the track 2 “PLAY/MUTE/REC” and press
Operate the LFO CUTOFF or RESONANCE/HPF the [INC] key once.
realtime controllers or the joystick (±Y axis) to
record their movements. When selecting the parameters of various tracks as
above, you can also make your selection by hold-
When you are finished performing, press the ing down the [TIMBRE/TRACK] key and pressing
[START/STOP] key. one of the [F1] (T1/T9)–[F8] (T8/T16) keys.
If you make a mistake or want to re-record, press
The display will change, and the playback of track 2
the [COMPARE] key to execute the Compare func-
will also be muted.
tion, and then re-record.

8. Saving the song


Remember to save the song you created. The data will
be lost when the power of the TRITON Le is turned off.
Refer to p.45 for the Save procedure.
To cancel muting, press the “PLAY/MUTE/REC”
and press the [DEC] key.
3 Next select the track 1 “SOLO On/Off” and press
the [INC] key once.
The display will change, and now only the track 1
playback will be heard. In this way, the Solo func-
tion lets you hear only a specified track.

If both Mute and Solo are used, the Solo function


will be given priority.)

Press the track 2 “SOLO On/Off” and press the


[INC] key once.

67
The display will change, and only the playback of 2. Set the pan and volume of each track
tracks 1 and 2 will be heard. (SEQ 1.1: Play/ REC, Mixer page)

To turn off the Solo function, select the “SOLO


On/Off” and press the [DEC] key once again. In the SEQ 1.1: Play/REC, Mixer page, “Pan” sets
Select the track 1 and 2 “SOLO On/Off” and press the pan of each track, and “Volume” sets the vol-
the [DEC] key once each. ume of each track.
The display will change, and the playback of tracks
1 and 2 will be muted. If the Solo function is turned 3. Specify the tone generator and MIDI channel
off for all tracks, playback will be according to the that will sound each track (SEQ 3.1: Param1,
“PLAY/MUTE/REC” settings. MIDI page)
By using the Utility menu command “Solo
Selected Track,” you can listen to the sound of
only the selected track. This is convenient when
you want to set track parameters or to make effect
settings. (☞PG p.51)

[LOCATE] settings In the SEQ 3.1: Param1, MIDI page, “Status” speci-
fies whether each track will sound the internal tone
By pressing the [LOCATE] key you can move to a
generator or an external tone generator. “MIDI
specified location.
Channel” specifies the MIDI channel for each track.
The location is specified by the Utility menu command
If the track status “Status” is set to INT, playing the
“Set Location.” You can also hold down the [ENTER]
track data or operating the TRITON Le’s keyboard
key and press the [LOCATE] key to set the location
or controllers will cause the TRITON Le’s internal
even during playback (☞PG p.53).
tone generator to be sounded and controlled.
Normally you will set this to 001:01.000. You will
If “Status” is set to EXT, EX2, or BTH, playing the
return to the beginning of the song.
track data or operating the TRITON Le’s keyboard
When you select a song, the [LOCATE] setting will
or controllers will cause an external tone generator
automatically be set to 001:01.000.
to be sounded and controlled. (The MIDI channel of
the external tone generator must be set to match the
Making track settings for a new song “MIDI Channel” of TRITON Le tracks that are set
Here’s how to make basic settings for a new song, such to EXT, EX2 or BTH.)
as assigning a program to each track, and setting the If “Status” is set to BTH, both the external tone gen-
volume etc. You can check these settings for the tem- erator and the TRITON Le’s own tone generator
plate song you loaded earlier. will be sounded and controlled.
If you are using the TRITON Le’s Sequencer mode
1. Assign a program to each track as a 16-track multi-timbral tone generator, set this
(SEQ 1.1: Play/ REC, Program page) parameter to INT or BTH. (☞”Status” PG p.62)
In general, you should set “MIDI Channel” to dif-
ferent channels 1–16 for each track. Tracks that are
sent to the same MIDI channel will sound simulta-
neously when either is recorded or played.

4. Make effect settings


In the SEQ 1.1: Play/REC, Program page, use “Pro- (SEQ 7.1: Insert FX, SEQ 7.2: Master FX)
gram Select” to assign a program to each track. Make settings for each effect in SEQ 7.1: Insert FX
At this time you can also use the Utility menu com- and SEQ 7.2: Master FX. (☞p.110, PG p.84)
mand “Select by Category” to select programs by
category (☞PG p.55). 5. Set the tempo and time signature
You can also use the Utility menu command “Copy (SEQ 1.1: Play/ REC)
From Combi” to copy settings from a combination Make these settings in SEQ 1.1: Play/REC. “Tempo”
(☞p.75, PG p.52). sets the tempo, and “Meter” sets the time signature.
When assigning a program, you can use “Track (☞PG p.50)
Select” to select the track for which you are mak-
ing assignments, and try playing the sound.
6. Make other settings as necessary
As necessary, make arpeggiator settings (SEQ 6.1:
Arp.) and MIDI filter settings (SEQ 4.1–4.4: MIDI
Filter 1–4). (☞PG p.49–86)

68
When you are finished making these settings, the basic 2. Naming a song
setup is complete. Record as described in “3. Record-
Here’s how to assign a name to a song you created.
ing the bass track” (☞p.64) and following sections.
1 Choose “Song Select,” and use the VALUE control-
ler to select a song. For this example, select song
002.
2 In the SEQ 1.1: Play/REC page, select the Utility
Song editing methods menu command “Rename Song,” and press the
[F8] (“OK”) key.
A song can be edited in a variety of ways. Here we will
explain various ways in which the song we recorded in
the preceding pages can be edited for the purpose of
creating a Cue List (explained in the section that fol-
lows).

1. Copying a song

Basic functions
Here’s how to copy a song. This is convenient when
you want to create different variations based on a song.
1 Create a new song.
A dialog box will appear. Press the [F5] (“Name”)
Press the [EXIT] key to display the SEQ 1.1: Play/ key to access the text dialog box.
REC page. Press the [F1] (“Clear”) key, and input CHORUS
Choose “Song Select,” use the numeric keys to (☞p.43).
input the song number that you want to newly cre- When you are finished inputting the name, press
ate, and press the [ENTER] key. (For example, press the [F8] (“OK”) key.

Sequencer mode
the [1] key and then the [ENTER] key.) Press the [F8] (“OK”) key once again to execute the
A dialog box will appear. Rename operation.
3 As described in steps 1 and 2, assign a name of
INTRO to S000, and VERSE to S001.

3. Setting the number of measures in the


Decide on the number of measures, input the num- song
ber in “Set Length,” and press the [F8] (“OK”) key. Here’s how to specify the number of measures in the
song. When the power is turned on, this is set to 64
measures. If you realtime-record for more measures
than this, the song will be the length of the measures
you recorded.
1 Select song S000: INTRO.

A new song will be created. Next we will copy the 2 Select the SEQ 5.2: Track Edit page.
song settings and playback data of another song In the SEQ 5.2: Track Edit page, press the [MENU]
into this newly created song. key to access the page menu, select the [F5]
2 Select the Utility menu command “Copy From (“TEdit”) key, and then select [F8] (“Open”).
Song,” and press the [F8] (“OK”) key.

3 Press the [F8] (“UTILITY”) key to access the Utility


menu.
This contains various commands for editing tracks
and measures.
A dialog box will appear. Select the song that you Select “Set Song Length,” and press the [F8]
want to copy (i.e., the copy source). If you select All, (“OK”) key.
all song settings and playback data will be copied
from that song. If you select Without Track/Pattern
Events, settings other than Play Loop and RPPR
will be copied. For this example, select All.
Press the [F8] (“OK”) key to execute the copy.
3 As described in steps 1 and 2, create one more
new song (S002), and copy song S000 to it.

69
A dialog box will appear. 5 Press the [F8] (“UTILITY”) key, select the Utility
menu command “Shift/Ers.Note,” and press the
[F8] (“OK”) key.

Input the number of measures for the song. For


this example, select 008 (8 measures) and press the
[F8] (“OK”) key.
The performance data from measures 1–8 will
remain, and the data of subsequent measures will be A dialog box will appear. If you did not specify the
deleted. When you press the [START/STOP] key to range of measures in step 4, set “From Measure”–
play the song, playback will stop at the end of the ”To Measure” to specify the range that will be
8th measure. edited.
Set “Mode” to Shift (Replace), and set the value to
If you are using Track Play Loop, check whether +003. (☞PG p.80)
the measures specified for “Loop Start Meas” and
“Loop End Meas” would be deleted. If they would
be deleted, use “Move Measure” (☞PG p.78) etc.
to move the data into the playback area before you
execute this operation.

4 Mute tracks. Press the [F8] (“OK”) key. The pitch of track 2 will
Press the [EXIT] key to select SEQ 1.1: Play/REC, be raised three semitones.
and access the Program page. 6 Use the same procedure to raise the pitch three
Mute all tracks other than tracks 3 and 4. When you semitones for each track on which performance
play back, you will hear only the electric piano and data is recorded. However, do not change the key
guitar performances. of track 1 which uses a drum kit.

If you change the key of a track that is using a


drum kit, the relationship between the notes and
the instruments of the drum kit will be shifted, so
that the rhythm instruments will not sound cor-
rectly.
5 As described in steps 1–4, set song S001: VERSE
to 008 (8 measures), making it an eight measure
song. About editing
Then mute all tracks other than tracks 1–3. When Song editing
you play back, you will hear only the drums, bass, In addition to copying and renaming a song, other
and electric piano. operations such as Delete can be performed from the
6 As described in steps 1–4, set song S002: CHO- Utility menu commands in pages such as SEQ 1.1:
RUS to 008 (8 measures), making it an eight mea- Play/REC (☞PG p.52).
sure song. Track editing
Event Editing allows you to edit or insert data in a
4. Changing the key (transposing/ modu- recorded track. In addition, commands such as Create
lating) Control Data (which lets you insert bend, aftertouch,
Here’s how to change the key of a song. or control change data) and other commands for delet-
ing, copying, inserting, or moving tracks can be
1 Select song S002: CHORUS. accessed from the Utility menu command in pages
2 Select the SEQ 5.2: Track Edit page. such as SEQ 5.2: Track Edit (☞PG p.75).
3 Use the [ ], [ ] keys to select track T02 for the Pattern editing
key change. Using the Utility menu commands of the SEQ 5.1:
4 Specify the measures for which the key will be RPPR, Pattern page, you can use event editing to mod-
changed. ify the recorded data or insert new data, and execute
commands to delete, copy, or bounce patterns (☞PG
Press the [ ] key to select “Measure (From),” and use p.70).
the VALUE controller to set this to 001. Next press the
[ ] key to select “Measure (To End of),” and set this to
008.

70
4 Set the last step to End.
Creating and playing a Cue List If you set this to Continue to Step01, the cue list will
play back repeatedly.
A cue list allows you to play multiple songs in succes-
sion. For example you can create a separate song for 5 In “Rep (Repeat),” specify the number of times
each portion (introduction, melody A, melody B, cho- that the song for that step will be repeated. For this
rus, and ending) of a composition, and use the cue list example, set Step 02 S001: VERSES to 02.
to specify the order of each portion and the number of 6 Specify whether effect settings will also be
times that it will be repeated to complete the song. switched when the song at each step is played
If you want to change the structure of the song, the cue back. If you want to effect settings to change,
list lets you do so in an efficient way. check the “FX” check box.
You can also use this as a jukebox function that will
For this example, check the “FX” check box for Step
playback completed songs in the order you specify.
01, which loads the effects.
Cue List 7 When you are finished making settings for each
Step Song Repeat
step, press the [F7] (“DONE”) key.

Basic functions
01 S000: Intro 02 Intro Intro A A B Chorus
02 S001: A 02
Chorus A A B Chorus Chorus
8 To play back at the tempo that was specified for
03 S002: B 01
each song, set “Tempo Mode” to Auto.
04 S003: Chorus 02
A(Solo) Chorus Chorus Chorus Ending Ending
05 S001: A 02 If this is set to Manu (Manual), playback will use
06 S002: B 01
the tempo specified by “! =”.
07 S003: Chorus 02

08 S001: A (Solo) 01 Tempo Mode


09 S003: Chorus 03
10 S004: Ending 02

Sequencer mode
Each unit in a cue list is called a “step,” and each step
contains a song number and the number of repeats.
Rep(Repeat) FX
Here we will use a cue list to combine the previously-
created songs S000: INTRO, S001: VERSES, and S002: 9 When you press the [START/STOP] key, playback
CHORUS. will begin from the step that is specified as the
1 Select SEQ 2.1: Cue List. “Current Step.”
Meter
With the default settings, song S000 will be selected
for “Step” 01, and End will be selected for “Step” 02. Track
Select

Currently-
playing
step
Starting measure of that step
Current Step

• “Step”: The arrow will indicate the currently


2 Press the [F7] (“EDIT”) key playing step. indicates the currently selected
You will be able to insert or delete songs into or “Step.” If you set “Current Step” while stopped,
from the cue list. the display will change.
• “M****”: Indicates the starting measure of that step.
• “Meter”: Indicates the currently-playing time
signature. This cannot be changed.
Step • The name of a cue list can be specified by the
“Rename Cue List” page menu command.
• When you play the keyboard, the program of the
3 Add a song to the Step area. track selected by “Track Select” will sound. If a
Use the cursor keys to select Step 02, and press the different program is selected for each song, the
[F4] (“INSERT”) key. A song will be added to step program specified for the currently playing song
02. Use the VALUE controller to select S001: will sound.
VERSES. Cue list editing will automatically end if you press
In the same way, select Step 03, and press the [F4] the [START/STOP] key, etc. ( → )
(“INSERT”) key to add a song to Step 03. Set this
step to S002: CHORUS.
If you press [F5] (“CUT”), the selected step will be
deleted. If you press the [F4] (“INSERT”) key, that
step will be inserted. If you press the [F6] (“COPY”)
key, the selected step will be copied. If you press the
[F4] (“INSERT”) key, that step will be inserted.

71
If playback is not connected smoothly between Using a foot switch to switch the Step
songs when playing a cue list You can use a foot switch to switch the Step.
Depending on the effect settings, a certain amount of If you set “Rep(Repeat)” to FS, a foot switch connected
time may be required for the effects to be switched. If to the ASSIGNABLE SWITCH jack will control the tim-
this occurs, the playback will not be smoothly con- ing at which the song stops repeating. Set “Foot SW
nected from song to song. Assign” (GLOBAL 1.1: Syatem, Foot page) to Cue
To ensure a smooth transition from song to song, Repeat Control.
check “FX” for “Step” 01. Do not check “FX” for the
remaining steps. This way, the effect settings will be
made before playback begins, and there will be no time Converting a cue list to a song
lag when cue list playback is started or when switching
Although it is not possible to record additional mate-
from song to song. Although it will not be possible to
rial onto tracks in a cue list, you can convert a cue list
change effect types within the cue list, you can use
to a song, and then record solos etc. on vacant tracks.
dynamic modulation or MIDI control changes such as
You will also need to convert a cue list to a song if you
Effect Control to control the effects within the cue list,
wish to save it on a SamartMedia as SMF data.
for example applying reverb more deeply on certain
songs, or raising the LFO speed for a specific song. We 1 Select the Utility menu command “Convert to
recommend this method if you will be using a cue list Song”.
to construct the song. When you execute the Utility A dialog box will appear.
menu command “Convert to Song”, the effect settings
of the “Step” 01 song will be specified for the song that 2 In “To,” specify the destination song number for
results from the conversion. the converted data.

Even if “FX” is not checked, there may be cases in The cue list name will automatically be assigned as
which a time lag in the transition between songs, the song name of the converted data. (For details
depending on the musical data of the song. Also, there and cautions regarding “Convert to Song,” refer to
may be cases in which the musical data is not played at PG p.60.)
the correct timing at the transition between songs. If
this occurs, you can edit the musical data of the song, If you wish to select a new song as the convert des-
or convert the cue list to a song for playback. If you use tination, use the numeric keys [0]–[9] to specify the
“Convert to Song” to convert the cue list to a song, song number, and then press the [ENTER] key. It is
there will be no time lag during playback at the transi- not necessary to set “Set Length” in the dialog box
tion between songs, and the musical data will be that appears at this time. The number of measures
played at the correct timing. in the converted song will be used. Press the [F8]
(“OK”) key, and the Convert Cue List dialog box
will appear.

Creating multiple songs for use in a cue list


If you want to create multiple songs for use in a cue
list, it is a good idea to make the various necessary set-
tings (program and other settings for each track, effect 3 Press the [F8] (“OK”) key.
settings, etc.) for one song (e.g., S000), and then use the
Utility menu command “Copy From Song” in SEQ 1.1 The cue list will be converted into a song. Access the
etc. to copy it to other songs so that the settings will be SEQ 1.1: Play/REC page, select the song number
consistent. that you specified as the conversion destination,
and check the results.

After your cue list is finished and you convert it


into a song, the track settings (program, pan, vol-
ume, etc.) of each step will be converted into play-
back data and will be reproduced, but if the MIDI
channel settings do not match, it may not be possi-
ble to convert the playback state of the cue list into
a song.

72
Choose “Pattern Select,” and press the [INC] key
Creating and recording RPPR once to select P122: HipHop 2/HipHop.

(Realtime Pattern Play/ Record) By using “REVERT” in this way, you can work
efficiently when the patterns to be assigned have
This section explains how to assign a pattern to RPPR, consecutive or nearby numbers, or use the same
and how to play and record. (☞“Playing with the track.
RPPR function” p.30)

Creating RPPR data


1 Create a new song. (☞p.69)
Use the above method to assign several patterns
2 Specify the program for each track. from the range of P123: HipHop 3/HipHop–P135:
HipHop 15/HipHop.

Basic functions
For this example we will use a template song. Use
the Utility menu command “Load Template Song” 9 Press the C#2 key.
to load P14: Hip Hop/Rap. It is not necessary to
copy the patterns. (☞p.63) The assigned pattern will play.

3 Select the SEQ 5.1: RPPR, RPPR Setup page. Take your finger off the C#2 key, and press the D2
key.
In this page, the RPPR function is automatically
turned on. The pattern will change, and playback will begin. At
this time, the pattern operation will depend on the
“Sync” and “M (Mode)” setting.

Sequencer mode
Set “KEY” to C#2, and set “Sync” to Measure.
Make the same setting for D2.
Now press the notes consecutively. Notice that the
patterns operate in a different way.
4 Use “KEY” to select the key to which the pattern With the “Measure” setting, patterns will be han-
will be assigned. dled in one-measure units. The second and subse-
Select C#2. This can also be selected by holding quent patterns to be started will start in
down the [ENTER] key and playing a note. synchronization with units of a measure relative to
C2 and lower keys are used to stop playback, and the pattern that was started first.
cannot be assigned. If you change the “M (Mode)” setting to Once, the
entire pattern will playback to the end even if you
5 Check the “Assign” check box.
release your finger from the keyboard immediately.
6 Set “Pat (Pattern Bank)” to the Pre pattern type,
and set “Pattern Select” to pattern P121: HipHop 1/ To stop playback, either press the same key once
HipHop. again, or press the C2 or lower key.
7 Set “Track” to T01: Drums. For details on “Sync,” “M (Mode),” and “Shift,”
The selected pattern will be played according to the refer to PG p.72.
settings (program, etc.) of the track you select here.
8 Assign patterns to other keys.
Set “KEY” to D2.
Press the [F4] (“REVERT”) key.
The settings for “Assign,” “Pat (Pattern Bank),”
“Pattern Select,” and “Track” will be set to the val-
ues that were specified earlier (in steps 5–7).

Song
RPPR RPPR function is on

RPPR Normal multi playback


and recording

P00: Pop&Balad 1/Std U00: Pattern 00

Preset Pattern P00 - P149 User Pattern U00 - U99


5.1: RPPR, RPPR Setup

73
The assigned keys will be shown as a keyboard If you want RPPR pattern playback to begin at the
graphic in the LCD screen. moment that song playback begins, it is a good
idea to insert an empty measure containing no
Unassigned keys can be used for normal keyboard musical data before the song playback begins.
performance. Use “Track Select” to select the track
that will be played from the keyboard. For exam- If the song is stopped, the pattern will synchronize
ple you might assign backing patterns such as to the timing of the arpeggiator function.
drums and bass to the C#2–B2 keys and use these
keys to control pattern playback, and use keys C3
and above to play solos in realtime. It is a good
idea to keep the assigned keys together in this Realtime-recording an RPPR perfor-
way. mance
An RPPR performance can be recorded in realtime. If
you are using only one track (T01: Drums) as in “Cre-
RPPR playback ating and recording RPPR” (☞p.73), set “Track Select”
to T01: Drums, and use single track recording in
Let’s use the RPPR you created to perform in the SEQ
which only one track will be recorded.
1.1: Play/REC page.
Even if RPPR uses only one track, use multi-track
1 In Sequencer mode, select SEQ 1.1: Play/REC.
recording if you will be selecting another track in
2 Check the “RPPR” check box. “Track Select” and recording its performance at the
The RPPR function will be turned on. The on/off same time.
setting is memorized for each song. You should also select multi-track recording if you cre-
ated the RPPR data using multiple tracks rather than
just a single track, and want to simultaneously record
the performance of multiple tracks.

The RPPR pattern will be recorded as performance


data on the tracks used by the pattern.
3 Play the keyboard, and patterns will begin playing Here we will explain how you can simultaneously
according to the RPPR settings. record a performance that uses both RPPR and the
• Pattern playback for a key with a “Sync” setting of arpeggiator.
Beat or Measure will synchronize to the pattern 1 For each RPPR pattern , set “Sync” to SEQ.
playback of the first key. (☞PG p.72 “Sync”)
With a setting of SEQ, patterns played by the RPPR
• If you are playing the pattern in synchronization function while the sequencer is playing or recording
(when “Sync” is Beat, Measure, or SEQ), the will start in synchronization with the measures of
pattern will start accurately if you play the note the sequencer.
slightly earlier than the timing of the beat or
measure. Even if you play the note slightly later
than the beat or measure (but no later than a 32nd
note), it will be considered to have started at the
beat or measure, and the beginning of the pattern
will be compressed so that the remainder of the
playback will be correct. 2 We will use the arpeggiator to play the bass pat-
If you wish to trigger the RPPR function from an tern. Follow these settings.
external MIDI device, use the MIDI channel that is Set “Track Select” to T02: Bass.
selected for “Track Select.”
Select the SEQ 6.1: Arp., Setup page, and set the
4 To turn off the RPPR function, uncheck the RPPR track 2 “Assign” to A. (Make sure that A is checked
check box. for “Arpeggiator Run.”)

Play RPPR while a song plays back


RPPR can be played in synchronization with the play-
back of a song.
Pattern playback for a key with a “Sync” setting of
SEQ will synchronize to the playback of the song. Select the SEQ 6.1: Arp., Arp. A page, and set “Pat-
(☞PG p.72 “Sync”) tern” to U107 (INT).
Start song playback, and then press the key. The pat-
tern playback will start in synchronization with the
measures of the song.

Synchronization will be lost if you use the [


REW] or [FF ] keys while a song is playing.

74
Do not check “Key Sync.” If you made a mistake during your performance or
Press the [ARP ON/OFF] key. (The key will light.) would like to re-record, you can use the Compare
function (press the [COMPARE] key) to re-record as
3 In the SEQ 1.1: Play/REC, Preference page, check many times as you wish.
the “Multi REC” check box.
9 If you want to record other tracks, un-check the
“Multi REC” or “RPPR” check boxes as necessary.
In step 3, uncheck the “Multi REC” check box to
defeat multi-track recording.
In step 5, uncheck the “RPPR” check box to turn
off the RPPR function.
If “Recording Mode” is set to Loop All Tracks,” it
will not be possible to select Multi REC. Set the
“Recording Mode” to Over Write.
4 Select the 1.1: Play/REC, Program page.
Recording the sounds of a combi-

Basic functions
For all tracks, the “PLAY/MUTE/REC” indication
will show REC. nation
The track played by RPPR will be recorded simulta-
neously with the track played by the arpeggiator. Here’s how you can copy the sounds of a combination
Set “PLAY/MUTE/REC” to PLAY or MUTE for all to multiple tracks, and record your performance.
tracks other than tracks 1 and 2, which we will be Make sure that the global MIDI channel (GLOBAL
recording. 2.1: MIDI, “MIDI Channel”) is set to 01.
Make sure that “Track Select” is set to T02: Bass.
1 Create a new song. (☞p.69)
Your keyboard playing on keys not assigned to the

Sequencer mode
RPPR function can be recorded on the track speci-
fied by “Track Select.”

2 Execute the Utility menu command “Copy From


Combination.”
5 In the 1.1: Play/REC, Play/REC page, make sure A dialog box will appear.
that the “RPPR” check box is checked.

Select the combination that you want to copy (i.e.,


the copy source).
6 Press the [LOCATE] key to set the location to
Press the COMBI BANK [A] key, then press numeric
001:01.000.
keys [6], [7], and finally press the [ENTER] key.
7 Press the [REC/WRITE] key, and then press the B099: Steely Keys will be selected.
[START/STOP] key. We will copy the effect settings of the combination
Press a key that plays an RPPR pattern, and one or as well, so check the “With Effects” check box.
more keys that play the arpeggiator. Since we want to copy the settings of the combina-
tion’s eight timbres to tracks 1–8, select Track 1 to 8.
If you press a key during the pre-count before Press the [F8] (“OK”) key to execute the copy.
recording, the pattern playback and arpeggio per-
formance will begin simultaneously when recording 3 In the SEQ 1.1: Play/REC, Preference page, check
begins, and will be recorded. the “Multi REC” check box. (☞p.75)
Record the RPPR pattern playback and arpeggio
performance.

When recording the playback of patterns triggered


by RPPR, the timing of the recorded events may be
slightly skewed. If this occurs, try setting “Reso”
(Realtime Quantize Resolution) to a setting other When you perform multi-track recording, the multi-
than Hi. ple channels that are being sounded by the arpeg-
giator will be recorded simultaneously.
8 When you are finished performing, press the
4 Set the tracks not being recorded (i.e., tracks 9–16)
[START/STOP] key.
to PLAY or MUTE. (☞p.67)
Recording will end, and the sequencer will return to
5 Set “Track Select” to 01.
the location at which recording began.

75
In order to play the sounds and arpeggiator in the If “Arpeggiator Run” A and B are checked, and the
same way as in Combination mode, set “Track arpeggiator is assigned to a track, make sure that
Select” to the track that matches the global MIDI “MIDI Channel” is set to other than 01.
channel. When you play the keyboard, the sounds
will be heard just as in Combination mode. Make sure that the global MIDI channel (GLOBAL
2.1: MIDI, “MIDI Channel”) is set to 01.
6 Begin recording.
Press the [LOCATE] key to set the location to Arpeggiator Run MIDI Channel *1 Correction
001:01.000. If either “A” or “B” 01 only Correction required
Press the [REC/WRITE] key, and then press the are checked 01 02, 01 03, etc. No correction required
[START/STOP] key. If both “A” and “B” 01 only Correction required
If you play a B3 note or lower during the pre-count are checked 01 02, 01 03, etc. Correction required for
before recording, the arpeggio pattern will start only one
from the beginning at the moment that recording 01 02 03, etc. No correction required/
begins. Record your performance. Correction required *2

7 When you are finished performing, press the *1 If the “MIDI Channel” of multiple tracks operated by the
[START/STOP] key. arpeggiator is set only to 01, refer to the lines for “01 only.”
If the “MIDI Channel” settings are 01 and one other chan-
If you made a mistake or want to re-record, you can
nel, such as 01 and 02, or 01 and 03, then refer to the lines
use the Compare function (press the [COMPARE] for “01 02, 01 03 etc.” If the “MIDI Channel” settings are 01
key) to re-record as many times as you want. (The and multiple other MIDI channels, such as 01 and 02 and
“MultiREC” check box will be unchecked when you 03, then refer to the line for “01 02 03, etc.”
use Compare, so you will need to check it again.) *2 Correction is necessary only if the tracks operated by a sin-
gle arpeggiator are using only “MIDI Channel” 01. In
some cases, correction may also be necessary if the two
If the recorded performance is not reproduced cor- arpeggiators use the same MIDI channel.
rectly during playback
Depending on the combination settings, it may
If you use the Utility menu command “Copy From
also be necessary to change the track settings as
Combination” to copy the settings of a combination,
well.
and then perform multi-track recording with the
arpeggiator turned on, there may be cases in which the In the screens shown above, combination B071: “In
performance during recording is not reproduced by the Pocket” has been copied using “Copy From Com-
the playback. bination.” As described in steps 1 and 2 of the proce-
Multiple tracks that are set to the same MIDI channel dure given earlier, try actually copying this to see for
are combined into a single stream of performance data yourself. For the arpeggiator settings of this combina-
during recording. If there is a track with the same MIDI tion, refer to p.101. Taking this setting as an example,
channel as the track being played by the arpeggiator, determine whether correction is necessary, and if nec-
the data played by the arpeggiator will be combined essary, what needs to be corrected.
with the performance data that was played manually, “Arpeggiator Run” A and B are checked, and “MIDI
and all of this data will be sounded by each track of the Channel” 01 and 02 are selected. Corrections must be
same channel (if “Status” is INT). made. Correction is necessary for one of the arpeggia-
In such cases, you can solve the problem by changing tors. If you perform multi-track recording with these
the MIDI channel of the track that is played by the settings, the MIDI channels of T01, 02, 03, 04, 05, and 06
arpeggiator, and then creating a track that will drive are the same, so the low-register bass (T01 and T02),
the arpeggiator. the high-register synth brass/pad (T03, T04 and T06),
If the recorded performance is not reproduced by the and the synth mallet played by arpeggiator B (T05) will
playback, check the following conditions. have their performance data combined into one
stream, and the performance will not be reproduced at
• SEQ 6.1: Arp., Setup page playback. (T08 is a dummy track used to trigger arpeg-
“Arpeggiator Run” A, B, and “Assign” settings giator A.)
1 So that the synth mallet played by arpeggiator A
can be recorded separately, change the MIDI chan-
nel of T05.
Select the SEQ 3.1: Param1, MIDI T01-08 page, and
change the T05 “MIDI Channel” to 03.
2 Add settings for triggering arpeggiator A.
• SEQ 3.1: Param1, MIDI page “MIDI Channel” settings
Select the SEQ 3.1: Param1, MIDI T09-10 page, and
for track 9 (or any unused track), turn “Status” Off,
and set the “MIDI Channel” to 01.
(T09 will be a dummy track used to trigger arpeg-
giator B.)

76
3 Select the SEQ 6.1: Arp., Setup T09-16 page. Set the • Recording to a pattern
track 9 Assign to B. • Pattern Edit
This will produce the following settings. All commands except for the Utility menu com-
mands “Memory Status,” “Rename Pattern,” “FF/
Track T01 T02 T03 T04 T05 T06 T07 T08 T09
REW Speed,” and “Rename Track” of the SEQ 5.1:
Assign Off Off Off Off B Off A A B
RPPR, Pattern page.
Status INT INT INT INT INT INT INT Off Off
• Song Edit
MIDI Ch. 01 01 01 01 03 01 02 01 01
SEQ 1.1-4.4 and 6.1–6.4 pages: Utility menu com-
mands “Delete Song” and “Copy From Song”
This completes the corrections. In the SEQ 1.1: Play/ SEQ 2.1: Cue List page: Page menu commands
REC, Preference page, set “Track Select” to any “Convert to Song” and “Copy Song”
track whose MIDI channel is 01. Check the “Multi
REC” check box and perform multi-track recording. In general, track and pattern event data can not be
returned to its original state.
Comparing song parameters is possible only during

Basic functions
song editing (when executing a Utility menu com-
mand).

Caution and other functions in Operations for which Compare is not available
• Editing song parameters
Sequencer mode • Utility menu commands other than those listed
above (in Operations for which Compare is
TRITON Le song data and its compatibility available)
The following two types of song data can be loaded
from SmartMedia into this instrument’s sequencer. Memory Protect

Sequencer mode
• Song data saved in this instrument’s own format Before you record a track or pattern, or edit the musical
This data is only for this instrument. However, it is data, you will need to turn off the memory protect set-
partially compatible with the TRITON/TRITON- ting in Global mode. (☞p.42)
pro/TRITONproX/TRITON-Rack (Multi) (☞PG
p.245). It cannot be loaded into other instruments. About MIDI
Since the performance will be faithfully reproduced,
including detailed settings of this instrument, you Track status “status”
should use this format to save song data that is You can make settings for this instrument’s sequencer
intended for playback on this instrument. to specify whether it will sound the internal tone gen-
• Standard MIDI Files erator or an external tone generator.
This format is not able to provide a totally faithful When Track Status “Status” (3.1: Param1, MIDI..8,
reproduction of the performance on this instrument MIDI..16) is set to INT, operating this instrument’s
in the way that this instrument’s own format does keyboard and controllers will sound and control this
(although there will be no problem for normal play- instrument’s own tone generator.
back), but does provide compatibility with other When “Status” is set to EXT, EX2 or BTH, operating
SMF-compatible devices. this instrument’s keyboard and controllers will sound
To load song data from SmartMedia or save song data and control the external tone generator. (The MIDI
to SmartMedia, use Media mode. (☞p.45, PG p.139) channel of the external tone generator must match the
“MIDI Channel” of the track that is set to EXT, EX2 or
The Compare function BTH.) With a setting of BTH, both the external tone
generator and this instrument’s tone generator will
When you perform realtime recording, step recording, sound and be controlled.
or track editing, this function allows you to make
before-and-after comparisons.

If you continue editing when the [COMPARE] key


is lit, the key will go dark. This now becomes the
musical data that will be selected when the [COM-
PARE] key is dark. If you wish to use the Sequencer mode of the instru-
ment as a 16-track multi-timbral tone generator, select
Operations for which Compare is available INT or BTH. (☞PG p.62 “Status”)
• Recording to a track
Synchronizing the sequencer with an external MIDI
• Track Edit device
All commands except for the Utility menu com-
The record/playback tempo of this instrument’s
mands “Memory Status” and “Rename Track” of
sequencer can be synchronized to an external MIDI
the SEQ 5.2: Track Edit page.
device such as a sequencer or rhythm machine (☞PG
p.237).

77
1 Use “Track Select” to select the track that you want
Recording on the TRITON Le to record.
2 Set the “Recording Mode” to Over Write. (SEQ 1.1:
The process by which your playing on this instru- Play/REC, Preference page REC Setup)
ment’s keyboard and controllers is captured on the
tracks or patterns of a song as data is called “record-
ing.”

Recording a track,
3 In “Location,” specify the location at which you
and recording a pattern wish to begin recording.

Recording a track 4 Press the [REC/WRITE] key, and then press the
[START/STOP] key.
There are two ways to record to a track: realtime
recording and step recording. You can choose from a If “Metronome Setup” has the default settings, the
further six types of realtime recording. metronome will sound for a two-measure pre-
count, and then recording will begin.
In addition, you can use event editing to modify data Play the keyboard and move controllers such as the
that has been recorded or to insert data, and use track joystick to record your performance.
editing operations such as Create Control Data to
insert data such as bend, after touch, and control 5 When you finish playing, press the [START/STOP]
changes. key.
Recording will end, and the location will return to
Recording a pattern the point at which you begin recording.
There are two ways to record a pattern: realtime At this time if you press the [PAUSE] key instead of
recording and step recording. For realtime recording, the [START/STOP] key, recording will pause. When
only one recording type (loop) is available. you press the [PAUSE] once again, recording will
In addition, you can use event edit operations to mod- resume. When you are finished, press the [START/
ify data that has been recorded or to insert data. STOP] key to stop recording.
The Utility menu command “Get From Track” can be • Overdub
used to take musical data from a desired area of a
With this method, the newly recorded musical data
track, and use it as the musical data for a pattern. Con-
is added to the existing data.
versely, the Utility menu commands “Put to Track”
When you perform overdub recording on a previ-
and “Copy to Track” can be used to place or to copy
ously-recorded track, the newly recorded data will
the musical data of a pattern in a track.
be added to the previously-recorded data.
It is best to select this method when you wish to add
control data, or to record tempo data onto the mas-
Realtime recording ter track. This lets you record data without erasing
This is a method of recording in which your playing on the existing data.
the keyboard and your operations of controllers such 1 Use “Track Select” to select the track that you want
as the joystick are recorded in realtime. to record.
This method of recording is normally used one track at
a time, and is called single track recording. 2 Set the “Recording Mode” to Over Dub. (SEQ 1.1:
As an alternative, multitrack recording allows you to Play/REC, Preference page REC Setup)
simultaneously record multiple channels of data onto
multiple tracks. This is the method you will use when
using the RPPR function and the arpeggiator function
to record multiple tracks of musical data at once, or
when you playback existing sequence data on an exter-
nal sequencer and record it onto this instrument’s
3 For the rest of the procedure, refer to steps 3–5 of
sequencer in realtime (☞p.74).
“Overwrite.”
• Overwrite • Manual punch-in
With this method, the musical data previously
While the song is playing, you can press the [REC/
recorded on a track is overwritten by the newly
WRITE] key or a connected pedal switch at the
recorded data. When you perform overwrite record-
desired location to start or stop recording.
ing on a previously-recorded track, its musical data
With this method, the musical data previously on
will be replaced by the newly recorded data.
the track is overwritten by the newly recorded data.
Normally you will use this method to record, and
then modify the results by using other types of real- 1 Use “Track Select” to select the track that you want
time recording or event editing. to record.

78
2 Set the “Recording Mode” to Manual Punch In. your performance. When you reach the ending loca-
(SEQ 1.1: Play/REC, Preference page REC Setup) tion you specified in step 3, recording will end.
(Playback will continue.)
6 Press the [START/STOP] key.
Playback will stop, and you will return to the loca-
tion you specified in step 4.

• Loop All Tracks


3 In “Location,” specify a location several measures This method lets you continue recording as you add
earlier than the point at which you wish to begin musical data.
recording. The specified region can be recorded repeatedly.
4 Press the [START/STOP] key. This is ideal when recording drum phrases, etc.
Playback will begin. 1 Use “Track Select” to select the track that you want
5 At the point at which you wish to begin recording, to record.

Basic functions
press the [REC/WRITE] key. 2 Set the “Recording Mode” to Loop All Tracks.
Recording will begin. (SEQ 1.1: Play/REC, Preference page REC Setup)
Play the keyboard and operate controllers such as If “Multi REC” is checked, it will not be possible to
the joystick to record your performance. select Loop All Tracks.
6 When you finish recording, press the [REC/
WRITE] key.
Recording will end (playback will continue).

Instead of pressing the [REC/WRITE] key in steps

Sequencer mode
5 and 6, you can use a foot switch connected to
the ASSIGNABLE SWITCH jack. Set the GLOBAL 3 In “Loop Start Meas, “Loop End Meas” specify the
1.1: System, Foot page “Foot SW Assign” to Song area that you wish to record.
Punch In/Out (☞p.113).
For example if you specify M004–M008, recording
7 Press the [START/STOP] key. will occur repeatedly (as a loop) from measure 4 to
measure 8.
Playback will stop, and you will return to the loca-
tion that you specified in step 3. 4 In “Location,” specify a location several measures
earlier than the point at which you wish to begin
• Auto punch-in recording.
First you must specify the area that will be re- 5 Press the [REC/WRITE] key, and then press the
recorded. Then recording will occur automatically [START/STOP] key.
at the specified area.
Playback will begin. When you reach the starting
With this method, the musical data previously on
location you specified in step 3, recording will
the track is overwritten by the newly recorded data.
begin. Play the keyboard and operate controllers
1 Use “Track Select” to select the track that you want such as the joystick to record your performance.
to record.
When you reach the ending location you specified
2 Set the “Recording Mode” to Auto Punch In. (SEQ in step 3, you will return to the starting location,
1.1: Play/REC, Preference page REC Setup) and continue recording.
The musical data that is loop-recorded will be
added to the previously-recorded data.
6 You can also erase specific data even while you
continue loop recording.
If you press the [REC/WRITE] key during loop
recording, all musical will be removed from the cur-
3 In “Auto P Start Meas, “Auto P End Meas” specify rently selected track as long as you continue press-
the area that you wish to record. ing the key.
For example if you specify M005–M008, recording By checking the “Remove Data” check box you can
will occur only from measure 5 to measure 8. erase only the specified data. During loop record-
4 In “Location,” specify a location several measures ing, press the note that you wish to delete, and only
earlier than the point at which you wish to begin the data of that note number will be deleted from
recording. the keyboard as long as you continue pressing that
note.
5 Press the [REC/WRITE] key, and then press the
[START/STOP] key. Similarly, bender data will be deleted as long as you
tilt the joystick in the X (horizontal) direction, and
When you reach the starting location you specified
after touch data will be deleted as long as you apply
in step 3, recording will begin. Play the keyboard
pressure to the keyboard.
and operate controllers such as the joystick to record
79
When you are once again ready to record musical 7 Press the [REC/WRITE] key to enter recording-
data, uncheck the “Remove Data” check box. standby mode.
7 Press the [START/STOP] key. 8 Start the external sequencer.
Playback will end, and you will return to the record- The TRITON Le’sequencer will receive the MIDI
ing start location that you specified in step 4. Start message transmitted by the external sequencer,
If Loop All Tracks is selected, normal playback will and will automatically begin recording.
be looped as well. 9 When the song ends, stop the external sequencer.
• Multi (multitrack recording) This instrument’s sequencer will receive the MIDI
Stop message transmitted by the external sequencer,
Multitrack recording allows you to simultaneously
and will automatically stop recording. You can also
record onto multiple tracks, each with a different
press the [START/STOP] key on this instrument
channel. This method can be used with overwrite,
itself to stop recording.
overdub, manual punch-in, and auto punch-in
recording. 0 Playback.
Using the arpeggiator to record multiple tracks In the GLOBAL 2.1: MIDI page, set “MIDI Clock”
simultaneously to Internal.
A multi-track performance using the arpeggiator Set “Tempo Mode” to Auto.
function can be recorded simultaneously using When you press the [START/STOP] key, playback
multi recording (☞p.76). will begin.
When simultaneously recording multiple tracks If the correct sounds do not play immediately after
using the RPPR function playback is started, you may be able to solve the
You can use multitrack recording to simultaneously problem by using the Utility menu command
record the playback of multiple tracks that are being “Event Edit” (SEQ 5.2: Track Edit) to edit the Pro-
triggered by the RPPR function. For the procedure, gram Change data.
refer to “Realtime-recording an RPPR performance”
(☞p.74).
When simultaneously recording multiple tracks of Step recording
MIDI data from an external sequencer, etc. This is a method of recording where you specify the
1 Make sure that the TRITON Le’s MIDI IN and the note timing, note length, and velocity etc. in the LCD
external sequencer’s MIDI OUT are connected by screen, and use the keyboard to input the pitches.
a MIDI cable. (☞p.65)
If they are not connected, turn off the power, make Only note-on/off data can be recorded with this
the connection, and then turn the power back on method.
again. (☞PG p.229)
2 Set the MIDI Clock (GLOBAL 2.1: MIDI, MIDI
page “MIDI Clock”) to External, so that this Event Edit and Create Control Data
instrument will synchronize to the MIDI clock of Note data is the only type of data that can be recorded
the external sequencer (☞PG p.127). in step recording. However there are ways to record
other types of data, aside from the realtime mode. You
can use the Event Edit and Create Control Data func-
tions.
Event Edit is intended as a way to edit previously-
recorded data, but you can also use it to modify pro-
gram numbers or insert control changes.
3 Create a new song, and in the SEQ 1.1: Play/REC, Create Control Data is a function that lets you create
Preference page, check the “Multi REC” check and insert controller data that changes smoothly
box. Set the “Recording Mode” to Over Write. between two specified values over the specified length
4 Select the SEQ 1.1: Play/REC, Program page. of time. This is used to input bend, after touch, and
control change data etc.
For the tracks that you are not recording, set “PLAY/
MUTE/REC” to PLAY or MUTE.
5 In SEQ 3.1: Param1, MIDI page “MIDI Channel,” Realtime-recording to a pattern
specify the MIDI channel for each track.
Here’s how you can use realtime recording to create a
The specified channel of musical data will be pattern. User patterns can be accessed by the RPPR
recorded on that track. It is a good idea to set tracks function in the same way as preset patterns, and can
1–16 to MIDI channels 1–16. (This is the default set- be copied to or placed in a song. Playback data from a
ting.) Also make sure that “Status” is set either to track can also be copied to a pattern.
INT or BTH.
Before you begin recording a pattern, turn off the
6 Press the [LOCATE] key to set the location to memory protect setting in Global mode (☞p.42).
001:01.000.

80
When realtime-recording a pattern, a pattern of the
specified number of measures will playback repeat- Using the arpeggiator for pattern recording
edly, allowing you to continue adding musical data to If the arpeggiator is set to operate for the track that is
it. selected for “Track Select,” you can turn on the [ARP
1 Create a new song, and load the template song ON/OFF] key and record the performance of the
“P02: R&B.” (☞p.63) arpeggiator into the pattern.
For details on arpeggiator settings, refer to p.74 and PG
2 Access the SEQ 5.1: RPPR, Pattern page.
p.81.

Control data in pattern recording


To record control data in a pattern, you should
restore the control data to its normal value within
3 For “Track Select,” select track T02: Bass. the pattern. If you fail to restore the normal value,

Basic functions
unnecessary control data may remain in a “stuck”
4 Set “Pattern Bank” to User, and set “Pattern
position when you place the pattern in a song or
Select” to U00.
use the RPPR function to play the pattern. How-
User patterns U00–U99 can be created for each song. ever, the following control data will be automati-
5 Select the Utility menu command “Pattern cally reset to the following values when the song
Param.”. or RPPR function finishes playing the pattern, or
when playback is halted.

Controller Reset value


Modulation 1 (CC#01) 00 (zero)

Sequencer mode
Modulation 2 (CC#02) 00 (zero)
Expression (CC#11) 127 (max)
A dialog box will appear.
Ribbon controller (CC#16) 64 (center)
Damper switch (CC#64) 00 (zero)
Sostenuto switch (CC#66) 00 (zero)
Soft switch (CC#67) 00 (zero)
6 Set the number of measures in the pattern to a EG sustain level (CC#70) 64 (center)
“Length” of 04 (four measures), and set “Meter” to Resonance level (CC#71) 64 (center)
a time signature of 4/4. Press the [F8] (“OK”) key.
EG release time (CC#72) 64 (center)
7 Set the “Resolution.” For this example, select " EG attack time (CC#73) 64 (center)
(16th note).
Low pass filter cutoff (CC#74) 64 (center)
8 Begin realtime recording. EG decay time (CC#75) 64 (center)
You can record in the same way as you did when LFO1 speed (CC#76) 64 (center)
recording tracks with Loop All Tracks. (☞p.79) LFO1 depth (pitch) (CC#77) 64 (center)
Press the [REC/WRITE] key, and then press the LFO1 delay (CC#78) 64 (center)
[START/STOP] key. Filter EG intensity (CC#79) 64 (center)
After the pre-count, pattern recording will begin. SW1 modulation (CC#80) 00 (zero)
Play the keyboard and operate the joystick and SW2 modulation (CC#81) 00 (zero)
other controllers to record your performance.
Channel after touch 00 (zero)
When you reach the end of the pattern, you will
return to the beginning of the pattern and continue Pitch bender 00 (zero)
recording. If you continue recording, the newly
recorded data will be added to the previously-
recorded data.
9 If you want to delete specific data while you con-
tinue pattern recording, you can press the [REC/
WRITE] key or check the “Remove Data” check
box.
For details refer to step 6 of “Loop All Tracks”
(☞p.79).
0 Press the [START/STOP] key to stop recording.
If you made a mistake or decide to re-record, press
the [START/STOP] key to stop recording, and press
the [COMPARE] key.

81
Sampling mode
The separately sold EXB-SMPL option can be installed Time Slice
in the TRITON Le to add high-performance mono/ste- This automatically detects the attack portions of a
reo sampling functionality. kick or snare etc. in a rhythm loop sample (a looped
pattern of drums etc.), and divides it into separate
rhythm instrument sounds. A pattern correspond-
ing to the divided samples is created automatically,
Features of EXB-SMPL so that you can immediately use the Sequencer
mode RPPR function to play the pattern and adjust
• 48 kHz 16 bit linear mono/stereo sampling. the tempo without changing the pitch. You can also
• The EXB-SMPL includes a 16 Mbyte 72 pin SIMM do things such as adjusting the pitch of only the
sample data (waveform data) memory module. snare, replacing it with a different sample, or chang-
When this memory is installed in the TRITON Le, ing the playback timing on the sequencer, in this
you can sample for approximately 2 minutes 54 way creating a new rhythm loop based on the
seconds in monaural, or approximately 1 minute 27 rhythm loop you started with. (Stereo samples are
seconds in stereo. By installing 72 pin SIMM supported.)
modules, you can expand the memory to a
maximum of 64 Mbytes, which will allow you to Time Stretch
record up to four 2 minute 54 second samples in This lets you modify the tempo without changing
mono (or four 1 minute 27 second samples in the pitch of a sample. You can select either Sustain-
stereo), for a maximum total of approximately 11 ing (suitable for sustain-type instruments such as
minutes 39 seconds of sampling time strings or vocals), or Slice (suitable for rhythm
(approximately 5 minutes 49 seconds in stereo). loops on decay-type instruments such drums). Ste-
(For details on expansion, refer to PG p.253.) reo samples are supported.
• A maximum of 1,000 multisamples and 4,000 Crossfade Loop
samples can be created. An important looping tool that helps smooth out
• In Media mode you can load multisample/sample irregularities in long loops which contain complex
data from a SmartMedia or SCSI media. material. By executing Crossfade Loop, you can
• Korg format or Akai (S1000/3000 samples, mapped eliminate this problem and create natural-sounding
multisamples only) format sample data, and AIFF loops.
or WAVE format sample data can be loaded. (Once
data has been loaded into the TRITON Le, it will all Link (with Crossfade)
be treated as Korg format sample data.) This allows you to join two samples into a single
Sample data created on the TRITON Le can be sample. You can also crossfade the overlapping por-
exported (output) as an AIFF or WAVE format sam- tion of the samples at this time, so that the volume
ple file. changes gradually, producing a natural-sounding
• The external audio source that you are sampling transition.
can be processed by the one insertion effect to • The BPM Adjust function (playback pitch adjust)
apply effects such as a compressor or EQ. The LFO lets you adjust the playback pitch of each index so
frequency or delay time of the effect can be that the loop frequency matches the desired BPM
specified as a BPM value, which is highly effective value.
when sampling phrase loops etc. • Start, loop start, and end addresses can be specified
• Both auto sampling and manual sampling can be in units of a single sample. Loop tune, reverse
performed. With auto sampling, recording will playback, and loop lock functions are also
begin automatically when the input level exceeds a supported.
specified threshold. In either method of sampling, • The Use Zero function automatically searches for
you can make pre-trigger settings. zero-cross points, making it easy to find the
• The audio input supports both mic and line level beginning or end of the waveform, or locations that
signals. will not produce noise when the sample is played
• Data you sampled can be played immediately from the back.
keyboard of the TRITON Le or by pressing the • The grid function displays a BPM-based grid on
[AUDITION] key. It is also easy to convert sampled the waveform display, helping you to create loops
data into a program, and use it as material for the or make waveform edits that match the desired
TRITON Le’s HI synthesis system. Multisamples/ BPM.
samples that have been converted into a program can • Each multisample allows you to create up to 128
be used in a combination or song. indices. Each index consists of a sample
• The waveform can be viewed in the LCD screen, assignment, a key zone, an original key, a playback
and edited by a variety of waveform editing pitch, and settings such as level.
commands that include rate convert (down- • The “Keyboard & Index” display lets you edit a
sampling) and reverse playback. multisample while viewing the assignments and
The following commands are also provided. zones of each sample.

82
• Sample names and multisample names of up to 16 The “fixed intervals” mentioned above are generally
characters can be assigned. Sample names and expressed as the “sampling frequency.” 48 kHz (kilo-
multisample names can also be viewed in Media hertz) means that sampling is performed 48,000 times
mode (☞PG p.141 “Translation”). each second, and that the interval is 1 (second)/48,000
(times) = approximately 0.00002083 (seconds) =
approximately 0.02083 mS (millisecond).
The higher the sampling frequency is, the closer to the
How Sampling mode is organized original analog signal the waveform in memory will
be.
Each level is read, and converted into digital data. The
accuracy at this time is determined by the bit resolu-
In Sampling mode tion. This process converts an analog signal with infi-
nite resolution into a digital signal with finite
• An external audio signal from an external audio
resolution. With 16 bit resolution, each level is indi-
device or microphone connected to the AUDIO
cated in 65,536 steps (the sixteenth power of two).
INPUT 1 and 2 jacks is passed through an analog/

Basic functions
The greater the bit resolution is, the closer to the origi-
digital convertor, and recorded (sampled).
nal analog signal the waveform in memory will be.
• You can edit the waveform and loop settings etc. of
sample data that you sampled or that you loaded 48 kHz 16 bit sampling is the same quality as in audio
from a SmartMedia, CD-ROM etc., in Media mode. devices such as DAT. A CD uses 44.1 kHz 16 bit sam-
• You can assign samples to the keyboard to create a pling, which is a slightly lower sampling frequency.
multisample. These samples and multisamples can
be easily converted to a program using the Utility
menu command “Conv. To Program,” and these
programs can be used immediately in a
combination or a song. Samples and Multisamples

Sampling mode
Samples
Sampling frequency and bit resolution The data that is recorded (sampled) into internal mem-
As shown in the diagram, sampling reads the level of ory or loaded from a file is referred to as a sample or
the analog signal at fixed intervals along the time axis, sample file. Samples consist of the actual waveform
and stores the levels in memory as digital data. data, and parameters that specify how the data will be
Level played back, such as Start, Loop Start, and End
Address. Samples can be used in multisamples and
drum kits.
Analog waveform The TRITON Le can hold a maximum of 4,000 samples
Time
in its internal memory.

The TRITON Le can share a single waveform


among multiple samples. This allows you to create
48kHz
Level
= 48,000 times every second
multiple samples with different playback
= 0.0208 mS cycle addresses from the same waveform without wast-
ing internal memory. For example, suppose that
Sampled digital 16bit you have waveform data that records a voice say-
waveform Time = 65,536 levels
of data ing “One-Two-Three.” This single piece of wave-
form data could be shared by three samples, with

Insert Effect RAM (SIMM memory):


16 MB (expandable to 96 MB)
AUDIO INPUT jack Analog/digital Digital/analog AUDIO OUTPUT
convertor convertor jack

ADC Sample 0000 ... 3999 DAC

Analog signal Digital signal Digital signal Analog signal

Used by combinations
and songs Program

Multisample 000 ... 999

RAM (internal memory) SmartMedia, SCSI media (Media mode)

83
the playback of sample A producing “One-Two-
Three,” sample B producing “One-Two,” and sam- Sampling
ple C producing “Two-Three.” (☞PG p.96).
The multisample and sample data in the Sampling
Multisamples mode is not backed up when the power is turned
A multisample consists of settings that make one or off. If you wish to keep this data, you must save it
more samples sound in different areas of the keyboard. onto a SmartMedia or external SCSI device before
A multisample consist of between one and 128 turning off the power.
“indexes.” Each index contains parameters that specify After the power is first turned on, memory will not
the sample that will playback, the zone for which it contain any multisample or sample data. You must
will playback, the original pitch key, the playback first load previously-saved data before you can
pitch, and level etc. playback or edit any sample data.

Using multisamples Preparations for sampling


When sampling an instrument that is able to produce a
wide range of pitches, such as a piano, recording just
Connections and settings for a monaural
one sample and using it (playing it back) over the
entire pitch range will not produce a natural-sounding source
result. By using a multisample you can record separate When sampling in monaural from a mic, the output of
samples for each pitch range, and assign these samples an external audio device or mixer, or an instrumental
to their respective pitch ranges to avoid any unnatural sound such as guitar or synthesizer, connect the source
sounds during playback. For example, you might to the AUDIO INPUT 1 or 2.
record one sample per octave, and assign each of these
Guitars and other instruments with active pickups
samples to an index (keyboard area). All of the instru-
can be input directly, but instruments with passive
mental sounds in the TRITON Le’s internal preset
pickups (i.e., without internal preamps) cannot be
ROM multisamples are constructed in this way.
recorded at an appropriate level, due to imped-
By assigning multiple samples such as phrase samples ance mismatching. When connecting such instru-
or rhythm loops to a multisample and arranging them ments, use a preamp or effect device.
across the keyboard, you can play multiple samples
simultaneously. Since a different phrase could be
assigned to each key, you can perform just as though
you were using a pad-type sampler. Alternatively, EXB-SMPL

these samples could be assigned at one-octave inter-


vals, and played as phrase variations with different
playback pitches. MIC

The TRITON Le can hold a maximum of 1,000 multi-


samples in its internal memory. 1 Connect the mic or external audio device to the
A multisample can be selected as the oscillator for a AUDIO INPUT 1 jack.
program, and played as a program. In a combination,
they can be combined with preset programs, and used 2 Set the AUDIO INPUT [MIC/LINE] switch to
in a multi. They can be used with the arpeggiator to match the input source. For input sources with a
produce interesting results (for example, by using the low input level, such as a microphone, select the
arpeggiator to automatically play sound effects or spo- MIC position. For other sources, select the LINE
ken samples). position.

The AUDIO INPUT [MIC/LINE] switch affects


Multisample both the AUDIO INPUT 1 and 2 jacks.
Index001 Index002 Index003 Index004
Top Key Top Key Top Key Top Key
3 The [LEVEL] knob will be adjusted later. For now,
set it near the center.
4 In Sampling mode 1.1: Recording, select the Input/
Pref page.
Index 001 Index 002 Index 003 Index 004

0000: 0001: 0002: 0003:


Sample A Sample B Sample C Sample D

Multisample Program OSC (Single/Double)

Sample
5 In “Input 1,” set the various parameters that spec-
Drum Kit Program OSC (Drums)
ify how the signal from the AUDIO INPUT jacks
will be received by the TRITON Le.
• “Lvl” adjusts the volume. Normally you will set
this to 127.

84
• “Pan” adjust the panning. For this example set it to 4 Use the [LEVEL] knob to adjust a suitable input
L000. level. (Refer to step 6 of “Connections and set-
• Set “BUS.” If you wish to use the TRITON Le’s tings for a monaural source”)
insert effect to process the incoming sound, select The [LEVEL] knob adjusts both AUDIO INPUT 1
IFX here. For this example, select L/R. The input and 2.
sound will be sampled just as it is.

Be aware that when you change the setting from Using an insert effect
Off to L/R or IFX, the volume level in the AUDIO The TRITON Le’s insert effect can be applied to the
OUTPUT L/MONO and R jacks and in the head- sound that is being input from the AUDIO INPUT 1
phones may rise excessively. and 2 jacks, allowing you to record a sample with
effects applied. As an example, we will explain the pro-
“Input 1” controls the AUDIO INPUT 1 jack, and
cedure for applying an insert effect to a stereo source
“Input 2” controls the AUDIO INPUT 2 jack.
and sampling the result.
The settings above will cause the sound from the 1 Make the settings of step 1 and 2 in “Connec-
AUDIO INPUT 1 jack to be output from the

Basic functions
tions and settings for a stereo source.”
AUDIO OUTPUT L/MONO jack and from the L
channel of the headphones. 2 Set the various “Input 1” and “Input 2” parame-
ters.
6 Use the [LEVEL] knob to set an appropriate level.
• Set “BUS” to IFX for both Input 1 and 2.
If an overload occurs in the input stage of the • Set “Lvl” and “Pan” to the same settings as in step
TRITON Le, “ADC OVER!” (AD converter over- 3 of “Connections and settings for a stereo
load!) will be displayed above the “Recording source.” With these settings, the stereo source will
Level” slider. Adjust the [LEVEL] knob or the out- be sent to insert effect (IFX).
put level of the external audio device just low
3 Use the [LEVEL] knob to adjust to a suitable input
enough so that the “ADC OVER!” does not appear

Sampling mode
level. (Refer to step 6 of “Connections and set-
(i.e., the maximum level that does not cause an
tings for a monaural source.”)
overload).
4 Select the 7.1: Insert Effect, Setup page.
Connections and settings for a stereo source
When sampling in stereo from a stereo mic, the output
of an external audio device or mixer, or synthesizer,
connect the source to the AUDIO INPUT 1 and 2 jacks.

Make settings for “Insert Effect,” “IFX On/Off,”


and the “Pan (CC#8)” of the sound after it has
EXB-SMPL
passed through the insert effect. (☞PG p.27, 119)
Examples of settings using the insert effect are given
in “Mode (Sample Mode)” (☞PG p.91).
CD player
L

AUX OUT

R Manual sampling
1 Connect the L source to AUDIO INPUT jack 1, and There are two methods of sampling: manual and auto.
the R source to jack 2. In manual mode, sampling is started by pressing the
2 Make the settings described in steps 2–4 of [START/STOP] key from the recording standby condi-
“Connections and settings for a monaural source.” tion (entered by pressing the [REC/WRITE] key once).
For the sampling procedure in auto mode, refer to
3 Set the “Input 1” and “Input 2” parameters to
“Auto sampling” (☞p.86).
specify how the signal from the AUDIO INPUT
jacks will be received by the TRITON Le. 1 Select the 1.1: Recording, Recording page.
• “Lvl” adjusts the volume. Set both Input 1 and 2 For “Mode (REC Mode),” select Manual.
Input 2 to 127. This will select manual recording mode.
• “Pan” adjust the panning. Set Input 1 to L000, and
Input 2 to R127.
• Set “BUS.” For this example, select L/R for both
Input 1 and Input 2.
The settings in the example above will cause the
sound from the AUDIO INPUT 1 and 2 jacks to be
output in stereo from the AUDIO OUTPUT L/
MONO and R jacks and from the headphones. The
sound of AUDIO INPUT 1 will be output from the
left, and AUDIO INPUT 2 from the right.

85
3 Select the 1.1: Recording, Sample page. 8 Press the [REC/WRITE] key.

4 For “MS (Multisample Select),” select 000: If an input signal is present, the Recording Level
NewMS____000. [dB] meter will move according to the “Pan” setting
Immediately after the power is turned on, 000: in “Input1” and “Input2.” This is the recording-
NewMS______000 will be created automatically. standby condition.
Use the numeric keys [0]–[9] to input the multisam- In the case of “Connections and settings for a mon-
ple number that you wish to record, and press the aural source,” the L meter will move. In the case of
[ENTER] key. “Connections and settings for a stereo source,” the L
If you select a new number, the Create New Multi- and R meters will move.
sample dialog box will appear. Press the [F8] (“OK”) Use the “Recording Level” slider to adjust the level.
key, and the new multisample will be created. For this example, set the slider to the 0.0 setting
(☞PG p.92).
9 At the moment that you wish to begin sampling,
press the [START/STOP] key.
To specify the name, use the Utility menu command Sampling will begin.
“Rename MS.” 0 Sampling will stop when you press the [START/
5 In “SMPL (Sample Select),” select the sample that STOP] key.
you wish to record. For this example, select ----: ---
Sampling will stop automatically when the
No Assign----.
remaining amount of memory reaches zero.
You may sample even in this condition. The sample
will be automatically recorded to a vacant sample A Either press the [AUDITION] key, or press the C2
number. key.
If you wish to start by specifying the sample num- The sample you recorded will play back.
ber to be sampled, use the [INC]/[DEC] keys or
If you wish to continue recording samples, repeat
numeric keys [0]–[9] and [ENTER] key to specify the
steps 7–0.
desired number.
A sample will be created when you record. A sam-
ple name such as 0000: NewSample_0000 will be
assigned automatically. This name can be edited Auto sampling
using the Utility menu command “Rename SMPL.”
With auto mode, sampling will begin when the input
If you execute sampling when an existing sample signal exceeds the specified threshold level.
such as 0000: NewSample_0000 is selected, the new
sample will be sampled to a vacant sample number. 1 Select the 1.1: Recording, Recording page.
You do not need to be concerned with this setting
even when you continue recording successive sam-
ples.
6 Select the 1.1: Recording, Recording page.

2 For “Mode (REC Mode),” select Auto.


This will select auto recording mode.
3 Set the “Threshold.”
When the input signal exceeds the “Threshold”
7 Set the “Mode (Sample Mode).” level, sampling will begin automatically. The black
Monaural source: If the “Input1” setting “Pan” is triangles at both sides of the Recording Level [dB]
L000, set “Mode (Sample Mode)” to L-Mono. If meter display will indicate the specified level.
“Pan” is R127, set “Mode (Sample Mode)” to R-
Mono. When you use auto sampling, the attack portion of
Stereo source: Set the “Mode (Sample Mode)” to the sampled input sound may be lost, depending
Stereo. on the “Threshold” setting. If this occurs, you can
use “Pre Trigger” to sample the sound that occurs
before sampling actually begins. Normally you
will set this to 0, and use it only when necessary.

4 Select the 1.1: Recording, Sample page.


5 Select the “MS (Multisample Select).”

86
(☞“Manual sampling” step 4)
6 Select the sample in “SMPL (Sample Select)” that
you wish to record.
(☞“Manual sampling” step 5)
7 Select the 1.1: Recording, Recording page. Immediately after the power is turned on, “Pstn
8 Set the “Mode (Sample Mode).” (Position)” will be R (Right), “Range (Zone
Range)” will be 012 (Keys), and “Orig.K (Original
(☞“Manual sampling” 6 7)
Key Position)” will be Btm (Bottom), so that
9 Press the [REC/WRITE] key. indexes will be created as shown below.
0 Press the [START/STOP] key.
When the input signal exceeds the “Threshold”
level, sampling will begin automatically.
A Sampling will stop when you press the [START/ If you set “Range (Zone Range)” to 1(Key), an

Basic functions
STOP] key. index will be created for each note of the keyboard.
It is convenient to use 1(Key) when you wish to
Sampling will end automatically if the remaining sample numerous takes in succession, such as
amount of memory reaches zero. when recording phrases or rhythm loops.
B Either press the [AUDITION] key, or press the C2
key.
The sample you recorded will play back.
4 Select “Index.”
“Index” can also be selected by holding down the

Sampling mode
Creating multisample indexes and [ENTER] key and playing a note on keyboard. For
this example, select 001.
sampling
5 Assign a sample to the “Index.”
Here’s how to create indexes for a multisample, and If sampling RAM memory already contains sam-
how to assign a sample to each index. ples, use “SMPL” (Sample Select) to select the
1 Select the 1.1: Recording, Sample page. sample and assign it.
MS(Multisample Select) Index Keyboard & Index If you want to record a new sample, you can sam-
ple it now.
The sample you record will be automatically
assigned to the index you selected in step 4. (☞For
the sampling procedure, refer to “Manual sam-
pling” or “Auto sampling.”)
Create
The assigned sample will sound when you play the
keyboard in the range of the index to which the
2 Select “MS (Multisample Select),” and create a
sample is assigned, or when you press the [AUDI-
multisample. (Refer to “Manual sampling” 4 )
TION] key.
3 Press the [F6] (“CREATE”) key to create an index.
6 Repeat steps 4 and 5 to assign a sample to each
Immediately after the power is turned on, the index.
“Index” will be indicated as 001/001. This means
that there is only one index. The range that is high- The number and order of the indexes in a multi-
lighted in the keyboard & Index is the range of the sample, the range of each index, and the original
selected index. key position can be freely changed later if desired.
(☞p.90 “Multisample editing”)
Press the [F6] (“CREATE”) key several times. Each
time you press it, an index will be created. The key-
board display will indicate the zone and original
key location of each index. The highlighted area is Creating multiple samples
the currently selected index. In the example procedure described above, several
indexes were created (by pressing the [F6] (“CRE-
The index that is created when you press the [F6] ATE”) key several times), and then samples were
(“CREATE”) key will be created according to the assigned to each “Index.”
1.1: Recording, Input/Pref page Create settings.
(These settings can also be made in 4.1: Multisam- As an alternative method, it is also possible to create
ple, Pref. page Create Zone Preference. ☞PG p.93, one index, sample into it, and then repeat these two
117) steps.
1 Press the [F6] (“CREATE”) key once to create an
index.
2 Record a sample.

87
The recorded sample will automatically be assigned 4 Specify the start address in “S (Start),” the loop
to the index you created in step 1. start address in “LpS (Loop Start),” and the end
3 Repeat steps 1 and 2. address in “E (End).”

This is an efficient way to record multiple samples. Select “S (Start)” (highlighted), and use the
(☞p.35) [VALUE] dial or other VALUE controllers to modify
the value. The corresponding vertical line will
move. Set “LpS (Loop Start)” and “E (End)” in the
same way. In the example shown below, “S (Start)”
is set immediately before the first waveform, “LpS
(Loop Start)” is set immediately before the second
Loop settings waveform, and “E (End)” is set as desired.
S (Start) LpS (Loop Start) E (End)
With the default settings after the power is turned on,
the sounds you sample will automatically be looped
(1.1: Recording, Input/Pref page “AutoLoop (Auto
Loop On)” On)
To edit the loop and other playback address settings
for the sample, use the 3.1: Loop Edit, Edit2 page. By using the ZOOM ([F4] key–[F7] key) you can
change the range that is displayed. When “S
1 Select the sample for which you wish to make (Start)” is highlighted, zoom will be performed
loop settings. from the start address (☞PG p.99).
To select the sample, use the “SMPL (Sample
Select)” or “Index” parameters of 3.1: Loop Edit,
Edit 1 page or of the 1.1: Recording, Sample page.
(☞p.87)

If you use “SMPL (Sample Select)” to select the


sample, be aware that the assignment to the index If the “Zero (Use Zero)” check box is checked,
will also change. only those addresses where the waveform data
crosses the zero level will be found automatically
2 In the 3.1: Loop Edit, Edit1 page, use the “Lp
when searching, and can be set. This lets you eas-
(Loop)” check box to turn loop playback on/off for
ily make address settings where noise is less likely
the sample.
to occur when looping.
Looping will be turned on if the box is checked.
This will operate between the addresses you specify 5 If necessary, use the Utility menu command
in step 4. “Truncate” to delete unwanted data that falls out-
side the start (or loop start) and end addresses.
Loop On: S→E→LpS→E→ (LpS→E is repeated)
Loop Off: S→E

Set the parameters, and press the [F8] (“OK”) key


to execute the operation. (☞PG p.100)
3 Select the 3.1: Loop Edit, Edit2 page.
For cautions on the “Save to No.” and “Overwrite”
check boxes, refer to “About “Overwrite”” (☞PG
p.99).

The waveform data of the currently selected sample The grid display
will be displayed. To hear this data, play a key in the
keyboard range that is highlighted in “Keyboard & The Utility menu command “Grid” overlays the wave-
Index.” Alternatively, you can press the [AUDI- form display with a grid based on the BPM tempo
TION] key to play back the data. value. This makes it easy to make loop settings that are
synchronized to the tempo.
In the case of a sample that was sampled with a
“Mode (Sample Mode)” setting of Stereo, the In the same way, the grid display can also be used
waveform display will alternate between L and R in 2.1: Sample Edit, Edit2 page. The grid can help
each time you press the [F3] (“L/R”) key. At this you to edit the waveform in synchronization with
time, the upper right of the display will indicate the tempo.
[L] or [R]. 1 Select the Utility menu command “Grid”.

88
The following dialog box will appear.
Sample (waveform data) editing
Editing the waveform data of the sample is done in 2.1:
Sample Edit. You can use commands such as cut, copy,
Check “Grid,” set “Resolution” as desired, and and normalize to edit the waveform data.
press the [F8] (“OK”) key. The dotted grid lines will
appear. 1 Select the sample that you wish to edit.
Use “SMPL (Sample Select)” or “Index” in the 2.1:
Sample Edit, Edit 1 page or the 1.1: Recording, Sam-
ple page to select the sample. (☞p.87)

If you use “SMPL (Sample Select)” to select the


sample, be aware that the index assignment will
2 Set “! (Grid Tempo)” to the desired BPM tempo also change.
value.

Basic functions
2 Select the 2.1: Sample Edit, Edit2 page.
3 Set the end address so that it coincides with a dot-
ted line of the grid.
This will cause the loop interval to be the same
length as the BPM value.
The grid display will be based at “LpS (Loop Start)”
if looping is on. If looping is off, the grid will be The waveform data of the currently selected sample
based at “S (Start).” will be displayed.
4 To hide the grid display, select the Utility menu
The waveform display of a sample that was sam-

Sampling mode
command “Grid”, uncheck “Grid,” and press the
pled with a “Mode (Sample Mode)” setting of
[F8] (“OK”) key.
Stereo can be switched between the L and R wave-
The grid is displayed according to the playback forms by pressing the [F3] (“L/R”) key. When you
pitch of the base key (the key shown in gray in the do so, [L] or [R] will be displayed alternately in the
“Keyboard & Index” area). upper right.
You can select the base key by holding down the
3 Use “S (EditRangeStart)” and “E (EditRangeEnd)”
[ENTER] key and playing a note on the keyboard.
to specify the range that you wish to edit.
The selected range will be highlighted.

If you wish to hear the sound of the selected range,


press the [START/STOP] key. The selected range
will play back at the pitch of the base key (the key
shown in gray on the keyboard display). You can
select the base key by holding down the [ENTER]
key and playing a note on keyboard.
When you play a key to which the sample is
assigned (the highlighted range of the keyboard dis-
played in “Keyboard & Index”), and the sample will
be played back according to its loop settings.

The procedure for using the ZOOM and “Zero


(Use Zero)” check boxes is the same as for 3.1:
Loop Edit.

4 From the list of Utility menu, select the desired


editing command. Make the appropriate settings
in the dialog box, and press the [F8] (“OK”) key to
execute.
For details on each command (☞PG p.99).

89
A note on saving samples Multisample editing
In the dialog boxes of some Utility menu, there is a
“Save to No.” setting that lets you specify the sample Editing a multisample is accomplished with a number
number to which the edited sample will be saved. At of operations i.e. creating indexes for the multisample
this time, a vacant sample number will be selected and assigning a sample to each index, editing opera-
automatically, so you will change the setting only if tions such as deleting, copying, and inserting indexes,
you want to specify the save destination number. and detailed settings such as sample level and pitch for
If you check “Overwrite” in the dialog box of the com- each index.
mand, the data prior to editing will be deleted, and Multisample editing is performed in 4.1: Multisample.
will be overwritten by the edited data. Normally, you Basic settings such as creating indexes and assign-
will execute the Write operation without checking this, ing samples can also be made in the 1.1: Record-
so that the unedited data is preserved. When you are ing, Sample page.
completely finished with your editing, you can use the
Utility menu command “Delete SMPL” to delete
unneeded samples.
Editing the indices
In Sampling mode, there is no Compare function
that lets you compare the data before and after To change the number or order of the indexes, use the
editing. INSERT, CUT, COPY, and CREATE.
If you wish to preserve the unedited state of the
1 Select 4.1: Multisample.
multisample or sample, use “Copy SMPL” or
“Copy MS” (☞PG p.94, 95) to copy the multisam-
ple or sample before you begin editing it.
For some Utility menu commands in 2.1: Sample
Edit or 3.1: Loop Edit, you can execute without
checking the “Overwrite” setting in the dialog
box, so that the sample data previous to editing 2 Use “MS (Multisample Select)” to select the multi-
will be preserved. sample that you wish to edit.
3 Select the “Index.”
You can also select this by holding down the
[ENTER] key and playing a note.
4 Press the keys corresponding to the following
function buttons to edit the multisample by
changing the number or order of the indexes.
To delete the selected index, press the “CUT.”
The “INSERT” is used in conjunction with the Cut
and “Copy.” The contents of the index that was Cut
or Copied will be inserted.
The “CREATE” has the same function as the “CRE-
ATE” in 1.1 Recording, Sample (☞p.87 “Creating
multisample indexes and sampling”).

Modifying the settings of an index


1 Make the settings described in steps 1–3 of
“Editing the indices.”
2 Set parameters for the selected index.
(☞PG p.116)
• Changing the Edit1 page “Top K (Top Key)” will
change the upper limit of the zone. Simultaneously,
the lower limit of the next-numbered index will
also change.

90
• If you check “Constant Pitch” in the Edit2 page,
playing any note within the zone of an index will Using Time Slice to divide a sam-
always sound the original pitch.
• Edit2 page “Pitch” adjusts the sample pitch for ple, and playing it in Sequencer
each index. You can use the Utility menu command
“Pitch BPM Adj.” to set the loop interval to a mode
desired BPM value (☞PG p.117).
Time Slice is a function that detects the attack of the
kick or snare etc. in a rhythm loop sample (a sample
consisting of a looped pattern of drums etc.), and auto-
matically divides it into separate instrumental sounds.
Each of the divided instrumental sounds is made into a
sample of its own, and then automatically expanded
into a multisample and program. Pattern playback
data for the Sequencer mode using the divided sam-
ples is also created automatically.

Basic functions
Converting a multisample to a The time-slices sample can be used in the following
ways by the song of Sequencer mode.
program • Multiple rhythm loop samples of differing tempo
The Utility menu command “Conv. To Prog” can be can be matched to the same tempo without
selected and executed in the various pages of 1.1: changing their pitch.
Recording, in 2.1: Sample Edit, in Edit 1 of 3.1: Loop • You can change the tempo in realtime without
Edit, in the various pages of 4.1: Multisample, and in affecting the pitch.
5.2: Ctrl Setup. When you execute this utility, the state As an example, we will describe how a rhythm loop
of the currently selected multisample will be converted sample can be time-sliced in Sampling mode, and then

Sampling mode
into a program. how the rhythm loop sample can be played in
In Program mode you can make filter, amp and effect Sequencer mode.
settings etc., and play the sample as a program. The You will need to provide rhythm loop samples of
resulting program can be used in a combination or drums etc. You can either record these on the
multi. TRITON Le, or load them in Media mode. Initially, you
For details on using the Utility menu command “Conv. should try this using a one-measure pattern in 4/4
To Prog,” refer to p.37 and PG p.97. time with a fairly simple beat, and record the pattern as
a monaural rhythm loop sample.
For this example, we will use a 120 BPM rhythm loop
Using samples in a drum kit sample.
A sample you created in Sampling mode can be used 1 Select “SMPL (Sample Select)” 120 BPM rhythm
as one of the instruments in a drum kit. In the GLO- loop sample.
BAL 5.1: DKit, High Sample page and Low Sample
page, set “Drumsample Bank” to RAM, and use Play back the sample, and verify that the beats that
“Drumsample” to select the sample that you created. you want to loop are played cleanly. If they are not
played cleanly, make the appropriate settings for
the start address “S (Start)” and end address “E
(End),” and execute the Utility menu command
“Truncate” (☞p.39, 88).

2 Access the SMPL 3.1: Loop Edit, Edit 2 page.

3 Select and execute the Utility menu command


“Time Slice.”
Press the [F8] (“UTILITY”) key to access the Utility
menu, and press the [F7] key to select “Time Slice.”

91
Press the [F8] (“OK”) key. The Set Sample Tempo 9 Press the [SEQ] key to enter Sequencer mode, and
dialog box will appear. set “Song Select” to 000.

4 Specify the number of quarter-note beats in the


sample, and its tempo.
If you know the BPM, set “Source BPM.” The following song data that you specified in steps
If you do not know the BPM, set “Beat” and the 6–8 will be automatically set/created.
BPM will be calculated automatically. Since in this • 1.1: Play/REC, Play/REC
example we do know the beat, set “Source BPM” to Song: 000, Tempo: 120
120. • 1.1: Play/REC, Prog..8
5 Press the [F8] (“OK”) key. Track01 Program: D064
• 1.2: Loop, Track PlayLoop
The sample will automatically be sliced, and a dia-
Loop On: On, Loop Start Meas: 1, Loop End
log box will appear.
Meas: 1
• 5.2: Track Edit, Track01: playback data (D2–)

When you play the keyboard, C2 will play the origi-


nal sample (Source), and D2 and subsequent keys
will play the divided sample. You can change
“Index” and press the [AUDITION] key to play the 0 Press the [START/STOP] key to start playback.
sample that is selected by “Index.” Try setting “! (Tempo)” to (for example) 100. Notice
While listening to each divided sample, adjust that the pitch does not change even if you change
“Sensitivity” so that each drum strike or other the playback tempo.
rhythm instrument sound is divided into its own
If the beat of the rhythm loop sample is not repro-
sample. In some cases, it may not be possible to slice
duced correctly or if noise becomes obtrusive
the sample cleanly even if you adjust “Sensitivity.”
when you change the tempo, the problem is that
If the attack of the next sound is included in the end
the slice settings in step 5 were not made opti-
of the preceding sample, or if one sample contains
mally. The quality of the result when the playback
two notes, you will need to edit the samples. (☞PG
tempo is modified is significantly affected by how
p.109)
cleanly each individual rhythm instrument was
6 Press the [F6] (“Save”) key. divided. Go back to step 5 and adjust the separa-
The save dialog box will appear. tion of each sample.

In some cases the results may not sound natural.


For example, regions of silence between samples
may become apparent when you play back at a
slower tempo, or noise may occur between sam-
ples when the tempo is speeded up. To avoid such
Here you can save the time-sliced sample and the problems, set Stretch “New BPM” or “Ratio” in
automatically-created multisample. You can set the step 6 to the desired tempo, and execute Time
“With” items to specify the save destination for the Stretch to adjust the length of each sample. (☞PG
program that uses the samples and multisample, p.110 9)
and the pattern data for the rhythm loop sample
used by the Sequencer mode.
For this example, set the “With” items as shown in
the illustration. (Default setting)
Set “Program,” ” Seq.Event” to On (checked)
Program: D064
Song: 000, Track: T01
7 Press the [F8] (“Save”) key to execute the save
operation, and you will return to the dialog box of
step 5.
8 Press the [F7] (“Exit”) key to return to the screen of
step 2.

92
Global mode
In Global mode you can make settings that affect the to “VNL”.)
entire TRITON Le, such as user scales, category names, In GLOBAL 5.1: DKit you can edit these drum kits to
drum kits, and user arpeggio patterns (☞PG p.121). create your own original drum kits. You can also create
This chapter will describe the procedure for editing a original drum kits using sample waveforms that you
drum kit. For the procedure of editing an user arpeggio sampled in Sampling mode (if the separately sold EXB-
pattern, refer to “Arpeggiator settings” (☞p.99). For SMPL option is installed) or loaded into internal mem-
details on the parameters of other pages (☞p.113). ory in Media mode.
A drum kit that you edited or created can be written
When you play the keyboard in Global mode, the into one of the user drum kit memory areas 00 (INT)–
TRITON Le will sound as in the previous mode in 23 (User). In Media mode, drum kits can also be saved

Basic functions
which you were previously. Be aware that if you to SmartMedia or other external media.
moved from Sampling mode (if the separately sold
EXB-SMPL option is installed) to Global mode in a
state where the sampling memory contained no
data (such as immediately after the power is Multisample programs and drum kit programs
turned on), playing the keyboard will not produce There are two types of programs: those whose oscilla-
sound. tor uses a multisample, and those whose oscillator
uses a drum kit.
When you move from Sequencer to Global mode, This selection is made by the PROG 2.1 Ed-Basic, Prog
playing the keyboard will sound the program or Basic page “Mode (Oscillator Mode)” setting. To use a
arpeggiator that corresponds to the global MIDI multisample for the program, set “Mode (Oscillator

Global mode
channel (set in GLOBAL 2.1). Mode)” to Single or Double. To use a drum kit, set
The settings that you edit in Global mode are pre- “Mode (Oscillator Mode)” to Drums.
served as long as the power remains on, but will
be lost if not written to memory before the power
is turned off. The data handled in Global mode can About program parameters
be classified into three types: user drum kit set- Just as the character and effect processing of a melodic
tings (GLOBAL 5.1), user arpeggio pattern settings instrument such as piano, organ, trumpet, and strings
(GLOBAL 6.1), and all other global settings (GLO- is fundamentally different from that of percussion
BAL 1.1–4.1). Each of these three types of data can instruments such as drums or timpani, the program
be written into the memory area. In Media mode, parameter structure of a multisample program (“Mode
this data can also be saved on external media such (Oscillator Mode)” to Single or Double) is fundamen-
as a SmartMedia (☞p.44). tally different from that of a drum kit program (“Mode
(Oscillator Mode)” to Drums).
Global mode does not provide a Compare function
The program parameters of a multisample specify fil-
that lets you make before-and-after comparisons
ter and amp settings etc. appropriate for a multisam-
of your editing. Before editing user drum kits, or
ple. For this reason, it is difficult to change such a
user arpeggio patterns, you may wish to use
program for use with a drum kit. Thus if you wish to
“Copy Drum Kit” or “Copy Arpeggio Pattern” to
edit a drum kit, you should first use Program mode to
copy the user drum kit or user arpeggio pattern to
select a program that uses a drum kit (“Mode (Oscilla-
an unused number.
tor Mode)” = Drums), and then move to the GLOBAL
5.1: DKit page.

Creating a drum kit

About drum kits


A drum kit consists of drum samples (PCM drum
waveform data) assigned to each note, with individual
adjustments for pitch and level, etc.
This instrument has 24 drum kit memory areas. With
the factory settings, 00 (INT)–15 (INT) contain pre-
loaded drum kits suitable for a variety of musical
styles. 24 (GM)–32 (GM) contain nine different preset
drum kits that are compatible with the GM2 sound
map. (☞For details on the factory-set drum kits, refer

93
want only to change the pitch, such as with tom or
Editing a drum kit cymbal sounds.
6 Use “Drumsample Bank” and “Drumsample” to
Before editing a drum kit, uncheck the Memory select the drum sample that will be assigned to the
Protect (☞p.42). note number.
1 In PROG 1.1: Play, select the program that you Set the High Drumsample in the High Sample page,
wish to use while editing the drum kit. and the Low Drumsample in the Low Sample page.
Select a drum kit program from the preload pro- If you specify a Low Drumsample, use “Vel.SW
grams etc. If the drum kit that you will be editing is L→H” to specify how velocity will switch between
already being used by a program, select that pro- the High Drumsample and the Low Drumsample.
gram. (In the separate “VNL,” programs that use a (☞7)
drum kit are marked by a d symbol.) Set “Drumsample Bank” to ROM if you want to
select ROM samples. Set “Drumsample Bank” to
Set “Octave” (PROG 2.1–2) to +0 [8']. With a set- RAM if you want to select samples that were
ting other than +0 [8'], the relationship between recorded in Sampling mode or loaded in Media
the keys and the sounds will be incorrect. mode using the EXB-SMPL option.

The effects will sound using the settings of the last-


selected program.
About ROM drumsamples
When you edit a drum kit, all programs that use This instrument contains 413 drumsamples in its inter-
that drum kit will be affected. nal ROM memory.
2 Access the High Sample page of GLOBAL 5.1: You can use the Utility “Select by Category” to select
DKit. ROM drum samples from fifteen categories.
For the drumsample names, refer to the separate
“VNL.”
“Key”

7 Use “Vel. SW L→H” to specify how velocity will


switch between drumsamples.
“Drumsample Bank” “Drumsample”
The drumsample that sounds when you perform
3 In “Drum Kit,” select the drum kit that you wish will depend on the velocity (keyboard playing
to edit. strength) of the incoming note. This is called veloc-
ity drumsample switching.
If necessary, use the Utility “Copy Drum Kit” to If you set this to 001, only the High Drumsample
copy settings from a preload drum kit or a GM will sound.
drum kit.
☞ This is the same type of function as the Velocity
GM drum kits 24 (GM) – 32 (GM) cannot be Multisample Switching in a program. (☞p.49 “High
selected here. (It is not possible to edit or write a Multisample and Low Multisample”)
GM drum kit.) If you wish to modify the settings
8 Set the parameters of the drumsamples that you
of one of the drum kits 24 (GM) – 32 (GM), you
assigned.
can use “Copy Drum Kit” to copy it to 00 (INT) –
23 (User), and then edit the copy. Set the High Drumsample parameters in the High
Sample page, and the Low Drumsample parameters
4 Use “Key” to select the note number that you wish in the Low Sample page.
to edit. You can set parameters such as volume level
The drum sample parameters for the selected note (“Level”), pitch (“Trans,” “Tune”), and tone (“Fc,”
number will be displayed in the High Sample, Low “Reso”). (☞For details on each parameter, refer to
Sample, and Voice/Mix pages. In addition to using PG p.132.)
the VALUE controllers, you can also use the follow- 9 As necessary, repeat steps 4–8 to set drumsample
ing methods to select the note number. parameters for each note number.
• Hold down the [ENTER] key and play a key on the If you wish to use the settings of another “KEY,”
keyboard to input that note number. select the Utility “Copy Key Setup”.
• Use the [F6](“Key–”) and [F7](“Key+”) keys to
0 Select the Voice/Mixer page in GLOBAL 5.1: DKit.
increment or decrement the note numbers.
5 Use “Assign” to specify whether a drum sample
will be assigned to the note number.
If this is checked, a drum sample will be assigned to
that note number. Normally you will check this.
If this is not checked, no drum sample will be
assigned to that note number. That note number
will sound the drum sample assigned at its right,
but a semitone lower. Use this setting when you

94
A Set the “Excl Group (Exclusive Group).”
The “Excl Group (Exclusive Group)” setting is used
when you wish to group drumsamples of the same
type.
For example if the note number to which a open hi-
hat and a closed hi-hat drumsample are assigned
are set to the same exclusive group number, they
will be grouped so that the open hi-hat and closed
hi-hat can not be sounded simultaneously, ensuring
that the hi-hat performance will sound natural.
B Use “BUS” to specify the output routing.
Set this when you wish to send the output of the
drumsample assigned to each note number to its
own insert effect or AUDIO OUTPUT (INDIVID-

Basic functions
UAL) jack 1–2.
For example you can specify IFX for snare-type
sounds, and L/R for the other sounds. If you want to
send only a specific drum sample to AUDIO OUT-
PUT (INDIVIDUAL) 1 and/or 2, select 1, 2, or 1/2.
These settings are valid if “Use DKit Setting”
(PROG 7.1: Ed-InsertFX, BUS page) is checked for
the program that uses this drum kit (☞PG p.26, 156).
C Use “Pan” to specify the stereo output position.
The setting you make here is valid if the “Use DKit

Global mode
Setting” is checked (PROG 5.1: Ed-Amp1, Level/
Pan page) for the program that uses this drum kit.
D Use “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))”
to set the send levels to the master effects.
The settings you make here are valid if the “Use
DKit Setting” is checked (PROG 7.1: Ed-InsertFX,
BUS page) for the program that uses this drum kit.
E Use the Utility “Write Drum Kits” to save the data.
If you wish to change the name of the drum kit
before you save it, use the Utility “Rename Drum
Kit” (☞p.43).
If you turn off the power before writing the data
into memory, your edits will be lost (☞p.44 “Mem-
ory in Global mode”).

95
Media mode

How Media mode is organized Formatting media


In Media mode you can use SmartMedia or a con- SmartMedia or external SCSI media (via the EXB-
nected external SCSI device (if the separately sold EXB- SMPL option) must be formatted.
SMPL is installed) to save or load various types of Newly purchased media or media that has been used
data. You can also make settings related to saving and by another device cannot be used immediately on the
loading functionality. TRITON Le. It must first be formatted for use on the
For details on connecting an external SCSI device and TRITON Le.
setting the SCSI ID, refer to refer to the manual The TRITON Le supports MS-DOS format.
included with the EXB-SMPL. For the formatting procedure, refer to “Format” (☞PG
p.152).

Media must be formatted. SmartMedia or external


Media that can be used SCSI media that was formatted on a device other
than the TRITON Le may not be recognized cor-
SmartMedia™ rectly.

SmartMedia is not included. It must be purchased It is not possible to format media of other than 512
separately. bytes per block (e.g., 640 Mbyte or 1.3 Gbyte MO
disks).
The TRITON Le supports SmartMedia with a power
supply voltage of 3.3V and capacities of 4 M–128
Mbytes, and SmartMedia with ID.
* SmartMedia™ is a registered trademark of the Toshiba Corpora-
tion.
Caution when handling SmartMe-
dia
External SCSI storage media
If the EXB-SMPL option (sold separately) is installed, Handling SmartMedia
the TRITON Le can save data on external SCSI media
• Do not fold or bend the SmartMedia card, or
(maximum 4 GB) such as a hard disk, Zip, Jaz, ORB, or
subject it to strong physical shock or high
MO drive.
temperatures.
When the EXB-SMPL option is installed, an external • Never transport the TRITON Le with SmartMedia
SCSI device of up to 4 GB can be formatted. left in the slot. Vibration may scratch the
SmartMedia, making it unusable.
When you insert media for the first time after turn-
• Do not touch the contacts of the SmartMedia. Doing
ing on the power, or after changing disks, you
so may cause static electricity to damage the card.
must press a function key etc. to make the
After use, keep the card in its static-resistant case.
TRITON Le detect the media. When the disk (or
• Never remove the SmartMedia from the slot while
other media) is recognized, media information will
load, save, or format operations are being
appear in the LCD screen.
performed in Media mode.
If more than one volume of media is currently rec-
ognized, select “Media” and use the [INC]/[DEC] SmartMedia write protect
keys to switch between media. If you want to prevent accidental erasure or overwrit-
ing of the data saved on SmartMedia, affix a write pro-
The TRITON Le cannot format media with a format
tect sticker as shown below.
of other than 512 bytes/block (such as 640 MB, 1.3
If you once again want to save edited data on the
GB MO disks etc.).
SmartMedia, remove the sticker.

Write protect sticker

96
Inserting SmartMedia
Insert the SmartMedia into the slot so that the contacts Loading data
are facing upward.
Insert the media gently, and straight into the slot.
Push the media in until it no longer protrudes from the
rear panel. Types of data that can be loaded
Pressing the media with excessive force will cause mal-
functions. The data that can be loaded from external media (e.g.,
SmartMedia) is shown in the diagram below. (☞For
details on each type of data, refer to PG p.139)
If the EXB-SMPL option is installed, data can also be
loaded from media such as a hard disk or CD-ROM.

Data loading procedure

Basic functions
Loading Programs, Combinations, Drum
kits, User arpeggio patterns, and Global
Removing SmartMedia settings (loading a .PCG file)
As an example, here’s how to load a .PCG file. A .PCG
Pull the media out of the slot without using excessive
file contains programs, combinations, drum kits, user
force.
arpeggiator patterns, and global settings (see diagram
If you are unable to remove the media, do not use
below).
force. Contact your Korg distributor for help.
Select this if you have used “Save All” or “Save PCG”

Media mode
to save your own original programs and combinations,
and want to reload this data.

DOS directory Undefined DOS file

Files that can be loaded

DOS files

.PCG file All programs 1 program 1 program


bank [A–D]
DOS file

.MID file
All combinations 1 combination 1 combination
bank [A–C]
.EXL file

All drum kits 1 drum kit group 1 drum kit


[INT, User] .KMP file AKAI format program file

.KSF file
All user arpeggio 1 user arpeggio 1 user arpeggio
AKAI format sample file
patterns pattern group pattern
[INT, User]
.KSC file

Global settings

.AIF file

.SNG file Cue list .WAV file

1 song Track
[000–199]

1 user pattern
[00–99]

97
If you want to load programs, combinations, 7 If you execute the Load operation with “Load
songs, user drum kits, and user arpeggio patterns, ********.SNG too” checked, the .SNG file will be
you must first uncheck the memory protect setting loaded at the same time as the .PCG file.
in Global mode. (☞p.42) If you execute the Load operation with “Load
1 If you are loading data from SmartMedia, insert ********.KSC too” checked, the .KSC file will be
the SmartMedia into the SmartMedia slot. loaded at the same time as the .PCG file.

For details on handling SmartMedia, please refer to


“Cautions when handling SmartMedia.”
If the separately sold EXB-SMPL option is
installed and you are loading data from a hard
disk or other external SCSI device, refer to the 8 Press the [F8] (“OK”) key to execute the Load oper-
manual included with the EXB-SMPL, and verify ation.
that the external SCSI device is connected cor-
rectly and that the media contains the file you Loading will be halted if the specified data is not
want to load. found in the file. (☞PG p.141)
2 Enter Media mode, and press a function key to Never remove the media while the data is being
make the TRITON Le recognize the media. loaded.

Saving data
For the procedure of saving data to a SmartMedia or to
3 Select the Load page. external SCSI media, refer to “Saving on external
The LCD screen will display file information. media” (☞p.45).

4 If you are loading from an external SCSI device,


use the [INC]/[DEC] keys to select the media that
contains the data you want to load. Types of data that can be saved
5 Use the [ ], [ ] cursor keys to select a .PCG file.
The following types of data can be saved on external
The selected file will be highlighted. media (SmartMedia etc.). If the separately sold EXB-
SMPL option is installed, data can also be saved on
If the data you want to load is located in a lower or
high-capacity media such as a hard disk.
higher level of the directory structure, press the
[F6] (“OPEN”) or [F5] (“UP”) keys to display the • .PCG files
desired data, and then select it. Programs, combinations, global settings, drum kits,
user arpeggio patterns (the data specified by the
When you load a .PCG file, the data in the internal “S.Item” (Select Save Items) check boxes when sav-
memory of the TRITON Le will be overwritten by ing will be saved).
the data from the .PCG file (programs, combina-
tions, drum kits, user arpeggio patterns, global set- • .SNG files
tings). If internal memory contains data that you Songs, cue lists
want to keep, use “Save All” or “Save PCG” to
• .KSC files
save it before you load other data.
Script file (.KSC files) listing the multisamples and
6 In the Utility menu, select “Load Selected.” samples created in Sampling mode (if the separately
sold EXB-SMPL option is installed), with multisam-
ples (.KMP files) and samples (.KSF files)
• Standard MIDI files (SMF)
A single pattern of Sequencer mode can be saved as
SMF data.
A dialog box will appear. The display and opera- • System exclusive data
tions will differ depending on the type of file that is System exclusive data received by the TRITON Le
to be loaded. For details on each type of file, refer to from an external MIDI device (the TRITON Le can
PG p.141. be used as a data filer).
• .WAVE files, .AIFF files
Samples you created in Sampling mode (if the sepa-
rately sold EXB-SMPL option is installed) can be
exported and saved as .WAVE files or .AIFF files.

For details on each type of file and the icon associ-


ated with it, refer to the lower diagram on p.97.

98
Arpeggiator settings
This chapter describes the procedure for making P000: UP
arpeggiator settings in each mode. For details on the
arpeggiator function, refer to “Using the arpeggiator
UP
while you play” (☞p.26).

Arpeggiator settings for a pro-


gram P001: DOWN

Basic functions
DOWN

Arpeggiator on/ off


Each time you press the [ARP ON/OFF] key, the
arpeggiator will be switched on or off. When on, the
[ARP ON/OFF] key will light. When you play the key-
board, an arpeggio will play according to the selected

Arpeggiator settings
arpeggio pattern. P002: ALT1
The on/off setting is stored when the program is
written. ALT1

Arpeggiator settings
1 Select the PROG 6.1: Ed-Arp., Arpeg. Setup page.
P003: ALT2

ALT2

2 Use “! (Tempo)” to set the tempo.


You can adjust the tempo by rotating REALTIME
CONTROLS C-mode [TEMPO] knob. The LED will
blink at the specified tempo.
P004: RANDOM
If “MIDI Clock” (GLOBAL 2.1: MIDI) is set to
External, the display will indicate “! = EXT.” This RANDOM
setting lets you synchronize the tempo with an
external MIDI device. In this case, it will not be
possible to change the tempo on the TRITON Le.

3 In “Pattern,” select the arpeggio pattern.


You can select from preset arpeggio patterns P000–
P004 and user arpeggio patterns U000 (INT)–215
U000 (INT)–U199 (INT)
(User).
With the factory settings, various arpeggio patterns
The way in which the pattern is played will depend are preloaded. These include a variety of patterns
on settings such as “Octave” and “Sort.” P000–P004 such as drum or bass phrases, or guitar or keyboard
in the following diagrams show how the arpeggio backing riffs (☞VNL).
will be played when “Octave” is set to 1, and “Sort”
is checked. P004: RANDOM is one possibility. U200 (User) – U215 (User)
With the factory settings, these do not contain pat-
terns.

99
4 Make settings for the various parameters. Sort

“Octave”: Select the octave range in which the OFF, UP


arpeggio will be played.
Sort

ON, UP

Octave: 4
UP

“Latch”: If this is checked, the arpeggio will con-


tinue playing even after you take your hand off the
keyboard. If this is unchecked, the arpeggio will
stop playing when you take your hand off the key-
board.
If a user arpeggio pattern is selected, the “Octave
Motion” setting (GLOBAL 6.1: Arp.Pattern, Setup “Key Sync.”: If this is checked, the arpeggio pattern
page) will affect the way in which the arpeggio is will start from the beginning when you play a note
played. after having released all notes. This setting is suit-
able when you are playing in realtime, and want the
“Reso”: Specifies the timing value of the arpeggio arpeggio to start at the beginning of the measure.
notes over a range of "3 – ! . If this is unchecked, the arpeggio pattern will
“Gate”: Specifies the length (gate time) of each note always be synchronized to the tempo of the MIDI
in the arpeggio. If a user arpeggio pattern is clock. For details on synchronization, refer to “Syn-
selected, you can set this to Step. In this case, the chronizing the arpeggiator” (☞p.107).
value of the “Gt” setting for each step (GLOBAL 6.1: “Keyboard”: If this is checked, the notes you play
Arp.Pattern, Edit page) will be used. on the keyboard will be heard as well as the arpeg-
giated notes.
This value will be in effect when the REALTIME
If this is unchecked, only the arpeggiated notes will
CONTROLS C-mode [ARP-GATE] knob is in the
be heard.
center position (12 o’clock). Be sure that the knob
is in the center position when you make this set- The same setting can be made by editing the param-
ting. eter of the same name (or abbreviation) in the PROG
1.1: Play, Arp.Play page.
“Velocity”: Specifies the velocity of the notes in the
arpeggio. If this is set to Key, the velocity with You can use the Utility “Copy Arpeggiator” to
which you actually played the note will be used. If a copy arpeggiator settings from another program
user arpeggio pattern is selected, you can set this to or combination (☞PG p.25).
Step. In this case, the value of the “Vel” setting for
5 In the Scan Zone page, specify the range in which
each step (GLOBAL 6.1: Arp.Pattern, Edit page) will
the arpeggiator will operate.
be used.

This value will be in effect when the REALTIME


CONTROLS C-mode [ARP-VELOCITY] knob is in
the center position (12 o’clock). Be sure that the
knob is in the center position when you make this
setting.
“Key Btm,” “Key Top”: The arpeggiator will oper-
When a preload user arpeggio pattern is selected, ate when you play keys within the specified range.
setting the “Gate” or “Velocity” to Step will add a Keys outside of this range can be played in the nor-
sense of groove to the arpeggio pattern. mal manner, and will not be affected by the arpeg-
giator on/off.
“Swing”: This adjusts the timing of the even-num-
bered notes in the arpeggio (counting from the first For example if you set “Pattern” to P000: UP,
note), to give the pattern a sense of “swing.” check “Latch,” set “Key Top” to B3, and “Key
“Sort”: If this is checked, the arpeggio will be Btm” to C-1, playing a note B3 or lower will trig-
sounded in order of pitch, regardless of the order in ger the arpeggiator. Since “Latch” is on, the arpeg-
which notes were played on keyboard (On). gio will continue even after you release the keys.
You can use the C4 and higher keys to play con-
If this is unchecked, the arpeggio will be sounded
ventionally along with the arpeggio sounded by
in the order in which the notes were played on key-
the B3 and lower keys. To change the arpeggio,
board (Off).
play keys in the range of B3 and below.

100
“Vel Btm,” “Vel Top”: The arpeggiator will operate
when you play notes with a velocity (playing Arpeggiator settings
strength) that is within the specified range. Notes
played with a velocity outside this range will be 1 Select COMBI 2.1: Ed-Prog/Mix, Prog page.
sounded normally, without regard to the arpeggia- Select programs for the timbres that you wish to
tor on/off. use. For this example, select any desired program
6 If you wish to save the edited program settings to for timbres 1–4.
internal memory, turn off memory protect in Glo- 2 Select COMBI 3.1: Ed-Paraml. MIDI page.
bal mode, and write the program (☞p.42).
For the timbres that you will be using, set “Status”
to INT, and set “MIDI Channel” to Gch or to the
global MIDI channel (set in GLOBAL 2.1: MIDI
Linking the arpeggiator to a program “MIDI Channel”).

If you want the arpeggiator settings written in a pro- For this example, set timbres 1–4 to a “Status” of
gram to be selected when that program is selected, INT, and timbres 5–8 to a “Status” of Off. Set the

Basic functions
check Program for “Auto Arp.” (GLOBAL 1.1: System, “MIDI Channel” of timbres 1–4 to Gch.
Basic page).

Arpeggiator settings in Combina-


3 Select COMBI 6.1: Ed-Arp., Setup page.
tion and Sequencer modes

Arpeggiator settings
In Combination and Sequencer modes, the TRITON Le
provides dual arpeggiator functionality that lets you
use two arpeggio patterns simultaneously. The settings
in each of these modes are made in the similar way.
As an example, the following explanation shows how
to make settings in Combination mode. For a detailed 4 Set “! (Temp)” to specify the tempo.
explanation and example settings (☞PG p.43, 81). This is the same as for a program (☞p.99). However,
The dual arpeggiator functionality lets you do the fol- the tempo is shared by both arpeggiators A and B.
lowing things. 5 Make “Assign” settings.
• Assign an arpeggiator for each timbre. Choose from Assign arpeggiator A or B to the desired timbres.
Off, (arpeggiator) A, or (arpeggiator) B. Each timbre will be played by the arpeggiator that
☞step5 has been assigned to it.
• Independently specify whether A and B will 6 Make “Arpeggiator Run” settings.
operate. ☞step6
• Select an arpeggio pattern and set parameters Check the arpeggiator(s) that you want to operate.
independently for A and B. ☞step7 The arpeggiator(s) checked here will run when the
• Make Scan Zone page settings so that you can use [ARP ON/OFF] key is turned on.
keyboard range or playing velocity to switch With the settings shown in the LCD screen for steps
between normal playing and arpeggiated playing, 2 and 3, turning the [ARP ON/OFF] key on will
or to switch between arpeggiators A and B. cause arpeggiator A to operate for timbres 1 and 2,
☞step8 and arpeggiator B to operate for timbre 3. When the
• Make settings for timbres that will be silent when [ARP ON/OFF] key is turned off, timbres 1–4 will
the arpeggiator is Off, and will sound only when sound as a layer.
the arpeggiator is On. ☞step0 If all timbres “Assign” are Off, or if neither “Arpeg-
giator Run” A or B is checked, the arpeggiator will
not function.

Arpeggiator on/ off 7 In the Arp. A and Arp. B pages, set the parameters
for arpeggiators A and B.
Each time you press the [ARP ON/OFF] key, the The parameters for A and B are the same as for a
arpeggiator will be switched on or off. When on, the program (☞p.99).
[ARP ON/OFF] key will light. The selected arpeggio
pattern will begin when you play the keyboard. The 8 In the Scan Zone page, specify the range in which
on/off setting is saved when the combination is writ- arpeggiators A and B will operate.
ten into memory. The parameters for A and B are the same as for a
program (☞p.99).
If “Assign” is Off or “Arpeggiator Run” is not
checked, the arpeggiator will not operate even if
this key is on.

101
You can use keyboard ranges or playing velocity to (Gch). T4 will be sounded by arpeggiator A. Since
operate the arpeggiator, or to switch between arpeg- the “Status” of T8 is Off, it will not sound.
giators A and B. By using the COMBI 3.3: Ed-Key • Since the “Status” of T8 is Off, it will not sound,
Zone, Key page and COMBI 3.4: Ed-Vel Zone, Vel regardless of whether the arpeggiator is on or off. It
page to set keyboard ranges and velocity ranges in is a dummy timbre that causes T4 to sound only
conjunction with each other, you can create even when the arpeggiator is on.
more variations.
9 If you wish to save the edited combination set-
tings in internal memory, turn off memory protect Combination B071: “In The Pocket”
in Global mode, and write the combination.
Select and play combination B071: “In The Pocket.”
(☞p.42).
Before you play, make sure that the global MIDI chan-
0 The “Status,” “MIDI Channel” and “Assign” set-
nel (GLOBAL 2.1: MIDI “MIDI Channel”) is set to 01.
tings shown in the LCD screen of steps 2 and 3
can be made so that certain timbres will sound • Arpeggiator A is assigned to T7 and T8, and
only when the arpeggiator is On, and will be silent arpeggiator B is assigned to T5. When you play the
when the arpeggiator is not Off. keyboard, the T7 program B004: HipHop Kit will
be sounded by the arpeggio pattern U143(INT): Dr-
Although this is a somewhat sophisticated editing
In The Pocket. The T5 program A034: Chord
technique, we will describe the settings of one of the
Trigger will be sounded by the arpeggio pattern
preset combinations as an example.
U100(INT): Bs-Echo.
• The B “Key Btm” and “Key Top” (COMBI 6.1: Ed-
Arp., Scan Zone page) are set so that arpeggiators B
Combination A021: Urban Nature RnB
will operate only for the G3 note and above.
Select combination A021: Urban Nature RnB, and play
it. • Arpeggiator B is assigned to T8 as well, but this
setting is so that the T7 program B004: HipHop Kit
Before you play, make sure that the global MIDI chan- will sound only when the arpeggiator is on. Refer
nel (GLOBAL 2.1: MIDI “MIDI Channel”) is set to 01. to the preceding section “Select and play
• Arpeggiator A is assigned to T (timbre) 4 and 8. Combination A021: Urban Nature RnB.”
When you play the keyboard, the arpeggio pattern
U145(INT): Dr-Nature RnB will sound only the T4
program A004: Trance/GarageKit.
• The arpeggio pattern uses the Fixed Note setting,
which is appropriate when playing a drum Linking the arpeggiator to the combi-
arpeggio. (“Fixed Note” is checked in, GLOBAL nation
6.1: Arp.Pattern, Setup page.) With this setting, the
arpeggio pattern will always play the specified If you want the arpeggiator settings of a combination
pitches regardless of the note numbers received to become active when that combination is selected,
from the keyboard. (☞PG p.136) check “Combi” for “Auto Arp” (GLOBAL 1.1: System,
Basic page).
• The A “Key Btm” and “Key Top” (COMBI 6.1: Ed-
Arp., Scan Zone page) are set so that arpeggiator A
will operate only for notes B3 and lower.
• Arpeggiator A is also assigned to T8, but this is so
that the T4 program A004: Trance/GarageKit will
sound only when the arpeggiator is on.
Notice the timbre settings for T4 and T8
Status MIDI Channel Assign
T4 INT 02 A
T8 Off Gch A

• If the arpeggiator is off, playing the keyboard will


sound the timbre(s) that are set to Gch or to the
global MIDI channel (in this case, 01). Since the
“MIDI Channel” of T4 is set to 02, it will not sound.
T8 is set to Gch, but since “Status” is Off it will not
sound.
• Any MIDI channel that is assigned to a timbre will
trigger the arpeggiator. In this case, these will be
“MIDI Channel” 02 and Gch (global MIDI channel).
When the arpeggiator is on, playing the keyboard
will trigger arpeggiator A which is assigned to T8

102
If a blank pattern is selected, playing the keyboard
Creating an user arpeggio pat- will not start an arpeggio. Although preset arpeg-
gio patterns P000–P004 can be selected, they can-
tern not be edited.

When you edit a user arpeggio pattern, the


changes will have an effect anytime that this pat-
About user arpeggio patterns tern is used in Program, Combination, or Song.

5 In “Lgth (Length),” specify the length of the pat-


The patterns that can be selected on the TRITON Le’s
tern.
arpeggiator are called “arpeggio patterns.” There are
two types of arpeggio patterns: preset arpeggio pat- After the pattern has played for the length specified,
terns and user arpeggio patterns. it will return to the beginning. This setting can also
be changed during or after editing. For this exam-
Preset arpeggio patterns: There are five patterns; UP,
ple, set it to 8.
DOWN, ALT1, ALT2, and RANDOM.

Basic functions
The operation of these patterns is fixed, and cannot be For the preload arpeggio patterns U000(INT)–
edited. U199(INT), simply changing the “Lgth” can sig-
User arpeggio patterns: There are 216 patterns - nificantly change the character of the pattern. Try
U000(INT)–U215(User) - which can develop chords or changing the length and listening to the result.
phrases in a wide variety of ways, based on the pitches
that you play on the keyboard or the timing at which 6 Make settings for the “! (Tempo),” “Reso (Resolu-
you play them. tion),” “Oct (Octave),” “Sort,” “Latch,” “K.Sync
In GLOBAL 6.1: Arp.Pattern you can modify these user (Key Sync.),” and “Kbd (Keyboard)” parameters.
arpeggio patterns, or create a new user arpeggio pat- These are program parameters, but can be set from

Arpeggiator settings
tern from an initialized condition. Edited user arpeggio here as well.
patterns can be written to internal memory areas
U000(INT)–U215(User). In Media mode, they can also If after moving here from Program mode, you
be saved on external media such as a SmartMedia. modify these parameters and wish to keep your
(☞p.45) changes, return to Program mode and write the
program. These parameters are not saved by
“Write Arpeggio Pattern.”

Editing a user arpeggio pattern For this example, make the settings shown in the
illustration 3.
When you wish to edit an user arpeggio pattern, 7 The “Type (Arpeggio Type),” “Octave Motion,”
first turn off memory protect by unchecking the and “Fixed Note” parameters specify how the
Memory Protect “Arp. UsrPat” check box in the arpeggio will be developed.
Preference page of GLOBAL 1.1: System.
These settings can be changed during or after edit-
If you enter this mode from the Program mode, your ing (☞PG p.136).
editing will apply to the arpeggio pattern specified for 8 Select the Edit page.
the selected program.
1 In Program mode, select a program for which the
arpeggio pattern you wish to edit is selected, or a
program that you wish to use as a basis for editing
the arpeggio pattern.
2 Press the [ARP ON/OFF] key to turn the arpeggia-
A pattern consists of Steps and Tones.
tor on (the key will light).
• Step: A user arpeggio pattern can have a
Even if you moved to Global mode from a program
maximum of 48 steps. The arpeggiator will play
in which the arpeggiator was turned off, you can
from the first step, in steps equal to the timing
use the [ARP ON/OFF] key to turn it on.
value specified by “Reso (Resolution).” The
3 Select the GLOBAL 6.1: Arp.Pattern, Setup page. vertical lines of the grid shown in the center of
the LCD screen indicate the steps.
Use “Step (Step No.)” to select the step. For each
step, specify “Ptch (Pitch Offset),” “Gt (Gate),”
“Vel (Velocity)” and “Flam.”
To change Step, you can either use the [ ], [ ]
keys or select “Step (Step No.)” and use the
4 In “Pattern,” select the arpeggio pattern that you
[VALUE] dial or the [INC]/[DEC] keys.
wish to edit.
For this example, select an empty user arpeggio pat-
tern.

103
• Tone: At each step, a chord consisting of up to 12 “Ptch (Pitch Offset)” value for each to create a mel-
tones (Tone No. 00–11) can be sounded. ody using a single tone. (☞“Melody pattern”)
To input tones, select “Step (Step No.)” and then “Gt (Gate)”: Specify the length of the arpeggio note
use numeric keys [0]–[9], [–], and [./HOLD] to for each step. With a setting of LGT, the note will
input tones. The “Tone No.” corresponds to the continue sounding either until the next note of the
[0]–[9], [–], and [./HOLD] keys as shown below. same tone or until the end of the pattern. With a set-
Each time you press a [0]–[9], [–], or [./HOLD] ting of Off, the note will not sound.
key, the corresponding tone will be turned on/
off. The horizontal lines of the grid shown in the “Vel (Velocity)”: Specify the strength of the note.
center of the LCD screen indicate the tones. With a setting of Key, the note will sound at the
strength with which it was actually played.
Tone00–09: [0]–[9] keys
Tone10: [–] key The “Gt (Gate)” and “Vel (Velocity)” settings you
Tone11: [./HOLD] key make here will be valid if the “Gt (Gate)” and “Vel
(Velocity)” parameters (PROG 6.1: Ed–Arp.,
Tone No. Arpeg. Setup page) of the program selected in Pro-
4 gram mode are set to Step. If these parameters
3 have a setting other than Step, the “Gt (Gate)” and
2
1 “Vel (Velocity)” that were specified for each indi-
0
vidual step will be ignored, and all notes of the
01 05 Step No.
arpeggio will sound according to the settings in
Lgth(Length) PROG 6.1: Ed-Arp. Be sure to verify the settings of
the program.

Before you set “Gt (Gate),” move the REALTIME


Creating an example pattern
CONTROLS C-mode [ARP-GATE] knob to the
center position (12 o’clock).

Before you set “Vel (Velocity),” move the REAL-


TIME CONTROLS C-mode [ARP-VELOCITY]
knob to the center position (12 o’clock).

1 Set “Step (Step No.)” to 01, and press the [0] key.
2 Set “Step (Step No.)” to 02, and press the [1] key.
3 Set “Step (Step No.)” to 03, and press the [2] key. A To change the user arpeggio pattern name, use the
4 Set “Step (Step No.)” to 04, and press the [1] key. Utility “Rename Arpeggio Pattern” (☞p.43).
5 Set “Step (Step No.)” to 05, and press the [3] key. B If you wish to save the edited user arpeggio pat-
tern to internal memory, be sure to Write the user
6 Set “Step (Step No.)” to 06, and press the [1] key.
arpeggio pattern (☞p.44).
7 Set “Step (Step No.)” to 07, and press the [2] key.
If you turn off the power without writing, the edited
8 Set “Step (Step No.)” to 08, and press the [1] key. contents will be lost.
C If you wish to save the state of the program at the
same time, return to Program mode and write the
program (☞p.42).

9 When you play the keyboard as shown in the


illustration, the arpeggiator will begin playing.
Tone 0 corresponds to the pitch of the lowest key of
chord you play on the keyboard. (If “Sort” is
unchecked, it will correspond to the pitch of the
first note you play.) Likewise, Tone 1 is the next
highest pitch played on the keyboard, and so on up
to 12 tones in any one step.
0 For steps 01–08, make settings for “Ptch (Pitch Off-
set),” “Gt (Gate),” “Vel (Velocity),” and “Flam.”
“Ptch (Pitch Offset)”: This offsets the pitch of the
arpeggio note in semitones up or down. You can
input the same tone for each step, and change the

104
To simulate the timing nuances of a strummed
Other examples of creating a user arpeggio pat- guitar chord, select “Flam.” In Program mode,
tern select an acoustic guitar program, and choose the
user arpeggio pattern that you created here. In the
Melody pattern Setup page of PROG 6.1: Ed-Arpeg., set “Gate” to
Step.
Then return to the GLOBAL 6.1: Arp.Pattern, Edit
page. For odd-numbered steps, set “Flam” to a
positive (+) value. For even-numbered steps, set
“Flam” to a negative (–) value.

1 Set “Step (Step No.)” to 01, and press the [0] key.
Set “Ptch (Pitch Offset)” to +00.

Basic functions
2 Set “Step (Step No.)” to 02, and press the [0] key.
Set “Ptch (Pitch Offset)” to +10. Drum pattern
3 Set “Step (Step No.)” to 03, and press the [0] key. You can use the arpeggiator to play a rhythm pattern
Set “Ptch (Pitch Offset)” to +00. by using “Fixed Note” with a drum program.

4 Set “Step (Step No.)” to 04, and press the [0] key. 1 Select a drum kit program.
Set “Ptch (Pitch Offset)” to +00. For this example, select preset program A020: Stan-
5 Set “Step (Step No.)” to 05, and press the [0] key. dard Kit 1.

Arpeggiator settings
Set “Ptch (Pitch Offset)” to +12. 2 Select the GLOBAL 6.1: Arp.Pattern, Setup page,
6 For “Step (Step No.)” 06, do not enter a tone. and set the parameters.

7 Set “Step (Step No.)” to 07, and press the [0] key. Check “Fixed Note.” If this is checked, tones will
Set “Ptch (Pitch Offset)” to +00. always sound at the specified pitch.

8 Set “Step (Step No.)” to 08, and press the [0] key. If you set “Mode (Fixed Note Mode)” to Trigger All
Set “Ptch (Pitch Offset)” to –02. Tones, playing a single note will cause all Tones to
sound.
If you set “Mode (Fixed Note Mode)” to Trigger As
Played, the notes you play will determine how
Tones are sounded. (☞p.106)

Chordal pattern

Fixed Note Tone No. Fixed Note No.


Mode(Fixed Note Mode)

If “Fixed Note” is checked, you will be able to set


“Tone No.” and “Fixed Note No.”
Select “Tone No.,” and then set “Fixed Note No.” to
specify the note number that the tone will sound.
Here, set “Tone No.” and “Fixed Note No.” as fol-
1 Set “Step (Step No.)” to 01, and press the [0] key.
lows.
Set “Gt (Gate)” to LGT.
Tone No. Fixed Note No.
2 For “Step (Step No.)” 02, do not enter a tone.
00 C2 (kick)
3 Set “Step (Step No.)” to 03, and press the [1], [2],
01 F2 (snare)
[3], [4] keys.
02 F#3 (closed hi-hat)
4 Set “Step (Step No.)” to 04, and press the [1], [2],
03 A#3 (open hi-hat)
[3], [4] keys.
5 For “Step (Step No.)” 05, do not enter a tone. The drumsamples that correspond to each note
6 Set “Step (Step No.)” to 06, and press the [1], [2], number will differ depending on the drum kit. You
[3], [4] keys. will find it convenient to audition the drum sounds
Set “Gt (Gate)” to LGT. from the keyboard, and then input the “Fixed Note
No.” by holding down the [ENTER] key and play-
7 For “Step (Step No.)” 07, do not enter a tone.
ing the desired note.
8 Set “Step (Step No.)” to 08, and press the [1], [2],
[3], [4] keys.

105
3 Select the Edit page. Before you set “Gate,” move the REALTIME CON-
Each Tone in the display will be shown as a small TROLS C-mode [ARP-GATE] knob to the center
circle. position (12 o’clock).
For each horizontal line (Tone) in the display, you Before you set “Velocity,” move the REALTIME
will specify a drumsample (note number) of the CONTROLS C-mode [ARP-VELOCITY] knob to
drum kit. the center position (12 o’clock).
Next we will input a rhythm pattern.

Dual arpeggiator editing


Here we will use a combination as an example in our
explanation.
The same procedure applies when editing an arpeggio
pattern in Sequercer mode.
If you have entered this mode from the Combination
mode, the arpeggio pattern selected by the combina-
4 Input the kick (Tone00). tion will be affected by your editing.
Set “Step (Step No.)” to 01, and press the [0] key.
Then set “Step (Step No.)” to 05, and press the [0] 1 In Combination mode, select a combination that
key. uses the arpeggio pattern you wish to edit.

5 Input the snare (Tone01). For this example, select a combination to which
Set “Step (Step No.)” to 03, and press the [1] key. arpeggiators A and B is assigned.
Then set “Step (Step No.)” to 07, and press the [1] 2 Press the [ARP ON/OFF] key to turn on the arpeg-
key. giator (the key will light).
6 Input the closed hi-hat (Tone02). Even if the arpeggiator had been turned off when
Set “Step (Step No.)” to 01, 02, 03, 05, 06, and 07, you moved here, you can use the [ARP ON/OFF]
and press the [2] key for each. key to turn it on. However, if “Arpeggiator Run” A
7 Input the open hi-hat (Tone03). or B are not checked, and if no timbres have been
Set “Step (Step No.)” to 04, and press the [3] key. assigned in “Assign,” then the arpeggiator will not
Then set “Step (Step No.)” to 08, and press the [3] operate.
key. 3 Select the GLOBAL 6.1: Arp.Pattern, Setup page.

If “Mode (Fixed Note Mode)” is set to Trigger All 4 If you moved here from Combination mode, use
Tones, playing a single note on the keyboard will the “Arp (Arpeggio Select)” A and B to select the
cause the rhythm pattern to play. arpeggiator that you wish to edit.
If “Mode (Fixed Note Mode)” is set to Trigger As If this is A, your editing will apply to the parame-
Played, playing a single note on the keyboard will ters and user arpeggio pattern of arpeggiator A.
cause only the kick (Tone00) to play. Playing two If this is B, your editing will apply to the parameters
notes on the keyboard will cause only the kick and user arpeggio pattern of arpeggiator B.
(Tone00) and snare (Tone01) to play. In this way, the 5 Switch between arpeggiators A and B, and edit
number of keys that you play will be played by the their respective user arpeggio patterns.
same number of tones.
If you wish to stop one of the arpeggiators, return to
8 Set the parameters for each step. Combination mode, and in COMBI 1.1: Play, select
Use “Vel (Velocity)” etc. to add accents to the the Arp. A or the Arp. B page and uncheck the
rhythm pattern. “Arpeggiator Run” check box.
The “Gt (Gate)” and “Vel (Velocity)” settings you 6 To modify the name of a user arpeggio pattern, use
make here will be valid if the “Gate” and “Veloc- the Utility “Rename Arpeggio Pattern” (☞p.43).
ity” parameters (PROG 6.1: Ed–Arp., Arpeg. Setup 7 If you wish to save the edited user arpeggio pat-
page) of the program selected in Program mode tern in internal memory, you must write the user
are set to Step. arpeggio pattern.
If these parameters have a setting other than Step,
In this case, both user arpeggio patterns will be
the “Gt (Gate)” and “Vel (Velocity)” that were
written simultaneously. If you turn off the power
specified for each individual step will be ignored,
without writing, the edited contents will be lost
and all notes of the arpeggio will sound according
(☞p.44).
to the specified gate and velocity.

106
8 If you wish to save the state of the combination at
the same time, return to Combination mode and Synchronization between the arpeg-
write the combination (☞p.42).
giators and sequencer in Sequencer
When editing a user arpeggio pattern, pay atten-
tion to the global MIDI channel, the channel of
mode
each track, and the arpeggiator assignments, and
make sure that the arpeggiator you are hearing is When song playback is stopped
the pattern that you wish to edit. • The arpeggiator will synchronize to the “!
(Tempo)” based on the timing of the internal MIDI
If you moved here from Sampling mode (if the clock.
separately sold EXB-SMPL option is installed), the • In Sequencer mode when an RPPR pattern is
arpeggiator will not turn on. Nor will it be possible playing, the arpeggiator will synchronize to the
to edit arpeggio patterns. beats of that pattern.
• If you want the RPPR pattern playback to
synchronize to the currently-running arpeggiator,

Basic functions
set “Sync” (SEQ 5.1: RPPR, RPPR Setup page) to
Synchronizing the arpeggiator SEQ.
Playback will synchronize to the “! (Tempo)” timing
The note timing of the arpeggiator will differ depend- of the arpeggiator.
ing on the state of the arpeggiator “Key Sync.” check
box. When a song is being played or recorded
If this is checked, the arpeggiator will operate at the • The arpeggiator will synchronize to the beats based
timing of the first note-on you play from a state in on the timing of the song.
which all keys are released.

Arpeggiator settings
If this is unchecked, the arpeggiator will operate in Synchronization with Song Start
synchronization with the internal or external MIDI • When the arpeggiator is on (the [ARP ON/OFF]
clock. key is on) and running, receiving a Song Start
The paragraphs below explain how synchronization message will reset the arpeggiator to the beginning
occurs when the “Key Sync.” check box is unchecked. of the pattern. (This has no relation to the “Key
(However, synchronization with Song Start and with Sync.” setting.)
the MIDI realtime command Start message are excep- • In Sequencer mode when the “Key Sync.” setting is
tions to this.) unchecked and the [ARP ON/OFF] key is on,
starting the arpeggiator by pressing notes during
the pre-count before recording will cause the
arpeggiator to start (and be recorded) from the
Synchronization between arpeggia- beginning of the arpeggio pattern at the moment
tors A and B that recording begins.

In Combination and Sequencer mode, two arpeggia-


tors can operate simultaneously. In this case, if you
start an arpeggiator (whose “Key Sync.” is unchecked) Synchronization with an external
while the other arpeggiator is already running, the sequencer in Program, Combination,
arpeggiator you started will synchronize to the “!
(Tempo)” based on the timing of the already-running or Sequencer modes
arpeggiator. In Program, Combination, and Sequencer modes when
If “Key Sync.” is checked, A and B will each oper- “! (Tempo)” is EXT (GLOBAL 2.1: MIDI “MIDI Clock”
ate on their own timing. set to External), the TRITON Le will synchronize to
MIDI Clock and Start messages received from an exter-
nal MIDI sequencer (or similar device) connected by a
MIDI cable.

Synchronization to external MIDI clock


• The arpeggiator will synchronize to the “!
(Tempo)” based on the timing of the external MIDI
clock.

Synchronization to the MIDI Start message


• When the arpeggiator is on and operating,
receiving a MIDI Start message will cause the
arpeggiator to reset to the beginning of the pattern.
(This has no relation to the “Key Sync.” setting.)

107
Effects settings
The effect section of the TRITON Le provides one
insert effect, two master effects, one master EQ (ste-
reo 3-band EQ), and a mixer that controls the routing AUDIO INPUT 1, 2 Insert Effect
Sample
Recording

of these components.
You can choose from 89 types of full-digital effects for The external input from AUDIO INPUT 1 and 2 (if the
each effect. The effects are categorized as follows. separately sold EXB-SMPL option is installed) can be
used outside of Sampling mode. In Program, Combi-
Categories of the 89 effect types nation, and Sequencer modes, the external input sound
01–15 Filter and dynamics effects, such as EQ and com- can be processed by the insert effect, master effects,
pressor and master EQ.
16–31 Pitch and phase modulation effects, such as chorus This means that you can use the TRITON Le as a 2-in/
and phaser 4-out effect processor.
32–40 Other modulation and pitch-shift effects such as Send Return
Master Effect 1,2
rotary speaker and pitch shifter
OUTPUT
Oscillator Filter Amplifier Insert Effect Master EQ
41–51 Early reflection and delay effects L/MONO, R

AUDIO INPUT 1, 2
52–57 Reverb effects
58–89 Mono and mono-chain effects in which two mono
effects are connected in series

Routing settings and effect set-


Effects in each mode tings
In Program mode, insert effect can be used as part of The insert effect, master, effects, and master EQ that
the sound-creating process, in the same way that the can be used in each mode are structured identically.
output sound of the oscillator (OSC) is processed by However, you can change the routing to specify how
the filter and amp to create the final sound. Then the the oscillator(s) of a program, the timbres of a combi-
master effects can be used to apply spatial-type effects nation, or the tracks of a song will be sent to the insert
such as reverb. The stereo 3-band master EQ located effect or master effects. In the pages that follow, we will
immediately before the OUTPUT (MAIN) L/MONO explain how you can make routing settings and effect
and R outputs is used to make final adjustments in settings in each mode.
tone. These settings can be made independently for
each program.
Send
Master Effect 1,2
Return Effect settings for a program
OUTPUT
Oscillator Filter Amplifier Insert Effect Master EQ
L/MONO, R

Routing
In Combination mode, and Sequencer mode, insert 1 Select the PROG 7.1: Ed-InsertFX, BUS page.
effect can be used to help create the sound of each tim-
bre/track. The master effects are used to apply overall
spatial processing, and the master EQ is used to make
overall adjustments in tone.
These settings are made in Combination mode inde-
pendently for each combination, and in Sequencer
mode for each song the entire mode. 2 Set “BUS Select (All OSCs)” to specify where the
Send
Master Effect 1,2
Return oscillator output will be sent.
Timbre 1 / Track 1 Insert Effect Master EQ
OUTPUT
L/MONO, R L/R: The output will not be sent to the insert effect.
Timbre 2 / Track 2 After passing through the master EQ, the sound will
Timbre 8 / Track 16
be sent to AUDIO OUTPUT (MAIN) L/MONO and
R.
In Sampling mode (if the separately sold EXB-SMPL IFX: The output will be sent to insert effect IFX.
option is installed), the sound of an external source 1, 2, 1/2: The output will be sent to AUDIO OUTPUT
that is input from AUDIO INPUT 1 and 2 can be pro- (INDIVIDUAL) 1 or 2. It will not be sent to the
cessed by the insert effect as the sound is sampled. insert effect, the master effects, or the master EQ.
Sampling mode settings are made by the “Input 1” and
“Input 2” parameters of the SMPL 1.1: Recording,
Input/Pref page. The settings here are valid only
within Sampling mode.

108
Off: The output will not be sent to AUDIO OUT- Master effects
PUT (MAIN) L/MONO, R, or to (INDIVIDUAL) 1,
The input level of the master effect is determined by
2 (After passing through the master effects, it will be
the send level 1 and 2 settings (routing step 3, or
output from AUDIO OUTPUT (MAIN).) Select this
insert effect step 4). If send levels 1 and 2 are 0, no
when you wish to connect the output to the master
master effects will be applied. Send level 1 is for MFX1,
effects in a series connection at the send levels spec-
and send level 2 is for MFX2.
ified by “MFX Send.”
1 Select the PROG 7.2: Ed-MasterFX, Setup page.
3 “MFX Send” specifies the send level from each
oscillator to the master effects.
This is valid only if “BUS Select (All OSCs)” is set to
L/R or Off.
If IFX is selected for “BUS Select (All OSCs),” the
send level to the master effects is adjusted by the
“Send 1 (MFX1)” and “Send 2 (MFX2)” parameters 2 In “Master Effect 1” and “Master Effect 2,” select
(PROG 7.1: Ed-InsertFX, Setup page) after the signal the type of each master effect.

Basic functions
has passed through the insert effect.
The procedure is the same as for the insert effect.
(☞step 1)
Insert effect
1 Access the PROG 7.1: Ed-InsertFX, Setup page. The input/output of the master effect is mono-on/
stereo-out. Even if you select a stereo-input type
The Setup page displays the state of the routing and effect, the input will be monaural.
insert effect settings. In this page you can also make
“BUS Select” settings. Use the [ ], [ ] cursor keys 3 In “On/Off,” switch each master effect on/off.
to select (All OSCs), and use the [INC]/[DEC] keys If this is Off, the output of the master effect will be
to make the setting. muted.

Effects settings
4 Specify the routing of master effects 1 and 2.
For details on the routing settings, refer to PG p.159.
5 In “Rtn (Return 1, 2),” adjust the output level of
each master effect.

2 In “Insert Effect,” select the desired insert effect. For each effect, the W value of “W/D” (Wet/Dry)
is the effect output level. This is multiplied by the
You can use the Utility “Select by Category” to return value (“Rtn”=127 is x1.0) to determine the
select effects from six categories. actual master effect output level.
3 In “On/Off,” turn the insert effect on/off. 6 Move to the MFX1 or MFX2 page, and set the
If this is set to Off, the result will be the same as if parameters of the effect that you selected as the
00: No Effect is selected. The input sound will be master effect.
output without change. For details on the parameters of each effect, refer to
You can use the Utility “Copy Insert Effect” to PG p.164–.
copy effect settings from another program, etc.
Master EQ
4 Set the “Pan (CC#8),” “BUS Select,” “S1 (Send1 1 Use the stereo 3-band master EQ to make final
(MFX1)),” and “S2 (Send2 (MFX2))” parameters equalizing adjustments immediately before the
that follow the insert effect. sound is output from the AUDIO OUTPUT L/
“Pan (CC#8)”: Set the pan. This is valid only if “BUS MONO and R jacks.
Select” is set to L/R. Master EQ settings can be made in “Master EQ Gain
“BUS Select”: Specify the output destination. Nor- [dB]” of the PROG 7.2: Ed-MasterFX, Setup page, or
mally you will set this to L/R. If you want to output in the Master EQ page.
the sound from AUDIO OUTPUT (INDIVIDUAL) 1 For details on master EQ parameters, refer to PG
and/or 2, set this to 1, 2, or 1/2. p.209.
“Send1 (MFX1),” “Send2 (MFX2)”: Set the send
level to the master effects. For this example, set
these to 127.
5 Move to the IFX page, and set the parameters of
the effect that you selected for the insert effect.
For details on the parameters of each effect, refer to
PG p.164–.

109
Master effects
Effect settings in combination, and Master EQ
song These settings are made in the same way as for pro-
grams (☞p.109).
In Combination, and Sequencer modes, you can spec-
ify the routing of each timbre/track to the insert effect
and master effects. These settings are made in the same
way in each of these modes. We will be using the Effect settings in Sampling mode
example of Combination mode in our explanation (requires the EXB-SMPL option)
here.
In Sampling mode, insert effect can be applied to an
Routing external audio source connected to the AUDIO INPUT
1 Select the COMBI 7.1: Ed-InsertFX, BUS page. 1 and 2 jacks, and sampled.

Routing
1 Select the SMPL 1.1: Recording, Input/Pref page.
The parameters in “Input1” and “Input2” specify
the insert effect to which the external audio input
from the AUDIO INPUT 1 and 2 jacks will be sent.
2 In “BUS Select,” specify where the output of each
For details on these settings, refer to “Sampling”
timbre will be sent.
(☞p.34).
3 “S1 (Send1(MFX1)),” “S2 (Send2(MFX2))” speci-
fies the send level from each timbre to the master Insert effect
effects.
Select the effect that will be used by the insert effect,
This can be set only if “BUS Select” is set to L/R or and set the “Pan (CC#8).” (☞p.109)
Off.
Master effects
The actual send level will be the send level of each
timbre multiplied by the send level of each oscilla- Master EQ
tor of the program selected for the timbre. If the The master effects and master EQ cannot be used in
send level of a program is 0, the actual level will be Sampling mode.
zero even if the send level setting is raised here.

If IFX is selected for “BUS Select,” set the send lev-


els to the master effects by adjusting the “S1
(Send1(MFX1))” and “S2 (Send2(MFX2))” parame-
ters (COMBI 7.1: Ed-Insert FX, Setup page) located
after the signal has passed through the insert
effect.

Insert effect

The Setup page displays the state of the routing and


insert effect settings. “BUS Select” settings can also be
made in this page. Use the cursor keys [ ], [ ], [ ],
[ ] to select the timbre, and use the [INC]/[DEC] keys
to make the setting.
In this example, IFX is used by 1 (timbre 1) and 2 (tim-
bre 2).
In the same way as for a program, you can select the
insert effect, turn it on/off, and set the “Pan (CC#8),”
“BUS Select,” “S1 (Send 1 (MFX1)),” and “S2
(Send2(MFX2))” parameters that follow the insert
effect. (☞p.109)

110
page) after the sound has passed through the insert
Effect settings for the AUDIO INPUT effect.

(requires the EXB-SMPL option) If “BUS (IFX/Indiv.) Select” is set to other than Off
and “Level” is raised, the external audio source
Even in modes other than Sampling mode, the will be input to the TRITON Le. At this time, if
TRITON Le’s effects can be applied to the external audio cables are connected to the AUDIO INPUT
audio source connected to the AUDIO INPUT 1 and 2 1, 2 jacks, any noise component will be input to the
jacks. The effect section of the TRITON Le can be used TRITON Le even if there is no actual audio input,
as a 2-in 4-out effect processor. and (depending on the settings) will be output
from the AUDIO OUTPUT L/MONO, R, 1, 2 jacks.
Routing If you are not using an external audio source, and
In modes other than Sampling mode (i.e., in Combina- are playing only the internal programs, combina-
tion, Program, and Sequencer modes) the audio input tions, and songs, you should set “BUS (IFX/Indiv.)
routing from the AUDIO INPUT 1, 2 jacks is specified Select” to Off, or set “Level” to 0.
in the GLOBAL 1.1: System, Audio In page. If audio cables are not connected to the rear panel

Basic functions
AUDIO INPUT 1, 2 jacks, the input to the
1 Enter Global mode from Program mode.
TRITON Le will be 0.
If you enter Global mode from Sampling mode,
the “Input 1” and “Input 2” settings of Sampling
mode will be maintained, and you will not be able
to hear the settings made in Global mode. You
must move here from a mode that can access exter-
About dynamic modulation
nal audio signals (Combination, Program, or (Dmod)
Sequencer). In Sampling mode, the settings you
make here are ignored. AUDIO INPUT 1, 2 set- Dynamic modulation (Dmod) is a function that lets

Effects settings
tings for Sampling mode are made by the “Input you use MIDI messages or the TRITON Le’s controllers
1” and “Input 2” parameters in the In/Pref page of to control specific effect parameters in realtime.
SMPL 1.1: Recording (☞p.110, PG p.126). BPM/MIDI Sync is another function that controls
effect parameters, and is used to synchronize the LFO
2 Select the GLOBAL 1.1: System, Audio In page. speed of modulation-type effects or the delay time etc.
of delay-type effects to the tempo of the arpeggiator or
an external sequencer.
For details on each of these functions, refer to PG p.217.

Setting example:
We will show how you can use dynamic modulation to
3 Set the parameters for “Input1” and “Input2.”
control an effect parameter in realtime.
“Input1” corresponds to AUDIO INPUT 1 jack and
1 As described in the procedure for “Effect settings
“Input2” corresponds to AUDIO INPUT 2 jack.
for a program” (☞p.108), set “IFX” to 49: LCR BPM
“Level”: Set the signal level from AUDIO INPUT 1 Delay. Verify that a delay sound is being output.
and 2. Normally you will set this to 127. If the sound
2 Select the PROG 7.1: Ed-InsertFX, IFX page.
is still distorted even when this level is lowered sig-
nificantly, it is possible that the distortion is occur-
Using the Dmod function to vary the delay level by
ring before the AD converter. Adjust the [LEVEL]
pushing the joystick
knob or the output level of your external audio
source. 3 Set “InLvl Mod” to +100.
“Pan”: Set the panning of the signal from AUDIO 4 Set “Src” to JS+Y#1.
INPUT 1 and 2. When you are inputting a stereo The joystick will control the input level to the effect.
audio source, you will normally set Input 1 to L000, When you set “Src” to JS+Y#1, the delay sound will
and Input 2 to R127 (or Input 1 to R127, and Input 2 no longer be output; however it will gradually
to L000). When you are inputting a monaural audio increase as you move the joystick away from your-
source, you will normally set this to C064. self.
“BUS (IFX/Indiv.) Select”: In the same way as for
the oscillator of a program, specify the bus to which
the external audio source from AUDIO INPUT jacks
1 and 2 will be sent (☞p.108).
“Send 1,” “Send 2”: Specify the send levels from the
AUDIO INPUT 1, 2 (external input sound) to the
master effects, in the same way as for the program
oscillators. This setting can be made only if “BUS
(IFX/Indiv.) Select” is L/R or Off (☞p.109).
If “BUS (IFX/Indiv.) Select” is set to IFX, this is set
by “Send1 (MFX1)” and “Send2 (MFX2)” (Setup
111
Using the Dmod function to vary the feedback For some effects, you can synchronize the LFO fre-
level by operating [SW1] key quency to the tempo. Set the effect parameters
“BPM/MIDI Sync” to On, and “BPM” to MIDI.
5 In the PROG 2.2: Ed-Ctrl, Controls page, set the
For details refer to PG p.168.
function of “SW1” to SW1 Mod. (CC#80), Toggle.
6 Return to the PROG 7.1: Ed-InsertFX, IFX page,
and set the C Fb (C Delay Feedback) “(Source)” to
SW1 #80.
7 Set “(Amount)” to +30.

8 Press the [Exit] key etc. to return to the PROG 1.1:


Play page.
When you (move the joystick away from yourself
and) press the [SW1] key, the feedback level will
increase, and the delay sound will continue repeat-
ing.
The “(Amount)” setting determines the feedback
level when the [SW1] key is pressed. If you set
“(Amount)” to –10 and press the [SW1] key, the
feedback level will be 0.

Using the BPM/ MIDI Sync. function to synchronize


the delay time to arpeggiator tempo changes.
9 Set “BPM” to MIDI.
0 For L, C, and R, set “L/C/R Bs” and “Times” as
desired.
For this example, set “L/C/R Bs” to # and “Times”
to 1 so that the effect will be easily understandable.
The delay time will repeat at an interval of a 8th
note.

A Set the realtime controller function to C-mode,


and rotate REALTIME CONTROLS knob [4]
(“TEMPO”).
When you (move the joystick away from yourself
and) rotate the knob, the delay time will change.
B Turn on the [ARP ON/OFF] key to start the arpeg-
giator.
Move the joystick away from yourself and select the
desired arpeggio pattern.
When you rotate REALTIME CONTROLS knob [4],
the delay time will change in synchronization to any
changes you make in the arpeggiator tempo.

If you rotate the REALTIME CONTROLS knob [4]


to change the tempo while the delay is sounding,
noise may occur in the delay sound. This is
because the delay sound becomes discontinuous,
and is not a malfunction.

112
Other functions

Tuning to another instrument/ Specifying the function of the


Transposing Assignable Switch and Assign-
When you play this instrument together with other able Pedal
instruments, or along with music on a CD or tape, you
may need to adjust the tuning so that the pitch Set the assignable function of a footswitch (such as the
matches. To adjust the tuning, use GLOBAL 1.1: Sys- Korg PS-1) connected to the ASSIGNABLE SWITCH
tem Basic page “Master Tune.” The tuning can be jack.

Basic functions
adjusted in a range of –50 – +50 cents (one semitone is This switch can act as a source for alternate modula-
100 cents). tion or effect dynamic modulation, or switch porta-
You can also transpose by changing the pitch in semi- mento on/off, control the sostenuto effect, turn the soft
tone steps. To transpose the pitch of the entire this pedal effect on/off, turn the arpeggiator on/off, select
instrument, use GLOBAL 1.1: System Basic page “Key programs or combinations (up/down), start/stop the
Transpose.” The pitch can be transposed over a range sequencer, punch-in/out on the sequencer, or be a trig-
of ±1 octave. ger to advance the cue list step (☞PG p.222).

Here we will explain how to adjust the tuning and • This setting is made in GLOBAL 1.1: System, Foot
transposition of the entire this instrument in Global page “Foot SW Assign.”

Other functions
mode. You can specify the assignable function that will be
1 Press the [GLOBAL] key to enter Global mode. performed by a footpedal (such as the Korg XVP-10
EXP/VOL or EXP-2) connected to the ASSIGNABLE
2 Press the [EXIT] key. PEDAL jack.
3 Press the [F1] (“Basic”) key. This pedal can be used to control master volume, alter-
4 To adjust the tuning, select “Master Tune.” to nate modulation or effect dynamic modulation, porta-
adjust the transposition, select “Key Transpose.” mento pitch change speed, volume, the pan following
an insert effect, pan, volume, or send levels to the mas-
5 Use the VALUE controllers to adjust the setting.
ter effects (☞PG p.223).
You can use numeric keys [0]–[9] to enter a value
• This setting is made in GLOBAL 1.1: System, Foot
and press the [ENTER] key. Alternatively, you can
page “Foot Pedal Assign.”
use the [VALUE] dial, or the [INC]/[DEC] keys.
You can use this as a source for alternate modula-
If you wish to keep this setting after the power is
tion or effect dynamic modulation, and use it to
turned off, you must Write the Global settings to
control program parameters or effect parameters.
memory. (☞p.42)
In this case, set “Foot Switch Assign” to Foot SW
(CC#82), and “Foot Pedal Assign” to Foot Pedal
(CC#04).

Bypassing the effects Here we will show how to make settings that allow an
assignable switch to change programs or combina-
Normally, effects are turned on/off within each pro- tions.
gram, combination, or song, or in Sampling mode. 1 Connect a Korg PS-1 pedal switch (or other
However if you want the entire-instrument to not use momentary footswitch) to the ASSIGNABLE
any effects, you can use this Global bypass feature. SWITCH jack.
1 Press the [GLOBAL] key to enter Global mode. 2 Press the [GLOBAL] key to enter Global mode.
2 Press the [EXIT] key. 3 Press the [EXIT] key.
3 Press the [F1] “(Basic)” key. 4 Press the [F3] (“Foot”) key.
4 To turn off insert effect, check the “IFX Off” check 5 Select “Foot SW Assign,” and select either Pro-
box. gram Up or Program Down.
To turn off master effect 1, check the “MFX1 Off” If you select Program Up, the next higher program
check box. To turn off master effect 2, check the number will be selected each time you press the foot
“MFX2 Off” check box. switch.
If you select Program Down, the next lower pro-
gram number will be selected each time you press
the foot switch.
6 Set “Foot SW Polarity” to the polarity of the pedal

113
you connected.
If you connected a Korg PS-1 pedal switch, select (-) Creating original scales
KORG Standard. The pedal will not function cor-
rectly if you do not select the correct polarity. You can create your own original scales. You can create
sixteen different User Octave Scales in which the pitch
If you wish to keep this setting after the power is of each note in the octave is repeated for all octaves,
turned off, you must Write the Global settings to and one User All Note Scale in which the pitch of each
memory. (☞p.44) of the 128 notes can be specified independently.
7 Press the [PROG] key to enter PROG 1.1: Play, or If you wish to keep this setting after the power is
press the [COMBI] key to enter COMBI 1.1: Play. turned off, you must Write the Global settings to
Then press the foot switch, and the program/com- memory. (☞p.44)
bination will change.
The user scales you create here can be used by specify-
ing the scale for a program, for each timbre of a combi-
nation, or for each track of a song (☞“Changing the
scale”)
Selecting different Velocity and
Aftertouch curves
You can change the way in which velocity or after Changing the scale
touch will affect the volume or tone. Using this feature,
you can (for example) make the volume of the notes You can specify the scale for each program, for each
more consistent even when they are played with vary- timbre in a combination, or for each track of a song
ing velocities (dynamics). Each curve has its own char- (Sequencer mode).
acter, so you can select the curve that is appropriate for
These settings are made by “Type” in the following
your own playing dynamics, playing style, and the
pages, and by “Use Program’s Scale” for a combination
effect that you wish to obtain (☞PG p.122).
or sequencer.
1 Press the [GLOBAL] key to enter Global mode.
Program mode PROG 2.1: Ed–Basic, Prog Basic
2 Press the [EXIT] key.
Combination mode COMBI 3.2: Ed–Param2, Other
3 Press the [F1] (“Basic”) key. Sequencer mode SEQ 3.2: Param2, Other (Othr..8/Othr..16)
4 To change the velocity curve, select “Velocity
Curve” and specify the desired curve. Here we will show how to make settings in Sequencer
mode.
To change the after touch curve, select “AfterT
Curve,” and specify the desired curve. 1 Press the [SEQ] key to enter Sequencer mode.

If you wish to keep this setting after the power is 2 Press the [MENU] key, and then press the [F3] key
turned off, you must Write the Global settings to to select “Prm2” Press the [F8] (“Open”) key.
memory. (☞p.44) 3 Select the [F1](“Othr..8”) key or the
[F2](“Othr..16”) key.
This setting will affect the operation of the entire
this instrument. 4 If you wish to use the scale that is specified for the
program used by a track, check the “Use Prog’s
Each program has parameters that allow you to Scale” check box for that track.
adjust the effect of velocity (playing dynamics),
Tracks that are not checked will use the scale speci-
and the change will depend on the settings of
fied by Scale “Type.”
these parameters. These parameters can be indi-
vidually set in detail in Program mode. 5 Set “Type (Song’s Scale)” to select the scale for the
entire currently selected song.

If you wish to keep this setting aft,er the power is


turned off, you must Write the Global settings to
memory. (☞p.42–)

114
Setting the function of [SW1] and Setting the B-mode functions of
[SW2] REALTIME CONTROLS [1]–[4]
You can specify the function of the [SW1] and [SW2] You can specify the B-mode functions of REALTIME
keys (☞PG p.220). CONTROLS knobs [1]–[4]. (☞PG p.221)
The functions of the [SW1] and [SW2] keys are set The B-mode functions are set independently for each
independently for each program, combination, and program, combination, or song. The functions in Sam-
song. In and Sampling mode, the functions of these pling mode (if the separately sold EXB-SMPL option is
keys are set for the entire mode. installed) are set for the entire mode.
You can specify the function that will be performed by
These settings are made by “Knob B Assign” in the fol-
the [SW1] and [SW2] keys, and can also select between
lowing pages.
Toggle (when the function will be switched on/off
each time the [SW1] or [SW2] key is pressed) and Program mode PROG 2.2: Ed–Ctrl, Controls

Basic functions
Momentary (when the function will be on only while Combination mode COMBI 2.2: Ed–Ctrl, Controls
you continue holding the [SW1] or [SW2] key). Sequencer mode SEQ 2.2: Controller, Controls
These settings are made by “SW1/2 Assign” in the fol- Sampling mode* SMPL 5.2: Controller, Controls
lowing pages.
*: If the EXB-SMPL option is installed
Program mode PROG 2.2: Ed–Ctrl, Controls
You can use these knobs as sources for alternate
Combination mode COMBI 2.2: Ed–Ctrl, Controls
modulation or effect dynamic modulation, and
Squencer mode SEQ 2.2: Controller, Controls control program parameters or effect parameters.
Sampling mode* SMPL 5.2: Controller, Controls In this case, you will normally select Knob
Mod.1(CC#17), Knob Mod.2(CC#19), Knob

Other functions
*: If the EXB-SMPL option is installed
Mod.3(CC#20), and Knob Mod.4(CC#21).
When you write a program or combination, the
on/off status of the [SW1] and [SW2] keys is mem- Here we will give an example of how knob [1] can be
orized. used to control the filter and amp EG attack of a pro-
gram.
You can use these keys as alternate modulation or
1 Press the [PROG] key to enter Program mode.
effect dynamic modulation sources, and control
program parameters or effect parameters. 2 Press the [MENU] key, and then press the [F2] key
In this case, you will normally select SW1 to select “Ctrl” Press the [F8] (“Open”) key.
Mod.(CC#80) and SW2 Mod.(CC#81). 3 Select the Knob 1-B “Knob B Assign”, and select
For an example in which the [SW1] key is specified as F/A Attack (CC#73).
an effect dynamic modulation source for a program 4 Press the REALTIME CONTROLS [SELECT] key
and used to control an effect, refer to p.111. to select B-mode, and turn knob [1] to control the
EG attack of the filter and amp.
If you wish to keep this setting aft,er the power is
turned off, you must Write the Global settings to If you wish to keep this setting aft,er the power is
memory. (☞p.42–) turned off, you must Write the Global settings to
memory. (☞p.42–)
The settings of Sampling mode cannot be saved.
The settings of Sampling mode cannot be saved.

115
Adjusting the contrast (brightness)
of the LCD screen
Use the GLOBAL 1.1: System, Preference page “LCD
Contrast” to make adjustments. (☞p.117, PG p.125)

Using this instrument as a data


filer
MIDI exclusive data transmitted from an external
device can be received by this instrument and saved on
a SmartMedia (the Data Filer function). This is done
using the Media mode Save page “Save Exclusive”
(☞PG p.150).

Shortcuts
[MENU] key + numeric keys [0]–[9] x2
• Access the various pages within each mode. Hold
down the [MENU] key, and use numeric keys [0]–
[9] to input a two-digit page number.
[MENU] key + [ ], [ ] keys
• Access the various pages within each mode. Hold
down the [MENU] key, and use the [ ], [ ] keys
to move.
[TIMBRE/ TRACK] key + function keys [F1]–[F8]
• Access the parameters within each page. In pages
of Combination Sequencer mode that show timbres
1–8/tracks 1–8 or 9–16 (such as COMBI 1.1: Play,
Prog), hold down the [TIMBRE/TRACK] key and
press the [F1 T1/T9]–[F8 T8/T16] keys to move the
cursor.
[ENTER] key + numeric keys [0]–[9]
• Access the Utility menu commands of each page
(up to ten items). Hold down the [ENTER] key and
press a numeric key [0]–[9] to select from up to ten
of the Utility menu items.
[ENTER] key + keyboard
By holding down the [ENTER] key and pressing a note
on the keyboard of the TRITON Le, you can perform
the following input operations.
• Input note number values or velocity values
• Select “KEY” in GLOBAL 5.1: DKit, SEQ 5.1: RPPR,
RPPR Setup page
[ENTER] key + [LOCATE] key
• In Sequencer mode, set the current location as the
“Location” (equivalent to the Utility menu
command “Set Location”)

116
Appendices
Troubleshooting
If you experience problems, refer to the relevant item • Is Local Control turned on?
and take the appropriate measures. In GLOBAL 2.1: MIDI, check the “Local Control
On” check box.............................................. ☞PG p.128
Power does not turn on
• Is the [VOLUME] slider raised? ...........................☞p.5
• Is the AC/AC power supply connected to an
outlet? • If there is no sound from the OUTPUT
................................................................................ ☞p.12 (INDIVIDUAL) 1, 2 jacks, make sure that “BUS
Select (IFX/Indiv.Out Assign)” or “Bus Select”
• Is the [POWER] switch turned on? following the insert effect is set to 1, 2, 1/2....☞p.108
Turn on the rear panel [POWER] switch.
• If specific tracks in Sequencer mode do not
The power is turned on, but nothing is shown in sound, Make sure that the “PLAY/MUTE/REC”
the LCD screen. or “PLAY/MUTE” is set to PLAY....................☞p.67
The TRITON Le functions normally when you play • Make sure that the “Status” is INT or BTH. ....☞p.68

Appendices
the keyboard or perform other operations.
• Are the “Key Zone” and “Velocity Zone” set so that
• Due to changes in the surrounding temperature, the
sound will be produced when you play?
LCD screen may on rare occasions be difficult or
.......................................................................... ☞PG p.64
impossible to read. If this occurs, perform the
following procedure. (☞PG p.125)
Notes do not stop
1 Press the [EXIT] key three times, and press the
• In PROG 2.1: Ed–Basic, select the Prog Basic
[GLOBAL] key.
page, make sure that the “Hold” check box is
2 Hold down the [EXIT] key, and press the [REC/ unchecked......................................................... ☞PG p.5
WRITE] key.
3 Rotate the [VALUE] dial to adjust the LCD • In GLOBAL 1.1: System, Foot page, make sure that

Troubleshooting
screen. “Damper Polarity” or “Foot SW Polarity” is set
correctly.
The power is turned on, but the LCD screen does ........................................................................ ☞PG p.126
not display normally, or an error message is dis-
Noise or oscillation is heard
played. There is no sound when you play the key-
board, and the TRITON Le does not function • When using the BPM/MIDI Sync function to
control the delay time of an effect, noise may occur
normally.
in the delay sound. This noise is due to
• This type of problem may occur if a data writing discontinuities in the delay sound, and is not a
operation to internal memory was not completed malfunction.
correctly, for example if the power of the
TRITON Le was turned off while a program or • When using an effect on the external audio source
other data was being written. If this occurs, use the being input from AUDIO INPUT 1 and 2,
following procedure to initialize the TRITON Le’s oscillation may occur depending on the type of
internal memory. effect or on the parameter settings. Please adjust the
input level, output level, and effect parameters.
1 Turn off the power.
You need to be particularly careful when using a
2 Hold down the [MENU] key and the [9] key, and high-gain effect.
turn on the power.
• After a sample edit has been executed, or after a
The TRITON Le will be initialized, and data will be stereo sample has been recorded, a small noise may
written into internal memory. While the data is be heard. This has no effect on the audio data that
being written, the LCD screen will indicate “Now was edited or sampled.
writing into internal memory.”
Effects are not applied
No sound • Are the GLOBAL 1.1: System, Basic page “IFX Off,”
• Are connections made correctly to your amp, “MFX1 Off,” or “MFX2 Off” settings checked?
mixer, or headphones?........................................ ☞p.12 ................................................................ ☞PG p.122, 123
• Is your amp or mixer turned on?

117
• If you are in Combination, Sequencer, and master • If no sound is played when you turn on the
effects are not applied when you raise the “S1 [AUDITION] key in Sampling mode, check the
(Send1 (MFX1))” or “S2 (Send2 (MFX2))” of the following points.
timbre/track, does “Return 1” or “Return 2” from Is a sample correctly assigned to the currently
the master effect need to be raised? selected “Index”? .......................................... ☞PG p.87
.................................................................... ☞PG p.47, 85
Alternatively, has “Send 1” or “Send 2” for each RPPR does not start
oscillator of the program used by the timbre/track • Is the SEQ 1.1: Play/REC “RPPR” setting checked?
been lowered? .......................................... ☞PG p.45, 84 ......................................................................... ☞PG p.51
The actual send level is determined by multiplying • Are “Assign,” “Pattern Select,” and “Track” set
the send setting of each oscillator in the program correctly? .............................................. ☞p.73, PG p.72
with the send setting of the timbre/track.
• If the GLOBAL 2.1: MIDI “MIDI Clock” parameter
When you loaded data, a combination or song set to Internal? ............................................ ☞PG p.127
does not sound correctly
You converted GM/ GS/ XG format SMF data and
• In the dialog box from which you saved the data,
played it in Sequencer mode, but it does not sound
did you check the check boxes for each item that
correctly
you wanted to save? ........................................... ☞p.45
• Execute “GM Initialize” to initialize the settings.
• In the dialog box when saving the data, did you ......................................................................... ☞PG p.54
check the check boxes for each item that you
wanted to save? .......................................... ☞PG p.124 • Is GLOBAL 1.1: System, Preference page “Bank
Map” set to GM?......................................... ☞PG p.124
• Are the bank/number of the programs used by the
song the same as when the song was created? • Make sure that the “Status” is INT or BTH.
........................................................................ ☞PG p.124 ................................................................ ☞p.68, PG p.62

Playback does not start when you press the Settings for oscillator 2 are not displayed
[START/ STOP] key in Sequencer mode • Make sure that the PROG 1.1: Ed–Basic, Prog Basic
• Is the GLOBAL 2.1: MIDI, MIDI page “MIDI Clock” page “Mode (Oscillator Mode)” parameter is set to
set to Internal? ............................................. ☞PG p.127 Double. ................................................... ☞p.50, PG p.5

Can’t record in Sequencer mode This instrument does not respond to incoming MIDI
data
• In the GLOBAL 1.1: System, Preference page, is the
Memory Protect “Song” check box unchecked? • Are all MIDI cables connected correctly?
........................................................................ ☞PG p.125 .............................................................. ☞p.12, PG p.229

• Is the GLOBAL 2.1: MIDI, MIDI page “MIDI Clock” • Is the MIDI data being received on the channel on
set to Internal? ............................................. ☞PG p.127 which it is being transmitted? ................... ☞PG p.127

Arpeggiator does not start This instrument does not respond correctly to
• Is the [ARP ON/OFF] key turned on (lit)? incoming MIDI data
• Are the GLOBAL 2.1: MIDI, MIDI page MIDI Filter
• If the arpeggiator does not start for a combination settings “Enable Program Change,” “Bank,”
or song, make sure that “Arpeggiator Run” is “Combi,” “Ctrl Change,” and “AfterT” each
checked, and that an arpeggiator is selected for checked? ...................................................... ☞PG p.128
“Assign.”..........................................☞p.28, PG p.35, 81
• If you wish to receive MIDI exclusive messages, is
• Is the GLOBAL 2.1: MIDI “MIDI Clock” parameter the GLOBAL 2.1: MIDI, MIDI page MIDI Filter
set to Internal? ............................................. ☞PG p.127 “Exclusive” item checked?
• If the [ARP ON/OFF] key does not respond in ....................................................................... ☞PG p.129
GLOBAL 6.1: Arp.Pattern, you may have moved • Does this instrument support the types of messages
here from Sampling mode or Media mode. that are being sent to it?

No sound when the [AUDIITON] key is turned on Can’t format SmartMedia; can’t save/ load data
• The Audition function is available only in Program • Are you using 3.3V SmartMedia or SmartMedia
mode. with ID? ................................................................. ☞p.96
• If no sound is played when you turn on the
[AUDITION] key in Program mode, make sure that
the PROG 2.1: Ed-Basic, Audition page parameter
“Audition Riff” has not been turned Off
............................................................................ ☞PG p.9

118
• Is the SmartMedia inserted correctly? • Use the Media mode Media Information page
Insert the SmartMedia with the contacts facing utility “Scan SCSI device” to remount the SCSI
upward.................................................................. ☞p.97 device.
• Does the SmartMedia allow data to be written? • If your MO drive does not have a mode setting, or
A write protect sticker may have been affixed to if the media exchange is not recognized even after
prohibit writing. you switch the mode, use the drive select button to
Remove the write protect sticker, insert the select a different drive, and then re-select the MO
SmartMedia correctly into the slot, and try the save drive.
or load operation once again. ............................ ☞p.97

Pressing the [SAMPLING] key does not enter Sam-


pling mode.
• Is the EXB-SMPL installed correctly? ....... ☞PG p.253

Cannot input sound


• Is the EXB-SMPL installed correctly? ....... ☞PG p.253
• Is your audio source connected to the AUDIO
INPUT 1, 2 jacks? ................................................. ☞p.34
• Is the [LEVEL] knob raised?............................... ☞p.34
• Is the [MIC/LINE] switch set appropriately? ☞p.34

Appendices
• If there is no sound in Sampling mode, go to SMPL
1.1: Recording, select the Input/Pref page, and
make sure that “Lvl” and “BUS” are set correctly.
................................................................ ☞p.34, PG p.93
• If there is no sound in Program, Combination, or
Sequencer modes, go to GLOBAL 1.1: System,
select the Audio In page, and make sure that
“Input1 Level,” “Input1 BUS Select,” “Input2
Level” and “Input2 BUS Select” are set correctly.
............................................................ ☞p.111, PG p.126

Troubleshooting
• If sound is still not input even after you have set
“Input 1 Level,” “Input 2 BUS Select,” “Input 2
Level,” and “Input 2 BUS Select” in the GLOBAL
1.1: System, Audio In page, temporarily lower the
“Input 1 Level” and “Input 2 Level,” and then
move to Program, Combination, or Sequencer
mode. Turn return to Global mode, and make the
settings once again. ........................................... ☞p.111

Cannot record a sample


• Are one or more SIMM modules installed?
........................................................................ ☞PG p.253
• Is there free memory area........................... ☞PG p.118
Select a different memory bank................... ☞PG p.90
Delete unneeded samples............................. ☞PG p.94
Save important samples before deleting them.
.................................................................. ☞PG p.94, 149

The TRITON Le does not recognize when MO


media has been exchanged, and does not cor-
rectly display the media information after the
exchange.
• If you are able to switch the mode setting of your
MO drive between DOS/V(PC/AT) and Mac
settings, please use DOS/V(PC/AT) mode. For
details on changing the mode of your drive, refer to
the owner’s manual for your MO drive.

119
Specifications and options
RPPR (Realtime Pattern Play/Recording) function
Specifications (One set is available for each one song)
Media mode
System Load, save, utility
HI (Hyper Integrated) synthesis system Data filter function (save/load MIDI exclusive data)
Modes Loading from CD-ROM (ISO 9660 level1) is supported
Combination, Program, Sequencer, Global, Media, (if the separately sold EXB-SMPL option is installed)
Sampling (if the separately sold EXB-SMPL option is Combinations, programs, drum kits, user arpeggio
installed) patterns (.PCG) created on the TRITON/TRITON Pro/
TRITON ProX or the TRITON-Rack can be convert-
Tone generator loaded.
HI (Hyper Integrated) synthesis system Songs (.SNG) created on the TRITON/TRITON Pro/
Polyphony: 62 voices (62 oscillators) in single mode TRITON ProX can be convert-loaded.
31 voices (62 oscillators) in double mode
Filters: 24 dB/oct LPF with resonance Sampling (if the separately sold EXB-SMPL option is
12 dB/oct LPF + HPF installed)
48 kHz, 16 bit linear
Alternate modulation function
Maximum sample data memory capacity 64 Mbyte
Waveform memory (with SIMM expansion)
32 Mbyte PCM ROM 4000 samples, 1000 multisamples
(425 multisamples, 413 drumsamples) (128 indexes for each multisample
Time Slice, Time Stretch, and various other editing
If the separately sold EXB-SMPL option is installed: functions
Sample data RAM (SIMM): 16 Mbyte included with Able to load AIFF, WAVE, AKAI (S1000/3000), Korg
the EXB-SMPL (expandable up to 64 Mbyte) format sample data can be loaded
Sample data can be exported in AIFF or WAVE formats
Effect section
1 insert effect (stereo in/out), Keyboard
2 master effects (mono in/stereo out), 76 keys, 61 keys
1 master EQ (3-band stereo), all usable simultaneously
Controllers
89 effect types (available for insert effects or master
Joystick, [SW1]/[SW2] keys, REALTIME CONTROLS
effects)
knobs [1]–[4] and [SELECT] key, [ARP ON/OFF] key
Effect dynamic modulation function
User interface
Combinations/ Programs
Graphical user interface: 240 × 64 pixel LCD display
384 user memory combinations (384 preloads)
512 user memory programs (448 preloads) Mode keys:
128 + 9 drum ROM programs (GM sound map compat- [COMBI], [PROG], [SEQ], [GLOBAL], [MEDIA],
ible) [SAMPLING]
383 audition riffs Value controllers:
Drum Kits [VALUE] dial, [INC]/[DEC] keys, numeric keys
24 user drum kits (16 preloads) ([0]...[9], [–], [./ HOLD]
9 ROM GM drum kits (GM2 sound map compatible) Cursor keys [ ], [ ](–), [ ], [ ](+),
[MENU/PAGE +/–] keys, [EXIT] key, [ENTER] key,
Dual polypnonic arpeggiator
[COMPARE] key, [F1]…[F8](T1/T9…T8/T16) key,
Use two arpeggiators simultaneously
[TIMBRE/TRACK] key
(Combination, Sequencer modes)
5 preset arpeggio patterns BANK keys:
216 user arpeggio patterns (200 preloads) PROG BANK: [A], [B], [C], [D], [GM]
COMBI BANK: [A], [B], [C]
Sequencer
16 timbres, 16 tracks + 1 master track SEQUENCER control keys:
Maximum capacity: 200,000 notes [PAUSE], [REW], [FF], [LOCATE]
Resolution ! /192 SEQUENCER/SAMPING (if the separately sold EXB-
200 songs SMPL option is installed) control keys:
20 cue lists [REC/WRITE], [START/STOP]
150 preset patterns, 100 user patterns (for each song) Other:
16 preset/16 user template songs [AUDITION] key, [CATEGORY] key
Supports TRITON Le format and SMF (formats 0 and
1)

120
Audio outputs
1/4" AUDIO OUTPUT (MAIN) L/MONO, R: Options
1/4" AUDIO OUTPUT (INDIVIDUAL) 1, 2
Output impedance 1.1 [kΩ] Expansion board
(L/MONO is 550 [Ω] for mono) EXB-SMPL Sampling upgrade
Maximum output level
Expression/ volume pedal:
L/MONO, R: +12.0 [dBu]
XVP-10 EXP/VOL pedal
(INDIVIDUAL)1.2: +11.6 [dBu]
Load impedance 100 [kΩ] or greater Foot controller:
1/4" AUDIO OUTPUT HEADPHONE EXP-2
Output impedance 33 [Ω] Damper pedal:
Maximum output level 36 [mW] DS-1H
Load impedance 33 [Ω]
Pedal switch:
Audio inputs (if the separately sold EXB-SMPL option is PS-1
installed)
Other:
AUDIO INPUT 1, 2
MIDI cable
LEVEL [MIC/LINE] switch, [LEVEL] knob
Input impedance: 10 [kΩ]
* Appearance and specifications of this product are subject to
Nominal level change without notice. (Aug/01)
LINE +3 [dBu] @ [INPUT] knob= min.
–30 [dBu] @ [INPUT] knob= max.

Appendices
MIC –18 [dBu] @ [INPUT] knob= min.
–53 [dBu] @ [INPUT] knob= max.
Maximum level
LINE +13 [dBu] @ [INPUT] knob = min.
–20 [dBu] @ [INPUT] knob= max.
MIC –8 [dBu] @ [INPUT] knob= min.
–43 [dBu] @ [INPUT] knob= max.

Specifications and options


Source impedance: 600 [Ω]
Control inputs
DAMPER (half-damper supported), ASSIGNABLE
SWITCH/PEDAL
Other
MIDI IN, OUT, THRU
SmartMedia slot:
Usable media: 3.3V SmartMedia (4M–128Mbyte,
including cards with ID)
AC power inlet, switch
Support for options
EXB-SMPL (one 16Mbyte 72-pin SIMM is included)
72-pin SIMM memory slots x 2 (for sample data RAM)
Dimensions (W × D × H)
61-key model: 1045.2 × 302.3 × 95.3 (mm)
76-key model: 1257.6 × 302.3 × 95.3 (mm)
Weight
61-key model: 7.8kg
76-key model: 9.2kg
Power consumption:
12W (if the EXB-SMPL option and two 32Mbyte SIMM
are installed)
Included items:
AC/AC power supply 9VAC 3.0A

121
[62 notes Music Workstation/Sampler] Date : 2001. 06. 11

TRITON Le MIDI Implementation Chart


Function
MIDI Implementation Chart
Transmitted Recognized Remarks

Basic Default 1 – 16 1 – 16 Memorized


Channel Changed 1 – 16 1 – 16

Mode Memorized 3
Messages
Altered

Note 0 – 127 0 – 127 Sequencer and Arpeggiator data


Number: True Voice 0 – 127 can transmit all note numbers 0–127

Velocity Note On 9n, V=0 – 127 9n, V=0 – 127


Note Off

Aftertouch Polyphonic (Key) Polyphonic aftertouch transmitted *A


Monophonic (Channel) only as sequence data *A

Pitch Bend *C
0, 32 Bank Select (MSB, LSB) *P
1, 2 Joystick (+Y, –Y) *C
4, 5, 7, 8, 10 Pedal, Portamento Time, Volume, IFX pan, Pan *C
11, 12, 13 Expression, Effect Control 1/2 *C
64, 65, 66, 67 Damper, Portamento Sw., Sostenuto, Soft *C
Control 70 – 79 Sound (Realtime Controls 1–4A: 74, 71, 79, 72) *C
Change 80, 81, 82, 83 Switch 1, 2, Foot Switch, Controller *C
93, 91, 92, 94, 95 Send 1, 2, Effect ON/OFF (IFX, MFX1, MFX2) *C
6, 38 Data Entry (MSB, LSB) *C
96, 97 Data Increment, Decrement *C
98, 99 NRPN (LSB, MSB) *C, *2
100, 101 RPN (LSB, MSB) *C, *3
0 – 95 Realtime Controls knobs 1–4 B-assign *C
0 – 101 Sequencer data (receive *C)
120, 121 All Sound Off, Reset All Controllers *C
Program 0 – 127 0 – 127 *P
Change Variable Range 0 – 127

System Exclusive *E*4

Song Position When cue list is selected, corresponds to cue list *1


System
Common Song Select 0 – 127 0 – 127 When cue list is selected, corresponds to cue lists 0–19 *1
Tune

System Clock *1
Real Time Command *1

Local On/Off
Aux All Notes Off 123 – 127
Messages Active Sense
Reset
Notes
*P, *A, *C, *E: Transmitted/received when GLOBAL 2.1: MIDI Filter (Program Change, After Touch, Control Change, Exclusive) is Enable, respectively.
*1: When GLOBAL 2.1: MIDI Clock is Internal, transmitted but not received. The opposite for External.
*2: LSB,MSB=02,00: Arpeggiator ON/OFF, 0A,00: Arpeggiator Gate control, 0B,00: Arpeggiator Velocity control
*3: LSB,MSB=00,00: Pitch bend range, 01,00: Fine tune, 02,00: Coarse tune
*4: In addition to Korg exclusive messages, Inquiry, GM System On, Master Volume, Master Balance, Master Fine Tune,
and Master Coarse Tune are supported.
Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO : Yes
122 3: OMNI OFF, POLY
Mode Mode 4: OMNI OFF, MONO : No
Consult your local Korg distributor for more information on MIDI IMPLEMENTATION.
Index
Numerics BUS Select E
AUDIO INPUT .......................111
10’s HOLD ..................................... 21 Edit
Combination, Sequencer .......110
Combination ............................. 56
Program ...................................108
Pattern edit................................ 70
A Sampling....................................85
Program..................................... 48
ADC OVER!............................. 34, 38 Song edit.................................... 70
After Touch.................................... 25 C Track edit .................................. 70
After touch curve........................ 114 Cat. HOLD (Category Hold) .......21 Edit Buffer...................................... 43
Alternate Modulation .. 1, 23, 55, 61 Category ...........................................7 Edit cell................................. 7, 10, 15
Amp EG ......................................... 53 Category Hold ..........................15 Effect
Amplifier........................................ 53 Drumsample .............................94 Combination, Sequencer....... 108
Check box .......................................10 Program................................... 108
Arpeggiator ............................. 26, 61
Sampling ................................. 108
Assign...................................... 101 CLIP! ...............................................38
Gate.............................................. 6 EG.................................................... 51
COMBI BANK .................................7
Key Sync. .................................. 28 Amp (Amplifier) EG................ 53
Combination ..................1, 22, 32, 56 EG-INTENSITY ........................ 24
Length of each note ......... 27, 100 Effect ........................................108 EG-RELEASE............................ 24

Appendices
Length of the arpeggio note . 104 Organization .............................56
Link, Combination................. 102 Filter EG .................................... 52
Compare function Pitch EG..................................... 51
Link, Program ........................ 101
Combination .............................57 Event Edit................................. 16, 80
Octave...................................... 100
Program .....................................49
on/off .......................... 26, 99, 101 EXB-SMPL.................... 1, 2, 9, 41, 82
Sequencer ..................................77
Order ....................................... 100 Excl Group (Exclusive Group) .... 95
Range............................... 100, 101 Connection
AC/AC power supply.............12 [EXIT] key ........................................ 7
Strength of notes ...................... 27
Synchronization ..................... 107 Audio equipment .....................12 External media .............................. 98
Tempo ........................... 6, 27, 101 Audio input...............................13 External SCSI storage media ....... 96
Timing ..................................... 100 Damper pedal ...........................13
Velocity ............................... 6, 100 Foot switch ................................13
MIDI equipment/computer ...13 F

Index
Arpeggio pattern .......................... 99
Pedal...........................................13 Filter EG ......................................... 52
Assignable Foot Pedal.................. 25
Constant Pitch................................91 Filter Modulation .......................... 52
Assignable Foot Switch................ 25
Continue sounding .....................104 Filter Type...................................... 52
ASSIGNABLE Pedal................... 113
Controller .......................................23 Foot pedal ...................................... 25
ASSIGNABLE PEDAL jack ........... 8
Copy Key Setup.............................94 Foot switch................................. 9, 13
ASSIGNABLE Switch................. 113
Create Control Data ......................80 Force OSC Mode ........................... 58
ASSIGNABLE SWITCH jack......... 9
Crossfade Loop..............................82 Format ............................................ 96
Assigning a name ......................... 43
Cue List...............................19, 62, 71 Front panel....................................... 5
AUDIO INPUT... 4, 9, 13, 34, 38, 83,
Current page ..................................10 Function button............................. 10
84, 85, 108, 110, 111, 117, 119, 121
Cutoff frequency .....................24, 52
AUDIO OUTPUT.................. 2, 8, 12
Audition function ........................... 7 G
Audition riff .................................... 7 D Global ....................................... 44, 93
Auto pan ........................................ 53 Damper effect.................................13 GM2 .................................................. 3
Auto sampling .............................. 85 DAMPER jack ..................................9 Grid ................................................. 88
Data dump ...............................41, 46 Guitar input ................................... 84
B Data filer .......................................116
Decay Time.....................................31 H
BANK keys ...................................... 7
Demo song .....................................18 HI (Hyper Integrated) .................... 1
Base key.......................................... 89
Detune sound.................................50 High Multisample, Low
Bit resolution ................................. 83
Dialog..............................................11 Multisample.............................. 49
BPM .......................................... 59, 88
Dmod ............................................111 High pass filter .............................. 52
BPM Adjust function.................... 82
Double.................................49, 50, 53
Broken chord ................................. 26
Drum kit ...................................93, 94
I
Dual arpeggiator .....................2, 101
IFX Balance .................................... 31
Dynamic Modulation........1, 61, 111

123
Index...........35, 36, 82, 84, 87, 88, 89, Master effect................................. 109 Pitch .......................................... 23, 50
90, 92 Combination, Sequencer ....... 110 Combination............................. 59
(INDIVIDUAL) 1, 2 .........................8 Program................................... 109 Drum kit.............................. 93, 94
Input setting ...................................38 Sampling ................................. 110 Program .................. 49, 50, 51, 55
Master EQ..................................... 108 Sampling ........... 35, 82, 89, 90, 91
Insert effect .......................54, 60, 108
Combination, Sequencer ....... 110 Sequencer............................ 61, 81
Combination, Sequencer .......110
Program ...................................109 Program................................... 109 Pitch BPM Adj............................... 91
Sampling............................85, 110 Sampling ................................. 110 Pitch EG.......................................... 51
Master track ................................... 62 Pitch Offset .................................. 104
Memory protect....................... 42, 77 Pitch Stretch................................... 31
J [MENU PAGE +/–] key................. 7 Playback pitch ......................... 50, 59
Joystick........................................5, 23
MIDI Channel Polyphonic............................... 49, 58
Combination ............................. 58 Portamento .............................. 51, 58
K Program..................................... 48
Preload data....................... 19, 41, 47
Key Sync. ................................28, 100 MIDI Clock............... 27, 80, 100, 107
PRELOAD PCG ............................ 19
Key Zone...................................56, 59 MIDI connector ......................... 9, 13
Preset data ..................................... 41
Keyboard & Index .........................89 MIDI data filer ............................... 46
Preset pattern ................................ 62
Keyboard crossfade.......................57 MIDI filter ...................................... 60
PROG BANK ................................... 7
Keyboard input..............................16 MIDI pitch bend data ................... 51
Program ..................................... 1, 29
Keyboard Track .......................52, 53 Mode (REC Mode) ........................ 38 Effect........................................ 108
.KMP file .........................................98 Mode (Sample Mode) ............. 88, 89 Organization............................. 48
.KSC file ..........................................98 Monaural source ........................... 86
Monophonic............................. 49, 58
Q
Multisample............ 1, 35, 36, 37, 49,
L 83, 93
Quantize......................................... 65
Layer..........................................57, 59
LCD screen .........................6, 10, 116 R
LCD screen messages when
N
REALTIME CONTROLS ........ 5, 24,
separately sold options are Note Number................................. 25
25, 27, 28, 31, 50, 58, 115
installed......................................17
Realtime recording ................. 15, 78
Level O Auto punch-in.......................... 79
AUDIO INPUT .......................111 Loop All Tracks........................ 79
Octave ........................... 23, 27, 31, 59
Program .....................................53 Manual punch-in ..................... 78
Arpeggiator............................. 100
Level meter.....................................38 Multi .......................................... 80
on/off
LFO ............................................51, 54 power ......................................... 17 Overdub .................................... 78
Link..................................................82 Overwrite.................................. 78
Organization
Combination............................102 Pattern ....................................... 80
Combination ............................. 56
Program ...................................101 Program..................................... 48 Rear panel ........................................ 8
Load Sampling ................................... 83 Recording (Sample)
Data ............................................97 Sequencer .................................. 62 Auto ........................................... 34
Demo data .................................18 Original scale ............................... 114 Manual ...................................... 38
Preload data ..............................47 Recording (Song)
OSC Select ...................................... 58
RPPR...........................................30 Arpeggio pattern ..................... 65
Oscillator ........................................ 49
Lock function .................................23 Bass track .................................. 64
Oscillator Mode............................. 93 Pattern ....................................... 78
Loop.................................................39
Sample........................................88 Track .......................................... 78
Song ............................................64 P Recording level ....................... 34, 38
Loop the playback .........................38 Page menu...................................... 11 Rename........................................... 43
Song ............................................61 Pan Resolution ........................ 64, 75, 100
Low Pass & High Pass ..................51 AUDIO INPUT....................... 111 Resonance ...................................... 52
Low pass filter................................52 Combination ............................. 57 RESONANCE/HPF ................. 5, 24
Low Pass Resonance .....................51 Drum kit .................................... 95 Restoring the factory settings ..... 47
LPF CUTOFF..................................24 Program..................................... 53
REVERT ......................................... 10
Sampling ................................... 85
Sequencer .................................. 68 Riff (phrase) ..................................... 7
M Pattern............................................. 62 ROM drumsample........................ 94
(MAIN) L/MONO, R......................8 Pattern Assignable ........................ 30
Manual sampling...........................85 .PCG file.......................................... 98
Pedal connection ............................. 8

124
Routing Step................................................103 Volume .............. 5, 17, 23, 31, 33, 49,
AUDIO INPUT....................... 111 Step recording..........................65, 80 51, 53, 57, 58
Combination, Sequencer....... 110 Stereo.........................................86, 88 Combination ............................. 58
Program .................................. 108 Sampling ................................... 84
Stereo source ..................................86
Sampling ................................. 110 Sequencer .................................. 68
SW1, SW2 ...........................5, 23, 115
RPPR........... 2, 30, 61, 62, 74, 80, 118
Synchronization
Arpeggiator.............................107 W
S System exclusive data.............41, 98 Wah effect ...................................... 52
Sample...................................... 36, 83 Write ........ 7, 8, 29, 31, 33, 41, 42, 48,
Recording.................................. 34 56, 93
Save............................................ 90 T
Sampling ........................................ 84 Tab ...................................................10
Effect........................................ 108 Template Song .........................61, 63
Z
Organization............................. 83 Tempo Zero (Use Zero) ....................... 39, 88
Sampling frequency ..................... 83 Arpeggiator.............................101 Zero crosses ................................... 88
Save......................... 41, 45, 46, 96, 98 Song............................................64 ZOOM ............................................ 88
Scale ........................................ 59, 114 Text dialog box ..............................11
Scroll bar ........................................ 11 Three elements of sound ..............49
SCSI connector ................................ 9 Timbre...........................56, 57, 58, 59
Select Time Slice .................................82, 91
10’s HOLD Time Stretch ...................................82

Appendices
Combination ..................... 22 Tone...................5, 23, 49, 51, 55, 104
Program............................. 21 Sound at the specified pitch .105
Arpeggio pattern ..................... 27 Track Play Loop.............................64
Category
Track status ....................................77
Combination ..................... 22
Program............................. 21 Transpose .......................................59
Combination............................. 22 Tremolo/auto-pan ........................51
Combination bank ................... 22 Truncate....................................40, 91
Combination number.............. 22 Tuning...........................................113
Page ........................................... 14
Parameter.................................. 15
Program .................................... 20 U

Index
Program bank........................... 20 Use DKit Setting ............................95
Program number ..................... 20 User arpeggio pattern...........29, 103
Tab ............................................. 15 Chordal pattern ......................105
Select by Category ........................ 21 Drum pattern ..........................105
Selecting a tab................................ 15 Melody.....................................105
Selecting mode .............................. 14 User pattern ...................................62
Selecting parameter...................... 15 User template song .......................61
Send Utility menu ...................................10
AUDIO INPUT....................... 111
Combination, Sequencer....... 110
Program .................................. 109
V
Sequencer............. 2, 3, 13, 18, 30, 61 VALUE controller .........6, 10, 11, 15
Effect........................................ 108 Velocity .............................25, 57, 114
Organization............................. 62 Velocity crossfading......................60
Setting a parameter ...................... 15 Velocity curve ..............................114
Shortcuts ...................................... 116 Velocity drumsample
Shutdown Keys............................. 30 switching ...................................94
SIMM .............................................. 82 Velocity multisample
Single ........................................ 31, 49 switching ...................................49
SmartMedia ................................... 96 Velocity SW L→H .........................50
SmartMedia slot.............................. 5 Velocity switch ........................57, 60
SMF (Standard MIDI File) ..... 41, 98 Velocity zone..................................60
.SNG file ......................................... 98 Vibrato effect..................................51
Song ................................................ 62
Song data ....................................... 77
Split........................................... 57, 59

125
E 2
Boldface type
About this manual Parameter values are printed in boldface type.
Content that is of particular importance is also printed in
This “Parameter Guide” contains explanations and other boldface type.
information regarding the operations of the parameters and Procedure steps 1 2 3 ...
settings on the TRITON Le. The explanations are organized Steps in a procedure are listed as 1 2 3 ...
by mode, page, and tab. Explanations and other information
on the effects and their parameters are also provided for ☞p.■, ☞BG p.■, ☞■.■ – ■
each effect. From the left, these symbols indicate a reference page in the
Refer to this guide when an unfamiliar parameter appears in Parameter Guide, a reference page in the Basic Guide, and a
the display, or when you need to know more about a partic- parameter number.
ular function. Symbols , , , , ,
These symbols respectively indicate cautions, advice, MIDI-
related explanations, a parameter that can be selected as an
Conventions in this manual alternate modulation source, a parameter that can be
selected as a dynamic modulation source, and a parameter
Abbreviations for the manuals BG, PG, VNL that can use the BPM/MIDI Sync function.
References to the manuals included with the TRITON Le are Example screen displays
abbreviated as follows. The values of the parameters shown in the example screens
of this manual are only for explanatory purposes, and may
BG: Basic Guide
not necessary match the values that appear in the LCD
PG: Parameter Guide
screen of your instrument.
VNL: Voice Name List
MIDI-related explanations
Switches and knobs [ ]
CC# is an abbreviation for Control Change Number.
References to the keys, dials, and knobs on the TRITON Le’s
panel are enclosed in square brackets [ ]. In explanations of MIDI messages, numbers in square
brackets [ ] always indicate hexadecimal numbers.
Parameters in the LCD display screen “ ”
Parameters displayed in the LCD screen are enclosed in
double quotation marks “ ”.

How to read the “Parameter Guide”


(example)

■ 5.3–1d: UTILITY
Mode name PROG 5.3: Ed–LFOs
Here you can make settings for the LFO that can be used to Utilty menu
cyclically modulate the Pitch, Filter, and Amp of oscillators 1 command name
Page No. and 2. There are two LFO units for each oscillator. By setting
the LFO1 or LFO2 Intensity to a negative (–) value for Pitch,
Filter, or Amp, you can invert the LFO waveform.
Utility menu ☞“Write Program” (1.1–1c)
command No.
For details on how to select the desired utility function,
5.3–1: OS1LFO1 (OSC1 LFO1) refer to “PROG 1.1–1c: UTILITY.”
Tab No.
Indicates settings for the “OSC1 LFO1,” which is the first Swap LFO 1&2
LFO that can be used for oscillator 1. Page name
This exchanges the settings of LFO 1 and 2. If LFO2 is
selected in AMS1 (Freq. AMS1) or AMS2 (Freq. AMS2) of
5.3–1a LFO1 Freq.Mod (5.3–1b), the settings will be invalid for
Tab name LFO2 after LFO1 and 2 have been exchanged. If you select
5.3–1b this from the OSC1 LFO1 or OSC1 LFO2 page, LFO1 and
5.3–1c LFO2 of OSC1 will be exchanged.
Parameter 1 Select “Swap LFO 1&2” to access the dialog box.
No. 5.3–1d 2 To execute, press the [F8] (“OK”) key. To cancel without
executing, press the [F7] (“Cancel”) key.

5.3–1a: OSC1 LFO1


Parameter
name Waveform [Triangle 0…Random6 (Vect.)]

Range of possible
parameter values

iii
Table of Contents PROG 5.3: Ed–LFOs............................................ 22
5.3–1: OS1LFO1 (OSC1 LFO1) ...................... 22
5.3–2: 1LFO2 (OSC1 LFO2).......................................... 23
5.3–3: 2LFO1 (OSC2 LFO1).......................................... 23
1. Program mode ................................. 1 5.3–4: 2LFO2 (OSC2 LFO2).......................................... 24

PROG PAGE MENU .............................................. 1 PROG 6.1: Ed–Arp. (Arpeggiator) ....................... 24


6.1–1: Setup (Arpeg. Setup)........................................... 24
PROG 1.1: Play.................................................... 1
6.1–2: Zone (Scan Zone) ............................................... 25
1.1–1: Program................................................................ 1
1.1–2: P.Edit (Performance Editor) .................................. 3 PROG 7.1: Ed–InserFX........................................ 26
1.1–3: Arp (Arp. Play)....................................................... 4 7.1–1: BUS..................................................................... 26
7.1–2: Setup................................................................... 27
PROG 2.1: Ed–Basic............................................. 5
7.1–3: IFX (Insert Effect)................................................ 27
2.1–1: Basic (Prog Basic)................................................. 5
2.1–2: OSC1 .................................................................... 6 PROG 7.2: Ed–MasterFX..................................... 28
2.1–3: OSC2 .................................................................... 8 7.2–1: Setup................................................................... 28
2.1–4: V.Zone (Velocity Zone) ......................................... 8 7.2–2: MFX 1 (Master Effect1)....................................... 29
2.1–5: Audit. (Audition)..................................................... 9 7.2–3: MFX 2 (Master Effect2)....................................... 29
7.2–4: MEQ (Master EQ)................................................ 29
PROG 2.2: Ed–Ctrl................................................ 9
2.2–1: Ctrls (Controls)...................................................... 9

PROG 3.1: Ed–Pitch............................................ 10 2. Combination mode.......................... 31


3.1–1: OSC1 .................................................................. 10
COMBI PAGE MENU........................................... 31
3.1–2: OS1lfo (OSC1 LFO)............................................ 11
3.1–3: OSC2 .................................................................. 11 COMBI 1.1: Play ................................................ 31
3.1–4: OS2lfo (OSC2 LFO)............................................ 12 1.1–1: Combi (Combination) .......................................... 31
3.1–5: EG (Pitch EG) ....................................... 12 1.1–2: Prog (Timbre Program) ....................................... 33
1.1–3: Mix (Mixer)........................................................... 34
PROG 4.1: Ed–Filter1 ......................................... 13
1.1–4: Arp. A (Arpeggio Play A)..................................... 35
4.1–1: Basic ................................................................... 13
1.1–5: Arp. B (Arpeggio Play B)..................................... 35
4.1–2: Mod.1 (Filter1 Modulation1) ................................ 14
4.1–3: Mod.2 (Filter1 Modulation2) ................................ 15 COMBI 2.1: Ed–Prog/ Mixer ................................ 35
4.1–4: lfoMod (LFO Modulation) .................................... 16 2.1–1: Prog (Timbre Program) ....................................... 35
4.1–5: EG (Filter1 EG) ..................................... 16 2.1–2: Mix (Mixer)........................................................... 35

PROG 4.2: Ed–Filter2 ......................................... 18 COMBI 2.2: Ed–Ctrl ............................................ 36


4.2–1: Basic ................................................................... 18 2.2–1: Ctrls (Controls).................................................... 36
4.2–2: Mod.1 (Filter2 Modulation1) ................................ 18
COMBI 3.1: Ed–Param1...................................... 36
4.2–3: Mod.2 (Filter2 Modulation2) ................................ 18
3.1–1: MIDI..................................................................... 36
4.2–4: lfoMod (LFO Modulation) .................................... 18
3.1–2: OSC..................................................................... 37
4.2–5: EG (Filter2 EG) ..................................... 18
3.1–3: Pitch.................................................................... 37
PROG 5.1: Ed–Amp1.......................................... 18
COMBI 3.2: Ed–Param2...................................... 38
5.1–1: Lvl/Pan (Level/Pan)............................................. 18
3.2–1: Other ................................................................... 38
5.1–2: Mod. (Amp1 Modulation)..................................... 19
5.1–3: EG (Amp1 EG) ..................................... 20 COMBI 3.3: Ed–Key Zone ................................... 39
3.3–1: Key (Key Zone) ................................................... 39
PROG 5.2: Ed–Amp2.......................................... 22
3.3–2: Slope (Key Slope) ............................................... 39
5.2–1: Lvl/Pan (Level/Pan)............................................. 22
3.3–3: Review................................................................. 39
5.2–2: Mod. (Amp2 Modulation)..................................... 22
5.2–3: EG (Amp2 EG) ..................................... 22

iv
COMBI 3.4: Ed–Vel Zone (Velocity Zone)..............40 SEQ 2.1: Cue List ................................................58
3.4–1: Vel (Velocity Zone)...............................................40 2.1–1: Cue List............................................................... 58
3.4–2: Slope (Velocity Slope)..........................................40
SEQ 2.2: Controller .............................................61
3.4–3: Review.................................................................40
2.2–1: Ctrls (Controls).................................................... 61
COMBI 4.1: Ed–MIDI Filter1 .................................41
SEQ 3.1: Param1 ................................................62
4.1–1: MIDI 1–1 (MIDI Filter 1–1)....................................41
3.1–1: MIDI..8 (MIDI T01...08) ....................................... 62
4.1–2: MIDI 1–2 (MIDI Filter 1–2)....................................41
3.1–2: MIDI..16 (MIDI T09...16) ..................................... 62
COMBI 4.2: Ed–MIDI Filter2 .................................41 3.1–3: OSC..8 (OSC T01...08)....................................... 62
4.2–1: MIDI 2–1 (MIDI Filter 2–1)....................................41 3.1–4: OSC..16 (OSC T09...16)..................................... 62
4.2–2: MIDI 2–2 (MIDI Filter 2–2)....................................42 3.1–5: Ptch..8 (Pitch T01...08) ....................................... 63
3.1–6: Ptch..16 (Pitch T09...16) ..................................... 63
COMBI 4.3: Ed–MIDI Filter3 .................................42
4.3–1: MIDI 3–1 (MIDI Filter 3–1)....................................42 SEQ 3.2: Param2 ................................................64
4.3–2: MIDI 3–2 (MIDI Filter 3–2)....................................42 3.2–1: Othr..8 (Other T01...08)....................................... 64
3.2–2: Othr..16 (Other T09...16)..................................... 64
COMBI 4.4: Ed–MIDI Filter4 .................................42
4.4–1: MIDI 4–1 (MIDI Filter 4–1)....................................42 SEQ 3.3: Key Zone..............................................64
4.4–2: MIDI 4–2 (MIDI Filter 4–2)....................................43 3.3–1: Key..8 (Key T01...08).......................................... 64
3.3–2: Key..16 (Key T09...16)........................................ 64
COMBI 6.1: Ed–Arp. (Arpeggiator) ......................43
3.3–3: Slp..8 (Slope T01...08)........................................ 65
6.1–1: Setup....................................................................43
3.3–4: Slp..16 (Slope T09...16)...................................... 65
6.1–2: Arp. A (Arpeggiator A)..........................................44
3.3–5: Review................................................................ 65
6.1–3: Arp. B (Arpeggiator B)..........................................44
6.1–4: Zone (Scan Zone)................................................45 SEQ 3.4: Vel Zone...............................................65
3.4–1: Vel..8 (Vel T01...08)............................................ 65
COMBI 7.1: Ed–InsertFX ......................................45
3.4–2: Vel..16 (Vel T09...16).......................................... 65
7.1–1: BUS......................................................................45
3.4–3: Slp..8 (Slope T01...08)........................................ 66
7.1–2: Setup....................................................................46
3.4–4: Slp..16 (Slope T09...16)...................................... 66
7.1–3: IFX (Insert Effect).................................................47
3.4–5: Review................................................................ 66
COMBI 7.2: Ed–MasterFX....................................47
SEQ 4.1: MIDI Filter1...........................................66
7.2–1: Setup....................................................................47
4.1–1: M1–1..8 (MIDI Filter1–1 T01...08)....................... 66
7.2–2: MFX1 (Master Effect1).........................................48
4.1–2: 1–1..16 (MIDI Filter1–1 T09...16)........................ 66
7.2–3: MFX2 (Master Effect2).........................................48
4.1–3: 1–2..8 (MIDI Filter1–2 T01...08).......................... 67
7.2–4: MEQ (Master EQ) ................................................48
4.1–4: 1–2..16 (MIDI Filter1–2 T09...16)........................ 67

SEQ 4.2: MIDI Filter2...........................................67


3. Sequencer mode ............................. 49 4.2–1: M2–1..8 (MIDI Filter2–1 T01...08)....................... 67
4.2–2: 2–1..16 (MIDI Filter2–1 T09...16)........................ 67
SEQ PAGE MENU................................................49
4.2–3: 2–2..8 (MIDI Filter2–2 T01...08).......................... 67
SEQ 1.1: Play/ REC..............................................50 4.2–4: 2–2..16 (MIDI Filter2–2 T09...16)........................ 67
1.1–1: Play.REC (Play/REC)...........................................50
SEQ 4.3: MIDI Filter3...........................................68
1.1–2: Prog...8 (Program T01...08).................................54
4.3–1: M3–1..8 (MIDI Filter3–1 T01...08)....................... 68
1.1–3: Prog...16 (Program T09...16)...............................54
4.3–2: 3–1..16 (MIDI Filter3–1 T09...16)........................ 68
1.1–4: Mix..8 (Mixer T01...08).........................................55
4.3–3: 3–2..8 (MIDI Filter3–2 T01...08).......................... 68
1.1–5: Mix..16 (Mixer T09...16).......................................55
4.3–4: 3–2..16 (MIDI Filter3–2 T09...16)........................ 68
1.1–6: Pref. (Preference).................................................56

SEQ 1.2: Loop ....................................................57


1.2–1: Loop...8 (Track Play Loop T01...08) ....................57
1.2–2: Loop...16 (Track Play Loop T09...16) ..................57

v
SEQ 4.4: MIDI Filter4.......................................... 68 SMPL 5.1: Memory........................................... 118
4.4–1: M4–1..8 (MIDI Filter4–1 T01...08)....................... 68 5.1–1: Memory (Free Memory)..................................... 118
4.4–2: 4–2..16 (MIDI Filter4–1 T09...16)........................ 68 5.1–2: No. (Free Number)............................................ 118
4.4–3: 4–2..8 (MIDI Filter4–2 T01...08).......................... 68
SMPL 5.2: Controller......................................... 118
4.4–4: 4–2..16 (MIDI Filter4–2 T09...16)........................ 68
5.2–1: Ctrls (Controls).................................................. 118
SEQ 5.1: RPPR................................................... 69
SMPL 7.1: Insert Effect ...................................... 119
5.1–1: Pattern................................................................. 69
7.1–1: Setup................................................................. 119
5.1–2: RPPR Setup........................................................ 72
7.1–2: IFX..................................................................... 119
SEQ 5.2: Track Edit ............................................ 73
5.2–1: Track Edit............................................................ 73
5. Global mode................................. 121
SEQ 6.1: Arp. (Arpeggiator) ............................... 81
6.1–1: Set..8 (Setup T01–08)......................................... 81 GLOBAL PAGE MENU....................................... 121
6.1–2: Set..16 (Setup T09–16)....................................... 81
GLOBAL 1.1: System ........................................ 121
6.1–3: Arp. A (Arpeggiator A)......................................... 83
1.1–1: Basic.................................................................. 121
6.1–4: Arp. B (Arpeggiator B)......................................... 83
1.1–2: Pref. (System Preference)................................. 124
6.1–5: Zone (Scan Zone) ............................................... 83
1.1–3: Foot................................................................... 125
SEQ 7.1: Insert FX.............................................. 84 1.1–4: AudioIn (Audio In).............................................. 126
7.1–1: BUS..8 (BUS T01...08)........................................ 84
GLOBAL 2.1: MIDI ............................................ 127
7.1–2: BUS..16 (BUS T09...16)...................................... 84
2.1–1: MIDI................................................................... 127
7.1–3: Setup................................................................... 84
7.1–4: IFX (Insert Effect)................................................ 85 GLOBAL 3.1: User Scale ................................... 130
3.1–1: Octave............................................................... 130
SEQ 7.2: Master FX............................................ 85
3.1–2: All Notes............................................................ 131
7.2–1: Setup................................................................... 85
7.2–2: MFX1 (Master Effect1)........................................ 86 GLOBAL 4.1: Category Name ........................... 131
7.2–3: MFX2 (Master Effect2)........................................ 86 4.1–1: P.0..7 (Prog.00...07).......................................... 131
7.2–4: MEQ (Master EQ) ............................................... 86 4.1–2: P.8..15 (Prog.08...15)........................................ 131
4.1–3: C.0..7 (Comb.00...07)........................................ 131
4.1–4: C.8..15 (Comb.08...15)...................................... 131
4. Sampling mode .............................. 87
GLOBAL 5.1: DKit (Drum Kit)............................. 132
SMPL PAGE MENU ............................................. 88 5.1–1: High (High Sample)........................................... 132
5.1–2: Low (Low Sample)............................................. 134
SMPL 1.1: Recording .......................................... 88
5.1–3: Voice (Voice/Mixer)........................................... 134
1.1–1: Sample................................................................ 88
1.1–2: Rec. (Recording)................................................. 90 GLOBAL 6.1: Arp.Pattern.................................. 135
1.1–3: In/Pref (Input/Preference).................................... 93 6.1–1: Setup................................................................. 135
6.1–2: Edit.................................................................... 137
SMPL 2.1: Sample Edit........................................ 98
2.1–1: Edit1.................................................................... 98
2.1–2: Edit2.................................................................... 98
6. Media mode ................................. 139
SMPL 3.1: Loop Edit.......................................... 106 Files, directories, and icons.......................................... 139
3.1–1: Edit1.................................................................. 106
MEDIA PAGE MENU ......................................... 140
3.1–2: Edit2.................................................................. 107
1.1–1: Load ..................................................... 140
SMPL 4.1: Multisample ..................................... 116
4.1–1: Edit1.................................................................. 116 1.1–2: Save ..................................................... 148
4.1–2: Edit2.................................................................. 116
1.1–3: Utility .................................................... 151
4.1–3: Pref. (Preference).............................................. 117
1.1–4: Media Information................................. 153

vi
7. Effect Guide .................................. 155 28: St.AutoFd Mod (Stereo Auto Fade Modulation)..... 179
29: 2Voice Reso (2Voice Resonator)........................... 179
Overview .........................................................155 30: Doppler................................................................... 180
1. Effects in each mode ................................................155 31: Scratch................................................................... 181
2. Dynamic modulation (Dmod).....................................155
3. Effect I/O...................................................................155 Mod./ P.Shift.....................................................182
32: St.Tremolo (Stereo Tremolo) ................................. 182
Insert Effect (IFX) ...............................................156 33: St.Env.Tremlo (Stereo Envelope Tremolo)............ 182
1. In/Out ........................................................................156 34: St.Auto Pan (Stereo Auto Pan).............................. 183
2. Routing......................................................................156 35: St.Phasr+Trml (Stereo Phaser + Tremolo) ............ 183
3. Mixer .........................................................................158 36: St.Ring Mod (Stereo Ring Modulator).................... 184
4. Controlling the Insert Effects via MIDI.......................159 37: Detune.................................................................... 185
Master Effects (MFX1, 2)....................................159 38: Pitch Shifter............................................................ 185
1. In/Out ........................................................................159 39: PitchShft Mod (Pitch Shift Modulation)................... 186
2. Routing......................................................................160 40: Rotary SP (Rotary Speaker) .................................. 186
3. Mixer .........................................................................161 ER/ Delay..........................................................187
4. Controlling the Master Effects via MIDI.....................162 41: Early Reflect (Early Reflections) ............................ 187
Master EQ ........................................................162 42: Auto Reverse ......................................................... 188
43: LCR Delay (L/C/R Delay)....................................... 188
Individual Outputs ............................................162 44: St/Cross Dly (Stereo/Cross Delay)......................... 189
Filter/ Dynamic..................................................164 45: St.MltTap Dly (Stereo Multitap Delay).................... 189
00: No Effect .................................................................164 46: St.Mod. Delay (Stereo Modulation Delay).............. 190
01: St.Amp Sim (Stereo Amp Simulation).....................164 47: St.DynamicDly (Stereo Dynamic Delay) ................ 190
02: St.Compressor (Stereo Compressor)......................164 48: St.AutoPanDly (Stereo Auto Panning Delay)......... 191
03: St.Limiter (Stereo Limiter).......................................164 49: LCR BPM Delay (L/C/R BPM Delay) ..................... 191
04: Mltband Limit (Multiband Limiter)............................165 50: St.BPM Delay (Stereo BPM Delay)........................ 192
05: St.Gate (Stereo Gate).............................................166 51: Sequence Dly (Sequence Delay)........................... 192
06: OD/HiGain Wah (Overdrive/Hi.Gain Wah)..............166 Reverb..............................................................193
07: St.Para.4EQ (Stereo Parametric 4-Band EQ).........167 52: Rev Hall (Reverb Hall) ........................................... 193
08: St.Graphic7EQ (Stereo Graphic 7-Band EQ) .........168 53: Rev Smth. Hall (Reverb Smooth Hall).................... 193
09: St.Wah/AutoW (Stereo Wah/Auto Wah) .................168 54: Rev Wet Plate (Reverb Wet Plate)......................... 193
10: St.Rndm Filter (Stereo Random Filter)....................169 55: Rev Dry Plate (Reverb Dry Plate).......................... 193
11: St.Exct/Enhcr (Stereo Exciter/Enhancer)................170 56: Rev Room (Reverb Room)..................................... 194
12: St.Sub OSC (Stereo Sub Oscillator).......................170 57: Rev Brt. Room (Reverb Bright Room).................... 194
13: Talking Mod (Talking Modulator).............................171
14: St.Decimator (Stereo Decimator)............................172 Mono → Mono Chain........................................195
15: St.AnalogRecd (Stereo Analog Record) .................172 58: P4EQ–Exciter
(Parametric 4-Band EQ – Exciter).......................... 195
Pitch/ Phase Mod. .............................................173 59: P4EQ–Wah
16: St.Chorus (Stereo Chorus)......................................173 (Parametric 4-Band EQ – Wah/Auto Wah)............. 195
17: St.HarmnicCho (Stereo Harmonic Chorus).............173 60: P4EQ–Cho/Fl
(Parametric 4-Band EQ – Chorus/Flanger) ............ 196
18: MltTap ChoDly (Multitap Chorus/Delay)..................174
61: P4EQ–Phaser
19: Ensemble................................................................174
(Parametric 4-Band EQ – Phaser).......................... 196
20: St.Flanger(Stereo Flanger) .....................................175
62: P4EQ–M.Dly
21: St.Rndm Flang (Stereo Random Flanger) ..............175 (Parametric 4-Band EQ – Multitap Delay) .............. 197
22: St.Env.Flanger (Stereo Envelope Flanger).............176 63: Comp–Wah (Compressor – Wah/Auto Wah)......... 197
23: St.Phaser (Stereo Phaser)......................................176 64: Comp–AmpSim (Compressor – Amp Simulation).. 198
24: St.Rndm Phasr (Stereo Random Phaser)...............177 65: Comp–OD/HG
25: St.Env.Phaser (Stereo Envelope Phaser)...............177 (Compressor – Overdrive/Hi.Gain)......................... 198
26: St.BiphaseMod (Stereo Biphase Modulation).........178 66: Comp–P4EQ
27: St.Vibrato (Stereo Vibrato)......................................178 (Compressor – Parametric 4-Band EQ) ................. 198

vii
67: Comp–Cho/Fl Knob 1...4 B Assign.......................................... 221
(Compressor – Chorus/Flanger)............................. 199 Realtime Control Knobs B Assign List.......................... 221
68: Comp–Phaser (Compressor – Phaser).................. 199
69: Comp–M.Dly (Compressor – Multitap Delay)......... 200 Foot Switch Assign ........................................... 222

70: Limit–P4EQ Foot Switch Assign List................................................ 222


(Limiter – Parametric 4-Band EQ) .......................... 200
Foot Pedal Assign............................................. 223
71: Limit–Cho/Fl (Limiter – Chorus/Flanger)................ 201
Foot Pedal Assign List.................................................. 223
72: Limit–Phaser (Limiter – Phaser.............................. 201
73: Limit–M.Dly (Limiter – Multitap Delay) ................... 202 MIDI transmission when the TRITON Le‘s controllers
74: Exct–Comp (Exciter – Compressor)....................... 202 are operated.................................................... 224

75: Exct–Limiter (Exciter – Limiter) .............................. 202 TRITON Le operations when control changes are
76: Exct–Cho/Fl (Exciter – Chorus/Flanger) ................ 203 transmitted/ received ........................................ 226
77: Exct–Phaser (Exciter – Phaser)............................. 203
MIDI applications ............................................. 229
78: Exct–M.Dly (Exciter – Multitap Delay).................... 203
■ About MIDI............................................................... 229
79: OD/HG–AmpSim
(Overdrive/Hi.Gain – Amp Simulation).................... 204 ■ Connecting MIDI devices/computers
(MIDI connectors) ................................................... 229
80: OD/HG–Cho/Fl
(Overdrive/Hi.Gain – Chorus/Flanger).................... 204 ■ Messages transmitted and received by
this instrument ........................................................ 230
81: OD/HG–Phaser (Overdrive/Hi.Gain – Phaser)....... 205
82: OD/HG–M.Dly Various messages ............................................ 240
(Overdrive/Hi.Gain – Multitap Delay)...................... 205
83: Wah–AmpSim Data compatibility ............................................ 245
(Wah/Auto Wah – Amp Simulation)........................ 206
Media mode information .................................. 247
84: Deci–AmpSim (Decimator – Amp Simulation) ....... 206
Chunks that are supported........................................... 247
85: Deci–Comp (Decimator – Compressor)................. 206
About KORG format files.............................................. 248
86: AmpSim–Trml
(Amp Simulation – Tremolo)................................... 207 Option EXB-SMPL............................................. 253
87: Cho/Fl–M.Dly Memory that can be used with the option board.......... 253
(Chorus/Flanger – Multitap Delay).......................... 207
Please note when installing an option board................ 254
88: Phasr–Cho/Fl (Phaser – Chorus/Flanger).............. 208
Option board/memory installation procedure............... 254
89: Reverb–Gate.......................................................... 208
Index ............................................................... 258
Master EQ ....................................................... 209
Master EQ.................................................................... 209

8. Appendices.................................. 211
Alternate Modulation Source (AMS) .................. 211
About Alternate Modulation.......................................... 211
About Alternate Modulation Sources............................ 211
AMS (Alternate Modulation Source) List...................... 212
Alternate Modulation settings....................................... 214
The effect of alternate modulation on various parameters,
and example applications....................................... 214

Dynamic Modulation Source (Dmod) ................. 217


Dynamic Modulation Source List.................................. 217
About the BPM/MIDI SYNC function............................ 219

SW1/ 2 Assign ................................................. 220 * SmartMedia™ is a registered trademark of Toshiba Corpo-


ration
SW1, SW2 Assign List ................................................. 220
* Company names, product names, and names of formats
etc. are the trademarks or registered trademarks of their
respective owners.

viii
1. Program mode

PROG
PROG PAGE MENU PROG 1.1: Play
Use the following procedure to select the desired page from In this display page you can select and play programs.

7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1
within the current mode.
All MIDI data in PROG 1.1: Play is transmitted and
1 Press the [MENU] key to access the “PAGE MENU.” received on the Global MIDI Channel (☞GLOBAL 2.1–
The “PAGE MENU” will show an abbreviated name for 1a).
each page.
2 Use the [F1]–[F7] keys at the bottom of the page to select
the desired page. Pressing the same key repeatedly will
scroll through the various sub-pages. You can also move
1.1–1: Program
by using the cursor keys [ ], [ ], [ ], [ ].
PROG

3 Press the [F8] (“Open”) key to access the page. 1.1–1a

4 If the selected page contains two or more tab pages, press


the nearest [F1]–[F7] key below the tabs to select the 1.1–1b
desired page.
Other ways to select a page 1.1–1c
7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1

• You can also move to the desired page by holding down


the [MENU] key and using numeric keys [0]–[9] to enter
a two-digit page number. For example if you wish to 1.1–1a: Bank, Program Select, Category, Cat. Hold,
access the 5.3: Ed-LFOs page, hold down the [MENU] 10’s Hold, ! (Tempo)
key and consecutively press numeric keys [5] and then
[3]. Bank [Bank A...D, G, g(d)]
• By holding down the [MENU] key and using the cursor This is the program bank display.
keys [ ](–) or [ ](+), you can step through the pages Use the BANK [A]–[GM] keys to select the bank.
forward or backward in the order of 1.1→2.1→2.2→3.1, Bank G will toggle between the GM and g(d) banks each
etc. time you press the BANK [GM] key.
G→g(d)→G→g(d)→G…
The TRITON Le provides rewritable banks A, B, C, and D,
each containing 128 programs (total 512). As for non-rewrit-
able program areas, it provides banks G (capital programs
for GM), and bank g(d) (drums). (☞For a list of the factory-
set programs, refer to the separate VNL.)
Play 1.1: Play Select and play programs. Use the Per- Bank A
formance Editor for easy editing, and to
do simple editing of arpeggio patterns. Bank B
for preloaded programs
(☞p.1) Bank C
Basic 2.1: Ed-Basic Set basic program parameters such as Bank D000~063
Oscillator and Multisample. (☞p.5)
Bank D064~127 For user programs (programs that use multisam-
Ctrl 2.2: Ed-Ctrl Controller settings. (☞p.9)
ples created in Sampling mode (when the sepa-
Pitch 3.1: Ed-Pitch Pitch settings. Pitch EG settings. rately sold EXB-SMPL option is installed))
(☞p.10)
Bank G GM capital program
Flt1 4.1: Ed-Filter1 Filter 1 (tone) settings. Filter EG set-
tings. (☞p.13) Bank g(d) GM drums program
Flt2 4.2: Ed-Filter2 Filter 2 (tone) settings. Filter EG set-
tings. (☞p.18)
Amp1 5.1: Ed-Amp1 Amp 1 (volume) settings. Amp EG, pan
(position) settings. (☞p.18)
Amp2 5.2: Ed-Amp2 Amp 2 (volume) settings. Amp EG, pan
(position) settings. (☞p.22)
LFO 5.3: Ed-LFOs Type and speed settings etc. for the
two LFOs provided for each oscillator.
(Make settings in the pitch, filter, and
amp pages to specify the depth of the
LFO settings you make here.) (☞p.22)
Arp 6.1: Ed-Arp. Arpeggiator settings. (Shared with 1.1:
Play parameters. You may edit either.)
(☞p.24)
IFX 7.1: Ed-InsertFX Select the BUS and master effect send
level for the oscillator output.
Insert Effect routing, selection and set-
tings. (☞p.26)
MFX 7.2: Ed-MasterFX Master Effect selection and settings.
Master EQ settings. (☞p.28)

1
Program Select 10’s HOLD
[(A…D)0…127: name, (G, g(d))1…128: name] 1 Press the [./HOLD] key twice to display .
Selects a program. The first digit of the program number will be held (fixed).
Choose this parameter, and use the [INC], [DEC] keys,
2 When you press a numeric key [0]–[9], the second digit of
numeric keys [0]–[9], or the [VALUE] dial to select a pro-
the program number will be input with a single action.
gram.
You can select programs by category, or by using “10’s 3 You can use the [INC], [DEC] keys to change the first
Hold.” (☞“Category,” “Cat. HOLD,” “10’s HOLD”) digit.

You can receive MIDI program changes from a con- 4 To cancel, press the [./HOLD] key to turn off the
nected external MIDI device, or use a foot switch to display.
select programs. (☞p.125 “Foot SW Assign” (GLOBAL
! (Tempo) [040...240, EXT]
1.1–3a), p.222 “Foot Switch Assign List”)
This sets the tempo of the arpeggiator. The tempo can also
Category [00...15: Name] be adjusted by the REALTIME CONTROLS C-mode
Selects the program category. [TEMPO] knob.
All programs are classified into one of sixteen categories. A display of EXT indicates that the “MIDI Clock” (GLOBAL
You can select the desired category, and then choose pro- 2.1–1a) setting has been set to External, and that the arpeg-
grams from that category. giator will synchronize to MIDI Clock messages received
For the procedure of selecting programs from a category, from an external MIDI device.
refer to “Cat. HOLD” and “Select by Category.” This parameter can also be set from 6.1: Ed-Arp.

To assign a category to each program, use the “Write


Program” (1.1–1c) dialog box. To change the name of a 1.1–1b: Program Information
category, use “Category Name Prog. 00–07, 08–15”
(☞GLOBAL 4.1–1/2). This display shows the functions that are assigned to the
[SW1] key, [SW2] key, and REALTIME CONTROLS B-mode
Cat. HOLD (Category Hold) [ASSIGNABLE 1]–[ASSIGNABLE 4] knobs for the selected
program.
1 Press the [./HOLD] key to display . The cate-
gory will be held (fixed).
2 Use “Category” to select the desired category. ■ 1.1–1c: UTILITY
3 Choose “Program Select,” and use the [INC], [DEC] keys
or the [VALUE] dial to select programs sequentially
within the specified category.
4 To cancel, press the [./HOLD] key twice to turn off the
display.
Use the following procedure to select the desired utility.
If you press the [./HOLD] key in PROG 1.1: Play, the
1 Press the [F8] (“UTILITY”) key to access the Utility
selection will cycle in the order of →
→ Cancel. menu.
2 Press the [F7] key or the cursor keys [ ], [ ], [ ], [ ]
Select by Category to select the desired utility.
1 Press the [F8] (“UTILITY”) key to access the Utility 3 Press the [F8] (“OK”) key to access the dialog box.
menu.
Utilities up to number 10 can also be selected by hold-
2 Press the [F7] key or use the cursor [ ]/[ ] keys to
ing down the [ENTER] key and pressing the corre-
select “Select by Category,” and press the [F8] (“OK”) key. sponding numeric key [0]–[9] to access the dialog box.
The Select Program by Category dialog box will appear.
Write Program
If you wish to save a program, be sure to write it into the
memory of the TRITON Le.
An edited program cannot be recovered if you do not write
it to memory before turning off the power or selecting
another program.
You can directly access the Category dialog box by
pressing the [CATEGORY] key. (☞BG p.21) 1 Select “Write Program” to access the dialog box.

3 Press the [F1] (“ ”), [F2] (“ ”), [F3] (“ ”),


or [F4] (“ ”) keys to select the category that
includes the program.
Alternatively, you can use the cursor [ ]/[ ] keys to
select “Cat:,” and use the [INC]/[DEC] keys or the 2 The upper line shows the bank, program number and
[VALUE] dial to select the category. program name.
4 Use the cursor [ ]/[ ] keys to select a program in the 3 In “Category,” specify the category of the program that
list. Alternatively, use the cursor [ ]/[ ] keys to select you are writing. With the factory settings, the program
“Idx:” and then use the [INC]/[DEC] keys or the categories have been given the names of instruments etc.,
[VALUE] dial to select the program. but you can use “Category Name Prog.00–07, 08–15”
(GLOBAL 4.1–1/2) to modify these category names. The
5 To execute, press the [F8] (“OK”) key. To cancel without
category selected here can be used to find this program
executing, press the [F7] (“Cancel”) key.
when selecting a program in Program, Combination,
Sequencer.
2
4 Press “To” to specify the writing destination. If the MIDI Filter “Exclusive” (GLOBAL 2.1–1b) setting

PROG
is checked, MIDI exclusive parameter changes will be
You can also use the Bank [A]–[D] keys to select a bank.
transmitted whenever you operate the Performance
It is not possible to write to banks G, g(d). If you have Editor. If these messages are received by an instrument
edited a program from banks G, g(d) and wish to write whose “Exclusive” setting is checked, the Performance
it, you must write to banks A–D. Editor on that instrument corresponding to the received
message will be modified.

7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1
5 If you wish to change the program name, press the [F5]
(“Name”) key to move to the text dialog box, and input Octave [–03...+00...+03]
the name. (☞BG p.43) An adjustment of +01 will raise the pitch one octave.
6 To write the program, press the [F8] (“OK”) key. To can- An adjustment of –01 will lower the pitch one octave.
cel without writing, press the [F7] (“Cancel”) key. This setting cannot adjust the pitch higher than 4' (feet) or
lower than 32' (feet).
When you press the [REC/WRITE] key, the Update
Program dialog box will appear. Here too, you can Stretch (Pitch Stretch) [–12...+00...+12]
write to the currently selected program. This simultaneously adjusts the Transpose and Tune of the
PROG

oscillator. This lets you produce a variety of tonal changes


Select by Category
and variations without loosing the character of the original
Here you can select a program by category. (☞p.2) sound.
At the +00 setting, the value of the program parameters will
be unchanged.
An adjustment of +01 will lower the Transpose value by 1,
1.1–2: P.Edit (Performance Editor)
7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1

and simultaneously raise the Tune value by 100.


An adjustment of –01 will raise the Transpose value by 1,
and simultaneously lower the Tune value by 100.
1.1–2a
However, it is not possible for the Transpose value to exceed
the range of ±12, nor the Tune value to exceed the range of
1.1–2b
±1200.

1.1–2c
OSC Bal (OSC Balance) [–10…+00…+10]
This adjusts the level balance between oscillators 1 and 2.
At the +00 setting, the value of the program parameters will
be unchanged.
1.1–2a: Bank, Program Select, (Tempo) Positive (+), settings will lower the oscillator 2 level.
With an adjustment of +10, the oscillator 2 level will be 0.
Select a program. The bank, number, and name of the pro-
The oscillator 1 level will not change.
gram will be displayed (☞p.1). “! ” sets the tempo.
Negative (–) settings will lower the oscillator 1 level.
With an adjustment of –10, the oscillator 1 level will be 0.
1.1–2b: Performance Editor The oscillator 2 level will not change.
For programs whose “Mode (Oscillator Mode)” (2.1–1a)
The Performance Editor lets you edit major program param-
setting is Single, oscillator 2 will not sound. Only the
eters without moving to the PROG 2.1–7.2 Ed (Edit) pages.
level of oscillator 1 will change. For a Drums program,
This edits multiple program parameters within the currently
this performance editor will have no effect.
selected program, allowing you to make broad adjustments
easily. Level (Amp Level) [–10…+00…+10]
You can use the Performance Editor when you wish to
This adjusts the amp level.
adjust the depth of effects etc. while you are playing, or to
With an adjustment of +00, the value of the program param-
make the initial rough settings to begin the process of creat-
eters will be unchanged.
ing a new sound.
Positive (+) settings will increase the amp level above the
Editing that you do here will affect the values of the pro-
value that was set.
gram parameters in the edit buffer.
With an adjustment of +10, the amp level will be 127 (maxi-
If you wish to keep the results of your editing, you must
mum).
write (save) the program (☞BG p.42).
Negative (–) settings will lower the amp level below the
Editing done using the Performance Editor will occur value that was set.
within the range of the corresponding parameter. If With an adjustment of –10, the amp level will be 0.
after using the Performance Editor to modify a value,
you move to another page or mode and then return, the Attack (Attack Time) [–10…+00…+10]
sound will remain in its edited state but the value This adjusts the attack times of the filter EG and amp EG.
shown in the LCD screen by the Performance Editor With an adjustment of +00, the value of the program param-
will be +00. You may do further editing from this state eters will be unchanged.
if you wish. Positive (+) settings will lengthen the attack times beyond
Since editing done using the Performance Editor is not the values that were set.
as detailed as conventional editing, the balance With an adjustment of +10, the attack times will be 90.
between parameters may be lost. If this occurs, use 2.1: Negative (–) settings will shorten the attack times.
Ed-Basic–7.2: Ed-MasterFx to make fine adjustments. With an adjustment of –10, the attack times will be 0.
When you modify “Attack Time,” the EG Start Level,
Attack Level, Start Level Modulation, and Attack Time
Modulation of the amp EG will also be adjusted simul-
taneously, to allow the maximum effect to be obtained.

3
Decay (Decay Time) [–10…+00…+10] 1.1–3: Arp (Arp. Play)
This adjusts the Decay Time and Slope Time of the filter EG
While arpeggiator parameters are for the most part edited in
and amp EG.
PROG 6.1: Ed-Arp., Some major parameters can be edited
With an adjustment of +00, the value of the program param-
here as well. When you are playing in PROG 1.1: Play, you
eters will be unchanged.
can edit the arpeggiator in realtime, such as changing the
Positive (+) settings will lengthen the Decay Time and Slope
arpeggio pattern etc.
Time beyond the values that were set. With an adjustment of
You can also use the REALTIME CONTROLS C-mode
+10, the times will be 99.
[TEMPO], [ARP-GATE], and [ARP-VELOCITY] knobs to
Negative (–) settings will shorten the Decay Time and Slope
edit the arpeggio in realtime (☞BG p.27).
Time. With an adjustment of –10, the times will be 0.

IFX Bal (IFX Balance) [–10…+00…+10]


This adjusts the “W/D(Wet/Dry)” setting of the insertion
effect. 1.1–3a
With an adjustment of +00, the value of the program param-
eters will be unchanged.
Positive (+) settings will raise the Wet level above the pro- 1.1–3b
gram setting, and lower the Dry level. With an adjustment of
+10, the setting will be “Wet” - the effected signal only.
Negative (–) settings will lower the Wet level below the pro-
gram setting, and raise the Dry level. With an adjustment of 1.1–3a: Arpeggiator
–10, the setting will be “Dry” - the signal is unaffected.
Pattern [P000...P004, U000(INT)...U215(User)]
MFX Bal (MFX Balance) [–10…+00…+10] Reso (Resolution) [! " , ! , # " , # , $ " , $ ]
This adjusts the master effect “Rtn1 (Return1)” and “Rtn2 Octave [1, 2, 3, 4]
(Return2)” (7.2–1a) settings as a whole.
Sort [Off, On]
With an adjustment of +00, the value of the program param-
eters will be unchanged. Latch [Off, On]
Positive (+) settings will raise the return levels above the Key Sync. [Off, On]
program setting. Keyboard [Off, On]
With an adjustment of +10, the setting will be 127 (maxi-
Make settings for the program arpeggiator (☞“PROG: Ed-
mum).
Arp.”). These parameters can also be set from 6.1: Ed-Arp.
Negative (–) settings will lower the return levels below the
setup page (☞6.1–1a).
program setting.
With an adjustment of –10, the setting will be 0.
Octave Octave of OSC 1 and 2 ■ 1.1–3b: UTILITY
Stretch Transpose and Tune of OSC 1 and 2
☞ “Write Program,” “Select by Category” (1.1–1c)
OSC Bal High Level and Low Level of OSC1 and 2
Level Amp1 Level, Amp2 Level
Attack Amp EG Attack Time, Start Level, Attack Level,
Level Modulation S, Time Modulation A of Amp 1
and 2, and Filter EG Attack Time of Filter 1 and 2
Decay AmpEG Decay Time, Slope Time of Amp 1 and 2,
Filter EG Decay Time and Slope Time of Filter 1
and 2
IFX Bal W/D (Wet/Dry) balance of the IFX effect
MFX Bal Master Effect RTN1, 2 (Return1, 2)

■ 1.1–2c: UTILITY
☞ “Write Program,” “Select by Category” (1.1–1c)

4
Legato [Off, On]

PROG
PROG 2.1: Ed–Basic This is available when the “Mode (Voice Assign Mode)” set-
ting is set to Mono.
Here you can make basic settings for the oscillator(s).
On (checked): Legato is on. When multiple note-on mes-
sages occur, the first note-on will retrigger the sound, and
the second and subsequent note-ons will not retrigger.

7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1
2.1–1: Basic (Prog Basic) When legato is on, multiple note-on message will not retrig-
ger the voice. If one note is already on and another note is
2.1–1a turned on, the oscillator sound, envelope, and LFO will not
be reset, and only the pitch of the oscillator will be updated.
2.1–1b This setting is effective for wind instrument sounds and
2.1–1c analog synth-type sounds.
Off (unchecked): Legato is off. Notes will always be retrig-
gered when note-on occurs.
2.1–1d
When legato is off, multiple note-on’s will retrigger the
voice at each note-on. The oscillator sound, envelope, and
PROG

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


2.1–1a: Oscillator of the program.
Mode (Oscillator Mode) [Single, Double, Drums] If “Legato” is checked, certain multisamples or key-
Specifies the basic program type; whether it will use one or board locations may produce an incorrect pitch.
two oscillators, or a drum kit.
7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1

Priority [Low, High, Last]


Single: The program will use one oscillator (Oscillator 1,
This parameter is valid when “Mode (Voice Assign Mode)”
Filter 1, Amplifier 1). In this case the program will have a
is set to Mono.
maximum of 62-note polyphony.
It specifies which note will be given priority to play when
Double: The program will use two oscillators (Oscillator 1/ two or more notes are played simultaneously.
2, Filter 1/2, Amplifier 1/2). Allowing you to create more
Low: Lowest note will take priority.
complex sounds. In this case the program will have a maxi-
High: Highest note will take priority.
mum of 31-note polyphony.
Last: Last note will take priority.
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 2.1–1c: Scale
a maximum of 62-note polyphony.
Type (Scale Type)
[Equal Temperament…User Octave 15]
2.1–1b: Voice Assign Indicates the basic scale for the internal tone generator.

Mode (Voice Assign Mode) [Poly, Mono] Equal Temperament: This is the most widely used scale,
where each semitone step is spaced at equal pitch intervals.
Poly: The program will play polyphonically, allowing you
play chords. Pure Major: In this temperament, major chords of the
Mono: The program will play monophonically, producing selected tonic will be perfectly in tune.
only one note at a time. Pure Minor: In this temperament, minor chords of the
selected tonic will be perfectly in tune.
Hold [Off, On]
On (checked): Hold is On. Even when you take your finger Arabic: This scale includes the quarter-tone scale used in
off of the key, the note will continue sounding as if it contin- Arabic music.
ued to be held. Unless the “Amp1 EG”, “Amp2 EG” (5.1–3a, Pythagoras: This scale is based on ancient Greek musical
5.2–3) “S (Sustain Level)” is set to 0, the sound will continue theory, and is especially effective for playing melodies.
playing.
Werkmeister (Werkmeister III): This is an equal tempered
This is ideal for playing drum sounds, If you set “Mode
scale that was used since the later Baroque period.
(Oscillator Mode)” (2.1–1a) to Drums, you should normally-
turn Hold On. Kirnberger (Kirnberger III): This scale was created in the
Off (unchecked): Hold is Off. Except for drum programs, 18th century, and is used mainly to tune harpsichords.
you should normally set Hold Off. Slendro: This is an Indonesian gamelan scale in which an
If you turn “Hold” On for a drum program, keys of the octave consists of five notes.
selected drum kit whose “Enable Note Off” parameter When “Key” is set to C, use the C, D, F, G and A notes.
(GLOBAL 5.1–3a) is unchecked will be set to Hold On. (Other keys will sound equal-tempered pitches.)
Keys that are checked will be set to Hold Off. If you Pelog: This is an Indonesian gamelan scale in which an
select Hold Off, the keys will be set to Hold Off regard- octave consists of seven notes.
less of their “Enable Note Off” setting. When “Key” is set to C, use the white keys. (The black keys
will sound the equal tempered pitches.)
Single Trigger [Off, On]
Stretch: This tuning is used for acoustic pianos.
This is available when the “Mode (Voice Assign Mode)” set-
ting is set to Poly. User All Notes: This is the full-range scale (C–1 – G9) that is
specified in “User All Notes Scale” (GLOBAL 3.1–2a).
On (checked): When the same note is played repeatedly, the
previous note will be silenced before the next note is User Octave 00–15: These are the single-octave scales that
sounded, so that the notes do not overlap. are specified in “User Octave Scale” (GLOBAL 3.1–1a).

5
Key [C…B] 2.1–2: OSC1
Indicates the tonic note of the specified scale.
The multisample(s) (waveform) or drum kit on which the
This setting is not valid for Equal Temperament, Stretch,
program will be based can be selected here for oscillator 1
and User All Notes Scale.
and/or oscillator 2.
Random [0…7] The internal ROM contains 425 different multisamples (pre-
set multisamples) and 33 drum kits. RAM multisamples can
As this value is increased, a greater variance will be applied
be created in Sampling mode if the EXB-SMPL option (sold
to the pitch when each note is sounded. Normally you will
separately) is installed, or you can use multisamples that
set this to 0. This parameter is used when simulating instru-
were loaded in using the Media mode.
ments that have natural instability in pitch, such as tape-
mechanism organs or acoustic instruments. The following illustration shows a LCD screen where
“Mode (Oscillator Mode)” (2.1–1a) has been set to Double.
If a scale other than Equal Temperament is selected, the If this is set to Single, the OSC2 page parameter will not
combination of the selected scale and the “Key” setting appear and cannot be set.
may skew the tuning of the base key (for example
A=440 Hz). If this occurs, use “Master Tune” (GLOBAL
2.1–2a
1.1–1a) to correct the pitch.
2.1–2b

■ 2.1–1d: UTILITY

2.1–2c 2.1–2e
The following illustration shows the display when “Mode
(Oscillator Mode)” (2.1–1a) has been set to Drums.

☞ “Write Program” (1.1–1c)


2.1–2d
For details on how to select the desired utility function, refer
to “PROG 1.1–1c: UTILITY.”

Copy Oscillator 2.1–2e


This function copies oscillator settings to the currently
selected program.
2.1–2a: OSC1 Multisample
1 Select “Copy Oscillator” to access the dialog box.
Velocity SW L→H [001...127]
The oscillator 1 High and Low multisamples that you spec-
ify in “High, Low” (2.1–2b) will be switched at the velocity
value that you specify here. Notes played with a velocity
stronger than this value will be sounded by the High multi-
2 In “From,” select the oscillator that you wish to copy and
sample.
the copy source program. You can use the Bank [A]–
[GM] keys to select the bank.
3 In “To,” select the copy destination oscillator. 2.1–2b: High, Low
4 To execute the Copy Oscillator operation, press [F8] Here you can select a multisample.
(“OK”) key. To cancel, press the [F7] (“Cancel”) key. You can select different multisamples for High and Low, and
use velocity to switch between the two multisamples. Start
Swap Oscillator
Offset, Reverse, and Level can be adjusted independently
This command exchanges the settings of oscillators 1 and 2. for the High and Low multisamples.
1 Select “Swap Oscillator” to access the dialog box.
High:
High MS Bank [ROM, RAM]
High Multisample [000...424, 000...999]
2 To execute the Swap Oscillator operation, press [F8] Specifies the bank and multisample number of the High
(“OK”) key. To cancel, press the [F7] (“Cancel”) key. multisample. The multisample you select here will sounded
This can be selected only if “Mode (Oscillator Mode)” by velocities greater than the value of the “Velocity SW
(2.1–1a) is Double. L→H” (2.1–2a) parameter. If you do not wish to use velocity
switching, set the value to 001, and select only the High
multisample.
ROM: Select a preset multisample.
Use “High Multisample” to select from 000–424.
RAM: You can use multisamples that you created in Sam-
pling mode, or multisamples that you loaded in the Media
mode. (Requires the separately sold EXB-SMPL option and/
or the installation of RAM sample data memory.)
Select the “High Multisample” from a range of 000–999.
If sample data RAM is not installed, the program will
not sound if you select RAM.

6
Each multisample has an upper limit, and may not pro- Tune [–1200…+1200]

PROG
duce sound when played above that limit. Adjusts the pitch of the sample in one-cent steps (a semitone
is 100 cents) over a range of ±1 octave.
S.Ofs (High Start Offset) [Off, On]
This specifies the point at which the multisample will begin Delay [0ms…5000ms, KeyOff]
sounding. For some multisamples this parameter will have Specifies a delay time from note-on until the note will
no effect.

7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1
sound.
On (checked): The sound will start from the start offset With a setting of KeyOff, the sound will begin when note-
location that is pre-determined for each multisample. off occurs. This is used to create sounds such as the “click”
However when a RAM bank is selected, this will depend on that is heard when a harpsichord note is released. In this
the selected multisample. If you select a multisample that case, set the “Amp1 EG”, “Amp2 EG” (5.1–3a, 5.2–3) “S
includes one of the following types of sample, checking this (Sustain Level)” parameter to 0.
item will cause playback to start from the Loop Start
Address.
• A sample that was recorded (sampled) in Sampling 2.1–2d: OSC1 Drum Kit
mode (if the separately sold EXB-SMPL option is
Drum Kit [00(INT)...15(INT), 16(User)...23(User),
PROG

installed)
• A sample whose Loop Start Address was edited in 24(GM)...32(GM)]
Sampling mode (if the EXB-SMPL option is installed) Select a drum kit.
after the sample was loaded in Media mode 00 (INT)–15 (INT) Preload drum kits.
• A sample whose Loop Start Address was specified
16 (User)–23 (User) for user drum kits
automatically when it was loaded as an AKAI, AIFF, or
7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1

WAVE file in Media mode 24 (GM)–32 (GM) ROM preset drum kits compatible with GM2.
Off (unchecked): The sound will start from the beginning of
the multisample waveform. Octave [–2[32’], –1[16’], +0[8’], +1[4’]]
Adjusts the pitch in octave units. When using a drum kit, set
Rev (High Reverse) [Off, On] the Octave to 8'.
The multisample will be played in reverse. In the case of
When editing a drum program, you must set this
ROM multisamples that were originally specified to loop, or
parameter to 8'. With other settings, the sounds of the
in the case of RAM multisamples that were set to loop in
drum kit will be assigned to the wrong notes of the key-
Sampling mode (if the EXB-SMPL option is installed), the
board.
multisample will be played back in “one-shot” reverse
mode. If the multisample was originally set to reverse, it will Transpose [–12…+12]
playback without change.
This adjusts the location of the instruments in the selected
On (checked): The multisample will playback in reverse. drum kit. Unless you need to change this, leave it at 0.
Off (unchecked): The multisample will playback normally.
Tune [–1200…+1200]
Level (High Level) [000...127] This adjusts the pitch in one-cent units.
Specifies the level of the multisample. The pitch of each drum kit can be adjusted in GLOBAL 5.1:
DKit.
Depending on the multisample, high settings of this
parameter may cause the sound to distort when a chord Delay [0ms…5000ms, KeyOff]
is played. If this occurs, lower the level.
This specifies a delay time from note-on until the sound will
Low: begin.
With a setting of KeyOff, the sound will begin when note-
Specifies the OSC1 Low multisample.
off occurs. In this case, set the “Amp1 EG” parameter “S
The Low multisample will sound when the velocity is less
(Sustain Level)” (5.1–3a) to 0.
than the “Velocity SW L→H” (2.1–2a) setting.

Low MS Bank [ROM, RAM]


■ 2.1–2e. UTILITY
Low Multisample [000...424, 000...999]
S.Ofs (Low Start Offset) [Off, On]
Rev (Low Reverse) [Off, On]
Level (Low Level) [000...127]
☞ Refer to the corresponding item in “High.”
☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap
Oscillator” (2.1–1d)
2.1–2c: Octave, Transpose, Tune, Delay
For details on how to select the desired utility function, refer
Octave [–2[32’], –1[16’], +0[8’], +1[4’]] to “PROG 1.1–1c: UTILITY.”
Adjusts the pitch in octave units. The normal octave of the
Select by Category
multisample is 8' (feet).
Selects multisamples by category.
Transpose [–12…+12]
Adjusts the pitch in semitone steps over a range of ±1
octave.

7
For the procedure, refer to “Select by Category” (☞p.2). Decay: Adjusts the decay times of the filter EG and amp
EG. This adjustment will be added to the “D (Decay
Time)” of “Filter 1 EG,” “Filter 2 EG,” “Amp 1 EG,” and
“Amp 2 EG.”
4 Press the [F8] (“Done”) key to execute, and close the dia-
log box.
Please be aware that the Compare function is not avail-
This command is valid when the 2.1–2b: High, Low able for this command.
parameters are selected under the following conditions.
• “Mode (Oscillator Mode)” (2.1–1a) is set to either
Single or Double 2.1–3: OSC2
• “High MS Bank” and “Low MS Bank” (2.1–2b) are This will appear when “Mode (Oscillator Mode)” (2.1–1a) is
set to ROM set to Double.
For details on the settings and function of the parameter,
Sample Parameters
refer to “2.1–2: OSC1.”
This is displayed and can be edited if the EXB-SMPL option
is installed.
This command lets you adjust the sample playback level,
cutoff, resonance, pitch, attack, and decay for each index of a 2.1–4: V.Zone (Velocity Zone)
RAM multisample.
Specifies the range of velocities that will sound oscillator 1
This command is valid if “Mode (Oscillator Mode)” and 2. By using these settings in conjunction with the
(2.1–1a) is set to Single or Double, and you have “Velocity SW L→H” (2.1–2a) setting of each oscillator, you
selected the 2.1–2b: High or Low parameters of OSC1 or can specify the velocity ranges for the High and Low multi-
OSC2 for which RAM has been specified as the “High samples or drum kits.
MS Bank” or “Low MS Bank.”
2.1–4a
The setting will apply to the selected multisample. The
setting will also be used when that multisample is
selected by another oscillator or program.
1 Select “Sample Parameters” to access the dialog box.
2.1–4b

2.1–4a: OSC 1/ 2 Velocity Zone


OSC1 Bottom [001...127]
2 Index: Specifies the index for which you wish to make Sets the minimum velocity value that will sound oscillator 1.
settings. The number following “/” is the total number of
indexes in the selected multisample. OSC1 Top [001...127]
SMPL: Indicates the sample number and name for the Sets the maximum velocity value that will sound oscillator
index. 1.
3 For each index, you can make the following settings.
Level: Adjusts the volume. Relative to the settings of OSC2 Bottom [001...127]
“Level (High, Low Level)” (2.1–2b) and “Level (Amp1, 2 Sets the minimum velocity value that will sound oscillator 2.
Level)” (5.1–1a, 5.2–1), negative (–) values will decrease
the levels, and positive (+) values will increase the levels. OSC2 Top [001...127]
A setting of +99 will double the volume, and at a setting Sets the maximum velocity value that will sound oscillator
of –99 there will be no sound. This parameter is linked to 2.
the “Level” (SMPL 4.1–2a). The value that was specified
It is not possible to set the Bottom Velocity greater than
in Sampling mode will be displayed here.
the Top Velocity, nor the Top Velocity less than the Bot-
Cutoff: Adjusts the filter cutoff. This adjustment will be
tom Velocity.
added to the value specified for “Frequency” (4.1–1b/1c,
4.2–1) of Filter 1 and 2. You can also input a value by playing a note on the key-
Resonance: Adjusts the resonance level of the filter. This board while you hold down the [ENTER] key.
adjustment will be added to the value specified for “Res-
onance” (4.1–1b, 4.2–1) of Filter 1 and 2.
Pitch: Adjusts the playback pitch in one-cent steps. A set- ■ 2.1–4b: UTILITY
ting of +12.00 raises the pitch one octave, and a setting of
☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap
–12.00 will lower the pitch one octave. This parameter is
Oscillator” (2.1–1d)
linked with the parameter “Pitch” (SMPL 4.1–2a). The
value that was specified in Sampling mode will be dis-
played here.
Attack: Adjust sthe attack times of the filter EG and amp
EG. This adjustment will be added to the “A (Attack
Time)” of “Filter 1 EG,” “Filter 2 EG,” “Amp 1 EG,” and
“Amp 2 EG” (4.1–5a, 4.2–5, 5.1–3a, 5.2–3).

8
2.1–5: Audit.

PROG
(Audition)
PROG 2.2: Ed–Ctrl
When selecting preloaded programs, you can play back a
pre-specified riff (phrase) that is suitable for the sound of These settings specify the B-mode functions of the REAL-
that program. This is called the Audition function. TIME CONTROLS knobs [1]–[4] in Program mode, and the
When you press the [AUDITION] key to turn it on, the audi- functions of the [SW1] key, the [SW2] key.
tion riff will play back repeatedly.

7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1
Here you can select the audition riff and specify the transpo-
sition.
2.2–1: Ctrls (Controls)
2.2–1a

2.1–5a

2.1–5b
PROG

2.2–1b 2.2–1c

2.1–5a: Audition Riff, Transpose 2.2–1a: Knob B Assign

Audition Riff [000: Off...383: Name] Here you can assign functions (mainly various types of con-
trol change) to the B-mode of the REALTIME CONTROLS
7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1

Selects the audition riff. The TRITON Le contains 383 audi-


knobs [1]–[4] (☞p.221 “Realtime Control Knobs B Assign
tion riffs suitable for a variety of instruments and musical
List”).
genres. (☞“VNL”)
The functions you set here will take effect when you operate
With a setting of 000: Off, no riff will be played.
the REALTIME CONTROLS knobs [1]–[4] in B-mode.
Transpose [–24...+24]
Knob1–B (Knob1–B Assign) [Off...MIDI CC#95]
Adjusts the pitch of the audition riff in semitone steps.
Knob2–B (Knob2–B Assign) [Off...MIDI CC#95]
It is not possible to change the playback tempo of the Knob3–B (Knob3–B Assign) [Off...MIDI CC#95]
audition riff. Nor is it possible to set the arpeggiator
tempo while the audition riff is playing. Knob4–B (Knob4–B Assign) [Off...MIDI CC#95]

The arpeggiator will be turned off while the audition


riff is playing. 2.2–1b: SW1/ 2 Assign
These settings assign functions to [SW1] and [SW2] keys
■ 2.1–5b: UTILITY (☞p.220 “SW1, SW2 Assign List”).

☞ “Write Program” (1.1–1c) SW1 Assign [Off...AfterT Lock]


Here you can 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.

SW1 Mode [Toggle, Momentary]


Specifies the on/off state that will occur when you press the
[SW1] key.
Toggle: The key will alternate on/off each time you press
[SW1] key.
Momentary: The key will be on only while you continue
holding [SW1] key.

SW2 Assign [Off...AfterT Lock]


SW2 Mode [Toggle, Momentary]
Here you can assign a function to [SW2] key.
The functions that can be assigned to [SW2] key are the
same as for [SW1] key, with the exception of SW2 Mod.
(CC#81) instead of SW1 Mod. (CC#80).
Although the following values can be selected for “SW1
Assign” and “SW2 Assign,” they will have no effect in
actuality.
Data is compatible between this instrument and the
TRITON/TRITONpro/TRITONproX and the TRITON-
Rack. Programs created on the TRITON series can be
used by this instrument.

9
In order to maintain compatibility, you are able to set Ribbon (#16) [–12…+12]
these “invalid” parameters on this instrument. Specifies in semitone units how the pitch will change when
N/A indicates Not Available. CC#16 is received (or when the ribbon controller is pressed
on an instrument, such as the TRITON, connected via the
Ribbon Lock : N/A MIDI IN connector).
JS X&Rbn Lock : N/A
12 half-steps equal one octave. With positive (+) values, the
JS+Y&Rbn Lock : N/A
pitch will rise when you press the right half of a ribbon con-
JS-Y&Rbn Lock : N/A
troller. With negative (–) values, the pitch will fall.
For example, with a setting of +12, pressing the far right
■ 2.2–1c: UTILITY edge of the ribbon controller will raise the pitch one octave.
With a setting of –12, pressing the far right edge of the rib-
☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap bon controller will lower the pitch one octave.
Oscillator” (2.1–1d) At the center of the ribbon controller, the original pitch will
remain, so you can use this in conjunction with pressing the
ribbon at its right edge to simulate the “hammering-on”
techniques used by guitarists.
PROG 3.1: Ed–Pitch JS (+X) [–60…+12]
Specifies how the pitch will change when the joystick is
Here you can make pitch modulation settings for oscillators moved all the way to the right.
1 and 2. A setting of 12 produces 1 octave of change.
For example, if you set this to +12 and move the joystick all
the way to the right, the pitch will rise one octave above the
3.1–1: OSC1 original pitch.

Specifies how the key position (on the keyboard) will affect JS (–X) [–60…+12]
the pitch of oscillator 1, and selects the controller that will Specifies how the pitch will change when the joystick is
modify the pitch and the depth of this effect. Here you can moved all the way to the left.
also specify the amount of pitch change caused by the pitch A setting of 12 produces 1 octave of change.
EG, and set the portamento mode and on/off status.
For example, if you set this to –60 and move the joystick all
the way to the left, the pitch will fall five octaves below the
3.1–1a original pitch. This can be used to simulate the downward
swoops that a guitarist produces using the tremolo arm.
3.1–1b
3.1–1c AMS (Pitch AMS) [Off, (FEG, AEG, EXT)]
Selects the source that will modulate the pitch of oscillator 1
3.1–1d (☞p.212 “AMS List”).

Intensity (AMS Intensity) [–12.00…+12.00]


Specifies the depth and direction of the effect produced by
3.1–1a: Pitch
“AMS (Pitch AMS).”
Pitch Slope [–1.0…+2.0] With a setting of 0, no modulation will be applied. With a
setting of 12.00, the pitch will change up to one octave.
Normally you will leave this at +1.0.
Positive (+) values will cause the pitch to rise as you play For example if you set “AMS” to AfterT and apply pressure
higher on the keyboard, and negative (–) values will cause to the keyboard, the pitch will rise if this parameter is set to
the pitch to fall as you play higher on the keyboard. a positive (+) value, or fall if this parameter is set to a nega-
With a value of 0, there will be no change in pitch, and the tive (–) value. The range is a maximum of one octave.
C4 pitch will sound regardless of the keyboard location you (☞p.214)
play.
How the Pitch Slope and pitch are related 3.1–1b: Pitch EG
Pitch
+2 Intensity [–12.00…+12.00]
+1 Specifies the depth and direction of the modulation that the
pitch EG specified in “EG (Pitch EG)” (3.1–5) page will
2oct
1oct 0
apply to the pitch.
1oct With a setting of 12.00, the pitch will change a maximum of
±1 octave.
–1

C4 C5 Key
AMS (Pitch EG AMS) [Off, (KT, EXT)]
Selects the source that will control the pitch modulation
applied by the pitch EG (☞p.212 “AMS List”).

Intensity (AMS Intensity) [–12.00…+12.00]


Specifies the depth and direction of the effect that “AMS
(Pitch EG AMS)” will have.
For example, if you set “AMS (Pitch EG AMS)” to Velocity
and set this value to +12.00, the velocity will control the

10
range of pitch change produced by the pitch EG in a range

PROG
of ±1 octave (☞p.214). As you play more softly, the pitch
3.1–2a: Pitch LFO1/ 2 Modulation
change will draw closer to the pitch EG levels.
LFO1:
Pitch change (level)

Note-on Note-on Note-on


Intensity (LFO1 Intensity) [–12.00…+12.00]
Note-off Note-off Note-off
Specifies the depth and direction of the pitch modulation

7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1
applied by the OSC 1 LFO1 settings you made in
“OS1LFO1” page (5.3–1).
With a setting of 12.00, a maximum of ±1 octave of pitch
Softly played Strongly played with Strongly played with a
modulation will be applied. Negative (–) values will invert
(Intensity (Pitch EG) setting) a positive (+) value negative (–) value the LFO waveform.

JS+Y Int. (LFO1 JS+Y Int.) [–12.00…+12.00]


“Intensity” and “AMS (Pitch EG AMS)” will be
summed to determine the depth and direction of the Specifies the depth and direction of the effect that joystick
pitch modulation applied by the pitch EG. movement in the +Y direction (away from yourself) will
have on the pitch modulation applied by the OSC1 LFO1.
PROG

As this value is increased, moving the joystick in the +Y


3.1–1c: Portamento direction will cause the OSC1 LFO1 to produce deeper pitch
modulation. With a setting of 12.00 a maximum of ±1 octave
This turns the portamento effect (smooth change in pitch of pitch modulation will be applied. Negative (–) values
from one note to the next) on/off, and specifies how it will will invert the LFO waveform.
be applied. If [SW 1] or [SW2] are set to Porta.SW(CC#65),
7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1

turning SW1 or SW2 on/off will apply portamento (☞p.212 AMS (LFO1 AMS) [Off, (PEG, FEG, AEG, KT, EXT)]
“AMS List,” p.220 “SW1, SW2 Assign List,” Prta.SWCC#65). Indicates the source that will control the depth of pitch mod-
Portamento will also be switched when CC#65 (Porta- ulation produced by the OSC1 LFO1 (☞p.212 “AMS List”).
mento SW) is received. Intensity (AMS Intensity) [–12.00…+12.00]
Enable (Porta. Enable) [Off, On] Specifies the depth and direction of the effect that “AMS
On (checked): Portamento will be applied. (LFO1 AMS)” will have.
Off (unchecked): Portamento will not be applied. With a setting of 0, modulation will not be applied. With a
setting of 12.00, the OSC1 LFO1 will apply a maximum of ±1
Fingered (Porta. Fingered) [Off, On] octave of pitch modulation. Negative (–) settings will invert
This parameter is available when “Enable (Porta. Enable)” is the LFO waveform.
checked. For example if “AMS” is set to AfterT and you apply pres-
sure to the keyboard, a positive (+) setting of this parameter
On (checked): Portamento will be applied when you con- will cause the pitch modulation created by OSC1 LFO1 to be
tinue holding the previous note as you press the next note applied with the normal phase, and a negative (–) setting
(legato playing). will cause the LFO to be applied with inverted phase.
Off (unchecked): Portamento will always be applied, The “Intensity (LFO1 Intensity),” “JS+Y Int. (LFO1 JS+Y
regardless of how you play. Int.)” and “AMS (LFO1 AMS)” settings will be added to
determine the depth and direction of the pitch modulation
Time (Porta. Time) [000...127]
applied by OSC1 LFO1 (☞p.214).
This parameter is available when “Enable (Porta. Enable)” is
checked. LFO2:
This sets the portamento time. Increasing the value will pro-
duce a slower change in pitch. Intensity (LFO2 Intensity) [–12.00…+12.00]
JS+Y Int. (LFO2 JS+Y Int.) [–12.00…+12.00]
■ 3.1–1d: UTILITY AMS (LFO2 AMS) [Off, (PEG, FEG, AEG, KT, EXT)]
Intensity (AMS Intensity) [–12.00…+12.00]
☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap
Refer to the preceding section “LFO1.”
Oscillator” (2.1–1d)

■ 3.1–2b: UTILITY
3.1–2: OS1lfo (OSC1 LFO) ☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap
Specifies the amount of pitch change produced by LFO1 and Oscillator” (2.1–1d)
LFO2 for oscillator 1.

3.1–3: OSC2
3.1–2a Specifies how the key position (on the keyboard) will affect-
the pitch of oscillator 2, and selects the controller that will
affect the pitch and specify the depth of control. Here you
can also specify the amount of pitch change produced by the
3.1–2b pitch EG, and set the portamento mode and on/off status.
For details on each parameter, refer to the preceding “3.1–1:
OSC1.”

11
3.1–4: OS2lfo (OSC2 LFO) Time-varying pitch settings (when Pitch EG Intensity = +12.00)

Specifies the amount of pitch change produced by LFO1 and +99 = approximately 1 octave Attack Level

LFO2 for oscillator 1. For an explanation of each parameter, Note-on Note-off

refer to the preceding “3.1–2: OS1lfo.” 0 = pitch when


key is held Time
(sustained) Release Level
Start Level
Attack Decay
Time Time
3.1–5: EG (Pitch EG) –99 = approximately 1 octave
Release Time

Here you can make settings for the pitch EG, which creates
time-variant changes in the pitch of oscillators 1 and 2.
The depth of pitch change produced by these EG settings on 3.1–5b: Level Mod. (Level Modulation)
oscillator 1 (2) is adjusted by “Pitch EG” (3.1–1b, 3.1–3).
These settings allow the pitch EG “L (Level)” parameters to
3.1–5a
be controlled by alternate modulation.

3.1–5b
AMS1 (Level Mod. AMS1) [Off, (KT, EXT)]
Selects the source that will control the pitch EG “L (Level)”
parameters (☞p.212 “AMS List”).
3.1–5c 3.1–5d I (AMS1 Intensity) [–99…+99]
Specifies the depth and direction of the effect applied by
“AMS1 (Level Mod. AMS1).”
3.1–5a: Pitch EG With a setting of 0, the levels specified by “Pitch EG” (3.1–
5a) will be used.
These settings specify how the pitch will change over time. For example, if “AMS1 (Level Mod. AMS1)” is SW1 #80,
pressing the [SW1] key to turn it on will change the “Level”
L (Level): parameters of the Pitch EG. (“SW1/2 Assign”: 2.2–1b) to
These parameters specify the amount of pitch change. SW1 Mod. (CC#80). As the absolute value of “I (AMS1
The actual amount of pitch change will depend on the Intensity)” is increased, the pitch EG levels will change more
“Pitch EG” (3.1–1b, 3.1–3) parameter “Intensity.” For exam- greatly when the [SW1] key is turned on. The direction of
ple with an “Intensity” setting of +12.00, a “Level” setting of the change is specified by “S (AMS1 SW Start)” and “A
+99 would raise the pitch one octave, and a “Level” setting (AMS1 SW Attack).” When the [SW1] key is turned off, the
of –99 would lower the pitch one octave. pitch EG levels will return to their own settings.
If “AMS1” is set to Velocity, increasing the absolute value of
S (Start Level) [–99…+99] “Intensity” will produce increasingly wider change in pitch
Specifies the amount of pitch change at note-on. EG levels for strongly-played notes. The direction of the
change is specified by “S (AMS1 SW Start)” and “A (AMS1
A (Attack Level) [–99…+99] SW Attack).” As you play more softly, the pitch change will
Specifies the amount of pitch change when the attack time draw closer to the pitch EG levels.
has elapsed.
Pitch EG change (level) (AMS=SW1/Velocity, Intensity= positive (+) value)

R (Release Level) [–99…+99] Note-on Note-on Note-on


Note-off Note-off Note-off
Specifies the amount of pitch change when the release time
has elapsed.

T (Time):
These parameters specify the length of time over which the A note played softly with “S” A note played strongly with A note played strongly with
pitch change will occur. set at 0, “A” set to +, and “S” set to 0, “A” set to +, and “S” set to 0, “A” set to –, and
SW1 turned on (the settings SW1 turned on SW1 turned on
of 3.1–5a: Pitch EG)
A (Attack Time) [0…99]
Specifies the time over which the pitch will change from
S (AMS1 SW Start) [–, 0, +]
note-on until it reaches the pitch specified as the attack level.
Specifies the direction of change in “S (Start Level)” caused
D (Decay Time) [0…99] by “AMS1 (Level Mod. AMS1).” If “I (AMS1 Intensity)” is a
Specifies the time over which the pitch will change after positive (+) value, a setting of + will raise the EG level, and
reaching the attack level until it reaches the normal pitch. a setting of – will decrease it. With a setting of 0 there will be
no change.
R (Release Time) [0…99]
A (AMS1 SW Attack) [–, 0, +]
Specifies the time over which the pitch will change from
note-off until it reaches the pitch specified as the release Specifies the direction of change in “A (Attack Level)”
level. caused by “AMS1 (Level Mod. AMS1).” If “I (AMS1 Inten-
sity)” is a positive (+) value, a setting of + will raise the EG
level, and a setting of – will decrease it. With a setting of 0
there will be no change.

12
AMS2 (Level Mod. AMS2) [Off, (KT, EXT)]

PROG
I (AMS2 Intensity) [–99…+99] PROG 4.1: Ed–Filter1
S (AMS2 SW Start) [–, 0, +]
Indicates settings for filter 1, which controls the tone of oscil-
A (AMS2 SW Attack) [–, 0, +] lator 1. You can select either a 24 dB/oct low pass filter with
Refer to the preceding paragraphs “AMS1 (Level Mod. resonance, or a 12 dB/oct low pass filter and 12 dB/oct high

7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1
AMS1)”–“A (AMS1 SW Attack).” pass filter connected in series.
When “Mode (Oscillator Mode)” (2.1–1a) is Single, Drums
you can use filter 1. When it is Double, you can use filters 1
3.1–5c: Time Mod. (Time Modulation) and 2. In the case of Single and Drums, the filter 2 pages
cannot be selected.
These parameters let you use alternate modulation to con-
trol the “T (Time)” parameters of the pitch EG.

AMS (Time Mod. AMS) [Off, (KT, EXT)] 4.1–1: Basic


Indicates the source that will control the “T (Time)” parame-
ters of the pitch EG (☞p.212 “AMS List”). Here you can specify the basic filter type used by oscillator
PROG

1, and set the cutoff frequency and resonance.


I (AMS Intensity) [–99…+99]
Specifies the depth and direction of the effect that “AMS 4.1–1a
(Time Mod. AMS)” will have.
With a setting of 0, the pitch EG times will be just as speci- 4.1–1b

fied by the “Pitch EG” (3.1–5a) settings. 4.1–1c


7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1

The alternate modulation value at the moment that the EG


reaches each point will determine the actual value of the EG 4.1–1d
time that comes next.
For example, the decay time will be determined by the alter-
nate modulation value at the moment that the attack level is 4.1–1a: Filter1
reached.
When this parameter is set to values of 16, 33, 49, 66, 82, or Type (Filter1 Type)
99, the specified EG times will speed up as much as 2, 4, 8, [Low Pass Resonance, Low Pass & High Pass]
16, 32, or 64 times respectively (or slowed down to 1/2, 1/4, Indicates the type of filter 1.
1/8, 1/16, 1/32, or 1/64 of the original time).
For example if “AMS (Time Mod. AMS)” is set to Velocity, Low Pass Resonance: 24 dB/octave
low pass filter with resonance
increasing the absolute value of “I (AMS Intensity)” will
allow strongly-played notes to increase the changes in pitch Low Pass & High Pass: 12 dB/octave
low pass filter and 12 dB/octave high
EG “T (Time)” values. The direction of the change is speci-
pass filter in series
fied by “A (AMS SW Attack)” and “D (AMS SW Decay).” As
you play more softly, the pitch EG times will more closely
approach the actual settings of the pitch EG. Trim [00…99]
Adjusts the level at which the audio signal output from
Pitch EG changes (Time) (AMS = Velocity, Intensity = positive (+) value)
OSC1 is input to filter 1A.
Note-on Note-on Note-on
Note-off Note-off Note-off
If the trim value is set too high, the sound may be dis-
torted if the Resonance is set to a high value or when
you play a chord.

A note played softly with “A” A note played strongly with A note played strongly with
set to + and “D” set to + “A” set to + and “D” set to + “A” set to – and “D” set to –
4.1–1b: A (Filter A)
(settings of 3.1–5a: Pitch EG)
This filter cuts the high-frequency range above the cutoff fre-
quency. This is the most common type of filter, which cuts
A (AMS SW Attack) [–, 0, +] the overtone structure to make a bright (sharp) tone darker
Specifies the direction in which “AMS (Time Mod. AMS)” (mellow).
will affect the “A (Attack Time).” With positive (+) values of When “Type (Filter1 Type)” is Low Pass Resonance, the cut
“I (AMS Intensity),” a setting of + will cause the time to be will have a steeper curve.
lengthened, and a setting of – will cause the time to be short-
Low Pass
ened. With a setting of 0 there will be no change.
Level

D (AMS SW Decay) [–, 0, +] 12dB/oct

24dB/oct
Specifies the direction in which “AMS (Time Mod. AMS)”
will affect the “D (Decay Time).” With positive (+) values of Frequency
“I (AMS Intensity),” a setting of + will cause the time to be
lengthened, and a setting of – will cause the time to be short- Frequency (A Frequency) [00…99]
ened. With a setting of 0 there will be no change.
Specifies the cutoff frequency of filter 1A.

■ 3.1–5d: UTILITY Resonance (A Resonance) [00…99]


This emphasizes the overtone components that lie in the
☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap region of the cutoff frequency specified by “Frequency (A
Oscillator” (2.1–1d) Frequency),” producing a more distinctive sound. Increas-
ing this value will produce a stronger effect.

13
Reso.AMS (Resonance AMS) 4.1–2a: Keyboard Track
[Off, (PEG, FEG, AEG, LFO, KT, EXT)]
Indicates the source that will control the “Resonance (A Res- These settings specify keyboard tracking for the cutoff fre-
onance)” level (☞p.212 “AMS List”). quency of filter 1. The way in which the cutoff frequency is
affected by the position of the key (on the keyboard) that
Intensity (AMS Intensity) [–99…+99] you play can be specified by the Key: “Low” and “High,”
Specifies the depth and direction of the effect that “Reso. Ramp: “Low” and “High” parameters.
AMS (Resonance AMS)” will have on the resonance level
specified by “Resonance (A Resonance).” Key:
For example, if Velocity has been selected, changes in key- Specifies the note numbers at which keyboard tracking will
board velocity will affect the resonance. begin to be applied, and set the “Int. to A” and “(Int. to) B”
With positive (+) values, the resonance will increase as you parameters to specify the depth and direction of the change
play more strongly, and as you play more softly the reso- applied to filter 1 A and B.
nance will approach the level specified by the “Resonance For the range of notes between “Low (KBDTrk Key Low)”
(A Resonance)” setting. and “High (KBDTrk Key High),” the cutoff frequency will
With negative (–) values, the resonance will decrease as you change according to the key location (pitch).
play more strongly, and as you play more softly the reso-
You can also input a value by playing a note on the key-
nance will approach the level specified by the “Resonance
board while you hold down the [ENTER] key.
(A Resonance)” setting.
The resonance level is determined by adding the “Reso- Low (KBDTrk Key Low) [C–1…G9]
nance (A Resonance)” and “Intensity (AMS Intensity)” val-
Keyboard tracking will apply to the range below the speci-
ues together.
fied note number.
The effect of resonance

Low Pass High (KBDTrk Key High) [C–1…G9]


Level
Keyboard tracking will apply to the range above the speci-
fied note number.

Ramp (Ramp Setting):


Specifies the angle of keyboard tracking.
Low resonance value High resonance value
Low (KBDTrk Ramp Low) [–99…+99]
High (KBDTrk Ramp High) [–99…+99]
4.1–1c: B (Filter B) If “Int. to A (KBDTrk Int. to A)” and “Int. to B (KBDTrk Int.
to B)” are set to +50, “Low (KBDTrk Ramp Low)” is set to
This will be displayed if “Type (Filter1 Type)” (4.1–1a) is
–62 and “High (KBDTrk Ramp High)” is set to +62, the angle
Low Pass & High Pass.
of the change in cutoff frequency will correspond to the key
This filter cuts the low-frequency range that lies below the
location (pitch). This means that the oscillation that occurs
cutoff frequency.
when you increase the “Resonance (A Resonance)” (4.1–1b)
By cutting the lower overtones, it lightens the tone.
will correspond to the keyboard location.
High Pass If you set “Low (KBDTrk Ramp Low)” to +43 and “High
Level (KBDTrk Ramp High)” to –43, the cutoff frequency will not
be affected by keyboard location. Use this setting when you
12dB/oct
do not want the cutoff frequency to change for each note.
Frequency How cutoff frequency is affected by keyboard location and the Ramp
setting
(“Int. to A,” “Int. to B”=+50)
Frequency (B Frequency) [00…99]
Cutoff frequency High Ramp=+99
Specifies the cutoff frequency of filter 1B.
High Ramp=+62

High Ramp=0
■ 4.1–1d: UTILITY
High Ramp=–43
Low Ramp=+99
☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap
High Ramp=–99
Oscillator” (2.1–1d) Low Ramp=+43

Low Ramp=0

Low Ramp=–62 Key


Low Key High Key
4.1–2: Mod.1 (Filter1 Modulation1) Low Ramp=–99

Indicates settings for keyboard tracking which modifies the Int. to A (KBDTrk Int. to A) [–99...+99]
tone by modulating the filter 1 cutoff frequency “Frequency Specifies the depth and direction of the effect on filter 1A
(A/B Frequency),” and intensity settings for the filter 1 EG, produced by keyboard tracking settings “Low (KBDTrk Key
etc. Low),” “High (KBDTrk Key High),” “Low (KBDTrk Ramp
Low),” and “High (KBDTrk Ramp High).”
With positive (+) settings, the effect will be in the same
4.1–2a
direction as the keyboard tracking settings.
With negative (–) settings, the effect will be in the opposite
4.1–2b
direction.

4.1–2c 4.1–2d

14
Int. to B (KBDTrk Int. to B) [–99...+99] Int. to B (AMS Int. to B) [–99…+99]

PROG
Specifies the depth and direction of the effect on filter 1B Specifies the depth and direction of the effect that “AMS
produced by keyboard tracking. (☞“Int. to A (KBDTrk Int. (Filter EG AMS)” will have on filter 1B. (☞“Int. to A (Inten-
to A)”) sity to A).”)
The sum of the settings for “Int. to A (B),” “Vel to A
4.1–2b: Filter EG (B),” and “Int. to A (B) (AMS Int. to A/B)” will deter-

7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1
mine the depth and direction of the effect produced by
Int. to A (Intensity to A) [–99…+99] the filter EG.
Specifies the depth and direction of the effect that the time-
varying changes created by the filter 1 EG will have on the
■ 4.1–2d: UTILITY
filter 1A cutoff frequency.
With positive (+) settings, the sound will become brighter ☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap
when the EG levels set by Filter 1 EG “L (Level)” and “T Oscillator” (2.1–1d)
(Time)” parameters (4.1–5a) are in the “+” area, and darker
when they are in the “–” area.
PROG

With negative (–) settings, the sound will become darker


when the EG levels set by Filter 1 EG “L (Level)” and “T 4.1–3: Mod.2 (Filter1 Modulation2)
(Time)” parameters are in the “+” area, and brighter when
Indicates settings for the controller that will modify the tone
they are in the “–” area.
by applying modulation to the filter 1 cutoff frequency “Fre-
Int. to B (Intensity to B) [–99…+99] quency (A/B Frequency).”
If “Type (Filter Type)” (4.1–1a) is Low Pass Resonance, the
7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1

Specifies the depth and direction of the effect that the time-
filter B parameters will not be displayed.
varying changes created by the filter 1 EG will have on the
filter 1B cutoff frequency. (☞“Int. to A (Intensity to A)”)
4.1–3a
Vel to A (Velocity to A) [–99…+99]
This parameter specifies the depth and direction of the effect 4.1–3b
that velocity will have on the time-varying changes created
by the filter 1 EG (as set by “Filter 1 EG” 4.1–5) to control the
4.1–3c
filter 1A cutoff frequency.
With positive (+) values, playing more strongly will cause
the filter 1 EG to produce greater changes in cutoff fre-
quency. With negative (–) values, playing more strongly will 4.1–3a: Filter-A Modulation
also cause the filter 1 EG to produce greater changes in cut-
AMS1 (Filter A AMS1) [Off, (PEG, AEG, EXT)]
off frequency, but with the polarity of the EG inverted.
Indicates the source that will control modulation of the filter
Vel to B (Velocity to B) [–99…+99] 1A cutoff frequency (☞p.212 “AMS List”).
This parameter specifies the depth and direction of the effect
Intensity (A AMS1 Intensity) [–99…+99]
that velocity will have on the time-varying changes created
by the filter 1 EG to control the filter 1B cutoff frequency. Specifies the depth and direction of the effect that “AMS1
(☞“Vel to A (Velocity to A)”) (Filter A AMS1)” will have.
When “AMS1 (Filter A AMS1)” is JS X, a positive (+) value
Changes in cutoff frequency for this parameter will cause the cutoff frequency to rise
Note-on Note-on Note-on when the joystick is moved toward the right, and fall when
Note-off Note-off Note-off the joystick is moved toward the left. With a negative (–)
value for this parameter, the opposite will occur.
This value is added to the setting of the Filter A “Frequency
(A Frequency)”(4.1–1b).

Softly played Strongly played Strongly played


AMS2 (Filter A AMS2) [Off, (PEG, AEG, EXT)]
(The setting of Intensity to A (4.1–2b)) Setting to + Setting to – Intensity (A AMS2 Intensity) [–99…+99]
Selects “AMS2 (Filter A AMS2),” and specify the depth and
■ 4.1–2c: AMS, Into to A, Int to B direction of the effect that the selected source will have
(☞“AMS1,” “Intensity”).
AMS (Filter EG AMS) [Off, (EXT)]
Indicates the source that will control the depth and direction ■ 4.1–3b: Filter-B Modulation
of the effect that the time-varying changes produced by the
filter 1 EG will have on the cutoff frequency of filters 1A and This will be displayed when “Type (Filter Type)” (4.1–1a) is
1B (☞p.212 “AMS List”). Low Pass & High Pass.
Two alternate modulation sources can be used to modulate
Int. to A (AMS Int. to A) [–99…+99] the cutoff frequency of filter 1B (☞“Filter-A Modulation”).
Specifies the depth and direction of the effect that “AMS
(Filter EG AMS)” will have on filter 1A.
For details on how this will apply, refer to “Int. to A (Inten- ■ 4.1–3c: UTILITY
sity to A).”
☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap
Oscillator” (2.1–1d)

15
4.1–4: lfoMod (LFO Modulation) 4.1–4b: Filter LFO2 Modulation
Here you can use the filter 1 LFO to apply cyclic modulation
Adjusts the depth of the cyclic modulation applied by OSC1
to the cutoff frequency of filter 1 (for oscillator 1) to create
LFO2 (set by “OSC1 LFO 2” 5.3–2) to the cutoff frequency of
cyclical changes in tone.
filters 1A and 1B (☞“Filter LFO 1 Modulation” 4.1–4a).

Intensity to A (LFO2 Int. to A) [–99…+99]


4.1–4a
Intensity to B (LFO2 Int. to B) [–99…+99]
4.1–4b JS–Y Int. to A (LFO2 JS–Y Int. to A) [–99…+99]
JS–Y Int. to B (LFO2 JS–Y Int. to B) [–99…+99]
4.1–4c
AMS (LFO2 AMS) [Off, (PEG, FEG, AEG, KT, EXT)]
Int. to A (LFO2 AMS Int. to A) [–99…+99]
4.1–4a: Filter LFO1 Modulation Int. to B (LFO2 AMS Int. to B) [–99…+99]
Intensity to A (LFO1 Int. to A) [–99…+99]
Specifies the depth and direction of the modulation that ■ 4.1–4c: UTILITY
OSC1 LFO1 (set by “OSC1 LFO1” 5.3–1a) will have on the
☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap
cutoff frequency of filter 1A.
Oscillator” (2.1–1d)
Negative (–) settings will invert the phase.

Intensity to B (LFO1 Int. to B) [–99…+99]


Specifies the depth and direction of the modulation that 4.1–5: EG (Filter1 EG)
OSC1 LFO1 will have on the cutoff frequency of filter 1B
(☞“Intensity to A (LFO1 Int. to A)”). Here you can make settings for the EG that will produce
Change in cutoff
time-varying changes in the cutoff frequency of filters 1A
and 1B.
The depth of the effect that these settings will have on the
filter 1 cutoff frequency is determined by “Filter EG” (4.1–
2b).

Low setting High setting 4.1–5a

JS–Y Int. to A (LFO1 JS–Y Int. to A) [–99…+99] 4.1–5b


By moving the joystick in the –Y direction (toward yourself),
you can control the depth at which OSC1 LFO1 modulates
4.1–5c 4.1–5d
the cutoff frequency of filter 1A. This parameter specifies the
depth and direction of the control.
For example, as this value is raised, OSC1 LFO1 will have a 4.1–5a: Filter1 EG
correspondingly greater effect on filter 1 when the joystick is
moved in the –Y direction. Specifies the time-varying change produced by the filter 1
EG.
JS–Y Int. to B (LFO1 JS–Y Int. to B) [–99…+99]
L (Level):
By moving the joystick in the –Y direction (toward yourself),
you can control the depth at which OSC1 LFO1 modulates The result will depend on the filter that was selected in
the cutoff frequency of filter 1B. This parameter specifies the “Type (Filter Type)” (4.1–1a). For example with the Low
depth and direction of the control. (☞“JS –Y Int. to A (LFO1 Pass Resonance filter, positive (+) values of “Int. to A” (4.1–
JS–Y Int. to A)”) 2b) will cause the tone to be brightened by positive (+) lev-
els, and darkened by negative (–) levels.
AMS (LFO1 AMS) [Off, (PEG, FEG, AEG, KT, EXT)]
S (Start Level) [–99…+99]
Selects a source that will control the depth and direction of
cutoff frequency change for both filters 1A and 1B (☞p.212 Specifies the change in cutoff frequency at the time of note-
“AMS List”). on.

Int. to A (LFO1 AMS Int. to A) [–99…+99] A (Attack Level) [–99…+99]


Specifies the depth and direction of the effect that “AMS Specifies the change in cutoff frequency after the attack time
(LFO1 AMS)” will have on filter 1A. has elapsed.
For example, if “AMS” is AfterT, higher settings of this B (Break Point Level) [–99…+99]
parameter will allow greater change to be applied to OSC1
Specifies the change in cutoff frequency after the decay time
LFO1 when you apply pressure to the keyboard.
has elapsed.
Int. to B (LFO1 AMS Int. to B) [–99…+99]
S (Sustain Level) [–99…+99]
Specifies the depth and direction of the effect that “AMS
Specifies the change in cutoff frequency that will be main-
(LFO1 AMS)” will have on filter 1B (☞“Int. to A (LFO1 AMS
tained from after the slope time has elapsed until note-off
Int. to A)”).
occurs.

16
R (Release Level) [–99…+99] B (AMS SW Break) [–, 0, +]

PROG
Specifies the change in cutoff frequency that will occur when Specifies the direction in which “AMS (Level Mod. AMS)”
the release time has elapsed. will affect “B (Break Point Level).” When “I (AMS Inten-
sity)” has a positive (+) value, a setting of + for this parame-
T (Time): ter will allow “AMS” to raise the EG level, and a setting of –
These parameters specify the time over which each change will allow “AMS” to lower the EG level. With a setting of 0

7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1
will occur. there will be no change.
Filter 1 EG changes (level) (AMS = Velocity, Intensity = a positive (+) value)
A (Attack Time) [00…99] Note-on Note-on Note-on
Specifies the time over which the level will change from Note-off Note-off Note-off

note-on until the attack level is reached.

D (Decay Time) [00…99]


Specifies the time over which the level will change from the
Softly played note with “S,” Strongly played note with Strongly played note with
attack level to the break point level. “A,” and “B” set to + (setting “S,” “A,” and “B” set to + “S,” “A,” and “B” set to –
of 4.1–5a: Filter 1 EG)
PROG

S (Slope Time) [00…99]


Specifies the time over which the level will change after the
4.1–5c: Time Mod. (Time Modulation)
decay time has elapsed until the sustain level is reached.
These settings let you use alternate modulation to control
R (Release Time) [00…99]
the “T (Time)” parameters of the filter 1 EG.
Specifies the time over which the level will change after
7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1

note-on occurs until the release level is reached. AMS1 (Time Mod. AMS1) [Off, (KT, EXT)]
Note-off Indicates the source that will control the “T (Time)” parame-
Attack Level Sustain Level
ters of the filter 1 EG (☞p.212 “AMS List”).
Note-on Release
Level
Break I (AMS1 Intensity) [–99…+99]
Point
The specified Level Time Specifies the depth and direction of the effect that “AMS1
cutoff
frequency (Time Mod. AMS1)” will have.
Start
Level Attack Decay Slope Release For example, if “AMS1 (Time Mod. AMS1)” is set to Flt KTr
Time Time Time Time +/+, the EG “T (Time)” parameters will be controlled by the
Keyboard Track (4.1–2a) settings. With positive (+) values of
this parameter, positive (+) values of “Ramp (Ramp Set-
4.1–5b: Level Mod. (Level Modulation) ting)” (4.1–2a) will lengthen the EG times, and negative (–)
values of “Ramp (Ramp Setting)” will shorten the EG times.
These settings let you use alternate modulation to control The direction of change is specified by “A (AMS1 SW
the “L (Level)” parameters of the filter 1 EG. Attack),” “D (AMS1 SW Decay),” “S (AMS1 SW Slope),” and
“R (AMS1 SW Release).”
AMS (Level Mod. AMS) [Off, (KT, EXT)] With a setting of 0, the times specified by “Filter1 EG” (4.1–
Indicates the source that will control the “L (Level)” parame- 5a) will be used.
ters of the filter 1 EG (☞p.212 “AMS List”). If “AMS1 (Time Mod. AMS1)” is set to Velocity, positive (+)
values of this parameter will cause EG times to lengthen as
I (AMS Intensity) [–99…+99] you play more strongly, and negative (–) values will cause
Specifies the depth and direction of the effect that “AMS EG times to shorten as you play more strongly.
(Level Mod. AMS)” will have. With a setting of 0, the times specified by “Filter1 EG” will
For example, if “AMS (Level Mod. AMS)” is Velocity, and be used.
you set “S (AMS SW Start),” “A (AMS SW Attack)” and “B
(AMS SW Break)” to + and set “I (AMS Intensity)” to a posi- A (AMS1 SW Attack) [–, 0, +]
tive (+) value, the EG levels will rise as you play more Specifies the direction in which “AMS1 (Time Mod. AMS1)”
strongly. If “Intensity” is set to a negative (–) values, the EG will affect the attack time. With positive (+) values of “I
levels will fall as you play more strongly. (AMS1 Intensity),” setting this parameter to + will allow
With a setting of 0, the levels specified by “Filter 1 EG” (4.1– AMS1 to lengthen the time, and setting this parameter to –
5a) will be used, no additional effect is produced. will allow AMS1 to shorten the time. With a setting of 0
there will be no change.
S (AMS SW Start) [–, 0, +]
Specifies the direction in which “AMS (Level Mod. AMS)” D (AMS1 SW Decay) [–, 0, +]
will affect “S (Start Level).” When “I (AMS Intensity)” has a Specifies the direction in which “AMS1 (Time Mod. AMS1)”
positive (+) value, a setting of + for this parameter will will affect the decay time. With positive (+) values of “I
allow “AMS” to raise the EG level, and a setting of – will (AMS1 Intensity),” setting this parameter to + will allow
allow “AMS” to lower the EG level. With a setting of 0 there AMS1 to lengthen the time, and setting this parameter to –
will be no change. will allow AMS1 to shorten the time. With a setting of 0
there will be no change.
A (AMS SW Attack) [–, 0, +]
Specifies the direction in which “AMS (Level Mod. AMS)” S (AMS1 SW Slope) [–, 0, +]
will affect “A(Attack Level).” When “I (AMS Intensity)” has Specifies the direction in which “AMS1 (Time Mod. AMS1)”
a positive (+) value, a setting of + for this parameter will will affect the slope time. With positive (+) values of “I
allow “AMS” to raise the EG level, and a setting of – will (AMS1 Intensity),” setting this parameter to + will allow
allow “AMS” to lower the EG level. With a setting of 0 there AMS1 to lengthen the time, and setting this parameter to –
will be no change. will allow AMS1 to shorten the time. With a setting of 0
there will be no change.
17
R (AMS1 SW Release) [–, 0, +]
Specifies the direction in which “AMS1 (Time Mod. AMS1)” PROG 4.2: Ed–Filter2
will affect the release time. With positive (+) values of “I
(AMS1 Intensity),” setting this parameter to + will allow
AMS1 to lengthen the time, and setting this parameter to –
will allow AMS1 to shorten the time. With a setting of 0
4.2–1: Basic
there will be no change. 4.2–2: Mod.1 (Filter2 Modulation1)
Filter 1 EG changes (Time) (AMS = Velocity, Intensity = a positive (+) value)

Note-on Note-on Note-on 4.2–3: Mod.2 (Filter2 Modulation2)


Note-off Note-off Note-off

4.2–4: lfoMod (LFO Modulation)


4.2–5: EG (Filter2 EG)
Softly played note with “A,” Strongly played note with Strongly played note with Indicates settings for filter 2, which controls the tone of oscil-
“D,” “S” and “R” set to + “A,” “D,” “S” and “R” set to + “A,” “D,” “S” and “R” set to – lator 2. You can select either a 24 dB/oct low pass filter with
(setting of 4.1–5a: Filter 1 EG)
resonance, or a 12 dB/oct low pass filter and 12 dB/oct high
pass filter connected in series. Filter 2 can be used when
AMS2 (Time Mod. AMS2) [Off, (KT, EXT)]
“Mode (Oscillator Mode)” (2.1–1a) is Double. (☞“PROG 4.1:
I (AMS2 Intensity) [–99…+99] Ed-Filter 1”)
A (AMS2 SW Attack) [–, 0, +]
D (AMS2 SW Decay) [–, 0, +]
S (AMS2 SW Slope) [–, 0, +]
R (AMS2 SW Release) [–, 0, +] PROG 5.1: Ed–Amp1
These parameters are the settings for “AMS2” to control the
“Time” parameters of the filter 1 EG (☞“AMS1 (Time Moc. Indicates settings for amp 1 which controls the volume of
AMS1)”–“R (AMS1 SW Release)”). oscillator 1. Pan settings are also made here.

■ 4.1–5d: UTILITY
5.1–1: Lvl/ Pan (Level/ Pan)
These parameters control the volume and pan of oscillator 1.

5.1–1a

☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap 5.1–1b


Oscillator” (2.1–1d)
For details on how to select the desired utility function, refer
5.1–1c 5.1–1d
to “PROG 1.1–1c: UTILITY.”

Sync Both EGs


If you select “Sync Both EGs” from the Utility menu and
5.1–1a: Amp1 Level
press the [F8] key, a check mark will appear at the left of
Level (Amp1 Level) [0…127]
“Sync Both EGs.” In this state, the filter 1 EG and the filter 2
EG can be edited simultaneously. (Editing either one will Sets the volume of oscillator 1.
cause the other to change.) The volume of a program can be controlled by CC#7
“Sync Both EGs” cannot sync the filter EG and amp EG (volume) and CC#11 (expression). The resulting level is
independently. For example if you sync in 5.1–3d, it will determined by summing the values of CC#7 and
be synced here as well. CC#11. The Global MIDI channel “MIDI Channel”
(GLOBAL 2.1–1a) is used for control.
This can be selected only if “Mode (Oscillator Mode)”
(2.1–1a) is Double.
5.1–1b: Pan
Pan (Amp1 Pan) [Random, L001…C064…R127]
Sets the pan (stereo location) of oscillator 1.
A setting of L001 places the sound at far left, C064 in the
center, and R127 to far right.
Random: The sound will be heard from a different location
at each note-on.
This can be controlled by CC#10 (panpot). A CC#10
value of 0 or 1 will place the sound at the far left, a
value of 64 will place the sound at the location specified
by the “Pan” setting for each oscillator, and a value of
127 will place the sound at the far right. This is con-
trolled on the global MIDI channel “MIDI Channel”
(GLOBAL 2.1–1a).

18
Use DKit Setting [Off, On] 5.1–2: Mod.

PROG
(Amp1 Modulation)
This is valid when “Mode (Oscillator Mode)” (2.1–1a) is set
These settings allow you to apply modulation to amp 1 (for
to Drums.
oscillator 1) to modulate the volume.
On (checked): The sound will be output at the “Pan” set-
ting that has been made for each key of the drum kit (GLO-
BAL 5.1–3a). When “Mode (Oscillator Mode)” is Drums, 5.1–2a

7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1
you will normally use this setting.
Off (unchecked): All notes will be output as specified by the 5.1–2b
“Pan (Amp1 Pan)” setting.

5.1–2c 5.1–2d
5.1–1c: AMS, Intensity
AMS (Pan AMS) [Off, (PEG, FEG, AEG, LFO, KT, EXT)]
5.1–2a: Keyboard Track
Indicates the source that will modify pan (☞p.212 “AMS
List”). This change will be relative to the “Pan (Amp1 Pan)” These parameters let you use keyboard tracking to adjust
PROG

setting. the volume of oscillator 1. Use the “Key” and “Ramp”


parameters to specify how the volume will be affected by
Intensity [–99…+99] the position on the keyboard of the note that you play.
Specifies the depth of the effect produced by “AMS (Pan
AMS).” Key (Keyboard Track Key):
For example, if “Pan (Amp1 Pan)” is set to C064 and “AMS Specifies the note number at which keyboard tracking will
7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1

(Pan AMS)” is Note Number, positive (+) values of this begin to apply.
parameter will cause the sound to move toward the right as The volume will not change between “Low (KBDTrk Key
the note numbers increase beyond the C4 note (i.e., as you Low)” and “High (KBDTrk Key High).”
play higher), and toward the left as the note numbers
decrease (i.e., as you play lower). Negative (–) values of this You can also input a value by playing a note on the key-
parameter will have the opposite effect. board while you hold down the [ENTER] key.

Low (KBDTrk Key Low) [C–1…G9]


■ 5.1–1d: UTILITY Keyboard tracking will apply to the range of notes below the
note number you specify here.
☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap
Oscillator” (2.1–1d) High (KBDTrk Key High) [C–1…G9]
Keyboard tracking will apply to the range of notes above the
note number you specify here.

Ramp (Ramp Setting):


Specifies the angle of the keyboard tracking.

Low (KBDTrk Ramp Low) [–99…+99]


With positive (+) values of this parameter, the volume will
increase as you play notes below the “Low (KBDTrk Key
Low)” note number. With negative (–) values, the volume
will decrease.

High (KBDTrk Ramp High) [–99…+99]


With positive (+) values of this parameter, the volume will
increase as you play notes above the “High (KBDTrk Key
High)” note number. With negative (–) values, the volume
will decrease.
Volume change produced by key position and Ramp settings
Volume

Ramp Low=+99 Ramp High=+99

Ramp Low=0 Ramp High=0

Ramp Low=–99 Ramp High=–99

Key
KBDTrk Low KBDTrk High

19
5.1–2b: Amp Mod., LFO1 Mod., LFO2 Mod. AMS (LFO2 AMS) [Off, (PEG, FEG, AEG, KT, EXT)]
Indicates the source that will control the depth by which
Indicates settings to specify how the volume of oscillator 1 “OSC1 LFO2” (5.3-2) will modulate the volume of oscillator
will be controlled by velocity, OSC1 LFO1, and OSC1 LFO2. 1 (☞p.212 “AMS List”).

Amp Mod. (Amp Modulation): Int. (AMS Intensity) [–99…+99]


Specifies the depth and direction of the effect that “OSC1
Velocity Int. (Amp Velocity Int.) [–99…+99] LFO2” will have on the volume of oscillator 1. Negative (–)
With positive (+) values, the volume will increase as you values will invert the LFO waveform.
play more strongly.
With negative (–) values, the volume will decrease as you
play more strongly. ■ 5.1–2d: UTILITY
Volume change (with positive (+) values of this parameter)
☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap
Note-on Note-on
Note-off Note-off Oscillator” (2.1–1d)

5.1–3: EG (Amp1 EG)


Softly played Strongly played
Indicates settings to specify how Amp 1 will cause the vol-
ume of oscillator 1 to change over time.
LFO1 Mod. (LFO1 Modulation):
Intensity (LFO1 Intensity) [–99…+99] 5.1–3a
These parameters let you use “OSC1 LFO1” (5.3–1) to con-
trol the oscillator 1 volume. 5.1–3b
Negative (–) values will invert the LFO waveform.

LFO2 Mod. (LFO2 Modulation): 5.1–3c 5.1–3d

Intensity (LFO2 Intensity) [–99…+99]


Specifies the depth and direction of the effect that “OSC1 5.1–3a: Amp1 EG
LFO2”(5.3–2) will have on the volume of oscillator 1. Refer
to the preceding sections “LFO1 Mod. (LFO1 Modulation).” These parameters specify how the amp 1 EG will change
over time.

5.1–2c: AMS, Int. L (Level):

AMS (Amp AMS) [Off, (PEG, FEG, EXT)] S (Start Level) [00…99]
Indicates the source that will control the volume of amp 1 Specifies the volume level at note-on.
(☞p.212 “AMS List”) (EXT) Velocity cannot be selected. If you want the note to begin at a loud level, set this to a high
value.
Int. (AMS Intensity) [–99…+99]
A (Attack Level) [00…99]
Specifies the depth and direction of the effect that “AMS
(Amp AMS)” will have. Specifies the volume level that will be reached after the
The actual volume will be determined by summing the attack time has elapsed.
value of the changes produced by the amp EG with the val-
B (Break Point Level) [00…99]
ues of Alternate Modulation etc., and if the levels of the amp
EG are low, the modulation applied by Alternate Modula- Specifies the volume level that will be reached after the
tion will also be less. decay time has elapsed.
For example, if you set “AMS (Amp AMS)” to AfterT and
S (Sustain Level) [00…99]
press down on the keyboard, the volume will increase if you
have set this parameter to a positive (+) value. However if Specifies the volume level that will be maintained from after
the volume is already at maximum due to the EG settings the slope time has elapsed until note-off occurs.
etc., it will not be possible to increase the volume any fur-
Time:
ther. If you have set this parameter to a negative (–) value,
pressing down on the keyboard will decrease the volume. A (Attack Time) [00…99]
AMS (LFO1 AMS) [Off, (PEG, FEG, AEG, KT, EXT)] Specifies the time over which the volume will change after
note-on until it reaches the attack level.
Indicates the source that will control the depth by which
If the start level is 0, this will be the rise time of the sound.
“OSC1 LFO1” (5.3-1) will modulate the volume of oscillator
1 (☞p.212 “AMS List”). D (Decay Time) [00…99]
Int. (AMS Intensity) [–99…+99] Specifies the time over which the volume will change from
when it reaches the attack level until it reaches the break
Specifies the depth and direction of the effect that “OSC1
point level.
LFO1” will have on the volume of oscillator 1. Negative (–)
values will invert the LFO waveform. S (Slope Time) [00…99]
Specifies the time over which the volume will change from
when it reaches the break point level until it reaches the sus-
tain level.

20
R (Release Time) [00…99]

PROG
5.1–3c: Time Mod. (Time Modulation)
Specifies the time over which the volume will change after
note-off until it reaches 0. You can use two AMS sources to control the Amp 1 EG times
Amplifier EG
that were specified in “Amp 1 EG” (5.1–3a).
Attack Level Note-off

Note-on Break Point


AMS1 (Time Mod. AMS1) [Off, (EXT, KT)]

7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1
Volume Selects the source that will control the “Time” parameters of
Amp 1 EG. (☞p.212 “AMS List”)
Sustain
Level
Start I (AMS1 Intensity) [–99…+99]
Level Time
Specifies the depth and direction of the effect that “AMS1
(Time Mod. AMS1)” will have.
Attack Decay Slope Release Time For example, if “AMS1 (Time Mod. AMS1)” is Amp KT +/+,
Time Time Time
the (Amp) “Keyboard Track” settings (5.1–2a) will control
the EG “Time” parameters. With positive (+) values of this
5.1–3b: Level Mod. (Level Modulation) parameter, positive (+) values of “Ramp (Ramp Setting)”
PROG

will cause EG times to be lengthened, and negative (–) val-


These parameters let you use AMS to modulate the amp 1 ues of “Ramp (Ramp Setting)” will cause EG times to be
EG levels that were specified in “Amp 1 EG” (5.1–3a). shortened. The direction of the change is specified by “A
(AMS1 SW Attack),” “D (AMS1 SW Decay),” “S (AMS1 SW
AMS (Level Mod. AMS) [Off, (KT, EXT)] Slope),” and “R (AMS1 SW Release).”
Selects the source that will control the “Level” parameters of When “AMS1 (Time Mod. AMS1)” is Velocity, positive (+)
7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1

the amp 1 EG (☞p.212 “AMS List”). values will cause EG times to lengthen as you play more
strongly, and negative (–) values will cause EG times to
I (AMS Intensity) [–99…+99] shorten as you play more strongly. With a setting of 0, the
Specifies the depth and direction of the effect that “AMS EG times will be as specified in “Amp1 EG” (5.1–3a).
(Level Mod. AMS)” will have.
For example, if “AMS (Level Mod. AMS)” is Velocity, setting A (AMS1 SW Attack) [–, 0, +]
“S (AMS SW Start),” “A (AMS SW Attack),” and “B (AMS Specifies the direction of the effect that “AMS1 (Time Mod.
SW Break)” to + and setting “Intensity” to a positive (+) AMS1)” will have on “A (Attack Time).” With positive (+)
value will cause the amp 1 EG volume levels to increase as values of “I (AMS1 Intensity),” setting this parameter to +
you play more strongly. Setting “Intensity” to a negative (–) will allow AMS1 to lengthen the time, and setting it to – will
values will cause the amp 1 EG volume levels to decrease as allow AMS1 to shorten the time. With a setting of 0 there
you play more strongly. With a setting of 0, the levels will be will be no effect.
as specified in “Amp 1 EG” (5.1–3a).
D (AMS1 SW Decay) [–, 0, +]
S (AMS SW Start) [–, 0, +] Specifies the direction of the effect that “AMS1 (Time Mod.
Specifies the direction in which “AMS (Level Mod. AMS)” AMS1)” will have on “D (Decay Time).” With positive (+)
will change “S (Start Level).” If “I (AMS Intensity)” is set to values of “I (AMS1 Intensity),” setting this parameter to +
a positive (+) value, setting this parameter to + will allow will allow AMS1 to lengthen the time, and setting it to – will
AMS to increase the EG level, and setting this parameter to – allow AMS1 to shorten the time. With a setting of 0 there
will allow AMS to decrease the EG level. With a setting of 0, will be no effect.
no change will occur.
S (AMS1 SW Slope) [–, 0, +]
A (AMS SW Attack) [–, 0, +] Specifies the direction of the effect that “AMS1 (Time Mod.
Specifies the direction in which “AMS (Level Mod. AMS)” AMS1)” will have on “S (Slope Time).” With positive (+)
will change “A (Attack Level).” If “I (AMS Intensity)” is set values of “I (AMS1 Intensity),” setting this parameter to +
to a positive (+) value, setting this parameter to + will allow will allow AMS1 to lengthen the time, and setting it to – will
AMS to increase the EG level, and setting this parameter to – allow AMS1 to shorten the time. With a setting of 0 there
will allow AMS to decrease the EG level. With a setting of 0, will be no effect.
no change will occur.
R (AMS1 SW Release) [–, 0, +]
B (AMS SW Break) [–, 0, +] Specifies the direction of the effect that “AMS1 (Time Mod.
Specifies the direction in which “AMS (Level Mod. AMS)” AMS1)” will have on “R (Release Time).” With positive (+)
will change “B (Break Point Level).” If “I (AMS Intensity)” is values of “I (AMS1 Intensity),” setting this parameter to +
set to a positive (+) value, setting this parameter to + will will allow AMS1 to lengthen the time, and setting it to – will
allow AMS to increase the EG level, and setting this parame- allow AMS1 to shorten the time. With a setting of 0 there
ter to – will allow AMS to decrease the EG level. With a set- will be no effect.
ting of 0, no change will occur.

Amp 1 EG changes (Level) (AMS=Velocity, Intensity = a positive (+) value)

Note-on Note-on Note-on


Note-off Note-off Note-off

Softly played note when “S”=0 Strongly played note Strongly played note
and “A” and “B” are set to + when “S”=0 and “A” and when “S”=0 and “A” and
(settings of 5.1–3a: Amp 1 EG) “B” are set to + “B” are set to –

21
Amp 1 EG changes (Time)
(AMS=Amp KTrk +/+, Intensity = a positive (+) value)
(When Amp Keyboard Track (5.1–2a) Low Ramp= a positive (+) value, and
PROG 5.3: Ed–LFOs
High Ramp = a positive (+) value)
Note-on Note-on Note-on Here you can make settings for the LFO that can be used to
Note-off Note-off Note-off
cyclically modulate the Pitch, Filter, and Amp of oscillators 1
and 2. There are two LFO units for each oscillator. By setting
the LFO1 or LFO2 Intensity to a negative (–) value for Pitch,
Filter, or Amp, you can invert the LFO waveform.
Settings of 5.1–3a: Amp 1 Low-pitched note played High-pitched note played
EG with “A,” “D,” “S”, and “R” with “A,” “D,” “S”, and “R”
at + at –
Amp 1 EG changes (Time) (AMS=Velocity, Intensity= a positive (+) value)
Note-on Note-on Note-on 5.3–1: OS1LFO1 (OSC1 LFO1)
Note-off Note-off Note-off
Indicates settings for the “OSC1 LFO1,” which is the first
LFO that can be used for oscillator 1.

Softly played note with “A,” Strongly played note with Strongly played note with 5.3–1a
“D,” “S” and “R” at + (settings “A,” “D,” “S” and “R” at + “A,” “D,” “S” and “R” at –
of 5.1–3a: Amp 1 EG)
5.3–1b

5.3–1c
AMS2 (Time Mod. AMS2) [Off, (EXT, KT)]
I (AMS2 Intensity) [–99…+99] 5.3–1d

A (AMS2 SW Attack) [–, 0, +]


D (AMS2 SW Decay) [–, 0, +] 5.3–1a: OSC1 LFO1
S (AMS2 SW Slope) [–, 0, +]
Waveform [Triangle 0…Random6 (Vect.)]
R (AMS2 SW Release) [–, 0, +]
Selects the LFO waveform.
These parameters specify how “AMS2 (Time Mod. AMS2)”
will control the amp 1 EG “Time” parameters (☞“AMS1 The numbers that appear at the right of some of the LFO
(Time Mod. AMS1)”–“R(AMS1 SW Release)”). waveforms indicate the phase at which the waveform will
begin.
Triangle 0 Step Triangle – 4
■ 5.1–3d: UTILITY
Triangle 90 Triangle wave Step Triangle – 6

Phase will change


Triangle Step Saw – 4
randomly at each key-in
Random

Saw 0 Step Saw – 6


Sawtooth down ↓
Saw 180 Random1 (S/H):
Conventional sample & hold (S/H) in which the
level changes randomly at fixed intervals of
☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap Square Square wave time
Oscillator” (2.1–1d) Random2 (S/H):
Sine Sine wave Both the levels and the time intervals will
For details on how to select the desired utility function, refer change randomly.
Guitar vibrato Random3 (S/H):
to “PROG 1.1–1c: UTILITY.” Guitar
The maximum level and minimum level will
alternate at random intervals of time (i.e., a
square wave with random period).
Sync Both EGs Exp.Triangle

Random4 (Vect.)
If you select “Sync Both EGs” from the Utility menu and Exp.Saw Down Random5 (Vect.)
press the [F8] key, a check mark will appear at the left of Random6 (Vect.)
Exp.Saw Up These types cause Random 1–3 to change
“Sync Both EGs.” In this state, the amp 1 EG and the amp 2 smoothly. They can be used to simulate the
instability of acoustic instruments etc.
EG can be edited simultaneously. (Editing either one will
cause the other to change.) (☞4.1–5d )
Frequency [00…99]
Sets the LFO frequency. A setting of 99 is the fastest.

Ofs (Offset) [–99…+99]


PROG 5.2: Ed–Amp2 Specifies the central value of the LFO waveform.
For example, with a setting of 0 as shown in the following
Indicates settings for amp 2 which controls the volume of diagram, the vibrato that is applied will be centered on the
oscillator 2. Pan settings are also made here. 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
5.2–1: Lvl/ Pan (Level/ Pan) occur only in the positive (+) direction even if you set “Off-
set” to 0.
5.2–2: Mod. (Amp2 Modulation) Offset settings and pitch change produced by vibrato

5.2–3: EG (Amp2 EG) Pitch offset = –99 offset = 0 offset = +99

These will appear when “Mode (Oscillator Mode)” (2.1–1a)


is Double. (☞“5.1: Ed–Amp1”) Pitch at note-on

22
Key Sync. [Off, On]

PROG
5.3–1c: MIDI/ Tempo Sync.
On (checked): Key Sync. will be On. The LFO will start (Frequency MIDI/ Tempo Sync.)
each time you play a note, and an independent LFO will
operate for each note. Sync. (MIDI/ Tempo Sync.) [Off, On]
Off (unchecked): Key Sync. will be Off, and the LFO effect
On (checked): The LFO frequency will synchronize to the
that was started by the first-played note will continue to be
tempo (MIDI Clock). In this case, the values you specified

7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1
applied to each newly-played note. (In this case, “Delay”
for “Frequency” (5.3–1a) and “Freq.Mod” (5.3–1b) will be
and “Fade” will be applied only to the LFO when it is first
ignored.
started.)
Base Note (Sync. Base Note)
Fade [00…99]
[ ! , "# , " , $# , $ , %# , % , & ]
Specifies the time from when the LFO begins to apply until
it reaches the maximum amplitude. When “Key Sync.” is Times (Sync. Times) [01...16]
Off, the fade will apply only when the LFO is first started. When “Sync. (MIDI/Tempo Sync.).” is checked, these When
How “Fade” affects the LFO (when “Key Sync.” is On)
“Sync. (MIDI/Tempo Sync.)” is checked, these parameters
specify a note length “Base Note (Sync. Base Note)” relative
PROG

Note-on Note-off to “$ (Tempo)” and the multiple “Times (Sync. Times)” that
“Fade” will be applied to it. These parameters will determine the
frequency of the OSC1 LFO1. For example if “Base Note
(Sync. Base Note)” is $ (quarter note) and “Times (Sync.
“Delay” Times)” is 04, the LFO will perform one cycle every four
beats.
7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1

Dly (Delay) [00…99] Even if you change the “$ (Tempo)” setting of the arpeggia-
tor or sequencer, the LFO will always perform one cycle
Specifies the time from note-on until the LFO effect begins to
every four beats.
apply.
When “Key Sync.” is Off, the delay will apply only when
the LFO is first started. ■ 5.3–1d: UTILITY

5.3–1b: Freq.Mod (Frequency Modulation)


You can use two alternate modulation sources to adjust the
speed of the OSC1 LFO1.

AMS1 (Freq. AMS1) ☞ “Write Program” (1.1–1c)


[Off, (PEG, FEG, AEG, LFO2, KT, EXT)] For details on how to select the desired utility function, refer
Indicates the source that will adjust the frequency of the to “PROG 1.1–1c: UTILITY.”
oscillator 1 LFO1 (☞p.212 “AMS List”). OSC1 LFO1 can be
modulated by OSC1 LFO2. Swap LFO 1&2
This exchanges the settings of LFO 1 and 2. If LFO2 is
Int (AMS1 Intensity) [–99…+99] selected in AMS1 (Freq. AMS1) or AMS2 (Freq. AMS2) of
Specifies the depth and direction of the effect that “AMS1 LFO1 Freq.Mod (5.3–1b), then these settings will be invalid
(Freq. AMS1)” will have. for LFO2 after LFO1 and 2 have been exchanged. If you
When this parameter is set to a value of 16, 33, 49, 66, 82, or select this from the OSC1 LFO1 or OSC1 LFO2 page, LFO1
99, the LFO frequency being can be increased by a maxi- and LFO2 of OSC1 will be exchanged.
mum of 2, 4, 8, 16, 32, or 64 times respectively (or decreased
1 Select “Swap LFO 1&2” to access the dialog box.
by 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64 respectively).
For example, if “AMS1 (Freq. AMS1)” is Note No., positive
(+) values of this parameter will cause the oscillator 1 LFO
to speed up as you play higher notes. Negative (–) values
will cause the oscillator 1 LFO to slow down as you play
higher notes. This change will be centered on the C4 note. 2 To execute, press the [F8] (“OK”) key. To cancel without
If “AMS1 (Freq. AMS1)” is set to JS +Y #01, raising the value executing, press the [F7] (“Cancel”) key.
of this parameter will cause the oscillator 1 LFO1 speed to
increase as the joystick is moved away from yourself. With a
setting of +99, moving the joystick all the way away from 5.3–2: 1LFO2 (OSC1 LFO2)
yourself will increase the LFO speed by approximately 64
times. Here you can make settings for the OSC1 LFO2, which is the
second LFO that can be applied to oscillator 1. (☞“5.3–1:
AMS2 (Freq. AMS2) OS1LFO1 (OSC1 LFO1)”) However, it is not possible to use
[Off, (PEG, FEG, AEG, LFO2, KT, EXT)] the LFO to apply modulation in “AMS1 (Freq. AMS1)” or
“AMS2 (Freq. AMS2)” of Freq. Mod.
Int (AMS2 Intensity) [–99…+99]
Indicates settings for a second alternate modulation source
that will adjust the frequency of the oscillator 1 LFO1.
5.3–3: 2LFO1 (OSC2 LFO1)
☞ “AMS1 (Freq. AMS1),” “Int. (AMS1 Intensity)”
This can be used when “Mode (Oscillator Mode)” (2.1–1a) is
set to Double. Here you can make settings for the OSC2
LFO1, which is the first LFO that can be applied to oscillator
2 (☞“5.3–1: OS1LFO1 (OSC1 LFO1)”).

23
5.3–4: 2LFO2 (OSC2 LFO2) [ENTER] key.

This can be used when “Mode (Oscillator Mode)” (2.1–1a) is Octave* [1, 2, 3, 4]
set to Double. Here you can make settings for the OSC2 Specifies the number of octaves in which the arpeggio will
LFO2, which is the second LFO that can be applied to oscil- be played.
lator 2 (☞“5.3–1: OS1LFO1 (OSC1 LFO1)” and “5.3–2:
OS1LFO2 (OSC1 LFO2)”). If a user arpeggio pattern is selected, the range of the
arpeggio will depend on the “Octave Motion” (GLO-
BAL 6.1–1c) setting.

Reso (Resolution)* [ "# , " , $# , $ , !# , ! ]


PROG 6.1: Ed–Arp. (Arpeggiator) Specifies the timing resolution of the arpeggio. The notes of
the arpeggio will be played at the interval you specify: " # ,
Here you can make settings for the arpeggiator used in the " , $ #, $ , ! # , or ! . The speed of the arpeggio pattern is
program. determined by the “! (Tempo)” and the “Resolution.”
These arpeggiator settings can be linked when you switch Gate [000...100(%), Step]
programs. To link, check the Program item in “Auto Arp.
“Program” (GLOBAL 1.1–1c): On. Specifies the length (gate time) of each note in the arpeggio.

The arpeggiator can be switched on/off by the [ARP ON/ 000–100(%): Each note will be played with the specified gate
OFF] key. When on, the key LED will light. time.
The settings of the REALTIME CONTROLS C-mode Step: This is available when an user arpeggio pattern U000
[TEMPO] knob, [ARP-GATE] knob, [ARP-VELOCITY] (INT)–U215(User) is selected for “Pattern.” When this is
knob, and [ARP ON/OFF] key can be saved for each pro- selected, the gate time specified for each step will be used.
gram. The gate time can also be controlled by the REALTIME
CONTROLS C-mode [ARP-GATE] knob. Rotating the knob
These settings will be valid when Auto Arp. “Program”
toward the left will shorten the gate time, and rotating it
is On.
toward the right will lengthen the gate time. When the knob
You can control the arpeggiator from an external is at the 12 o’clock position, the gate time will be as specified
sequencer, or record arpeggio note data on an external here.
sequencer. (☞p.239)
Velocity [001...127, Key, Step]
“Pattern,” “Resolution,” “Octave,” “Sort,” “Latch,” Specifies the velocity of the notes in the arpeggio.
“Key Sync.,” “Keyboard,” and “! (Tempo)” can also be
set in the Arp. Play page of 1.1:Play. 001–127: Each note will sound with the specified velocity
value.
Key: Each note will sound with the velocity value at which
it was actually played.
6.1–1: Setup (Arpeg. Setup) Step: This is available when an user arpeggio pattern U000
(INT)–U215(User) is selected for “Pattern.” When this is
6.1–1b selected, the velocity specified for each step will be used.
The velocity can also be controlled by the REALTIME CON-
6.1–1a TROLS C-mode [ARP-VELOCITY] knob. Rotating the knob
toward the left will decrease the velocity, and rotating it
toward the right will increase the velocity. When the knob is
at the 12 o’clock position, the velocity will be as specified
6.1–1c here.

Swing [–100...+100(%)]
This parameter shifts the timing of the odd-numbered notes
6.1–1a: Arpeggiator Setup of the arpeggio.
☞ Refer to BG p.99. When Resolution =
Step 1 2 3 4 5 6 7 8 9
Pattern* [P000...P004, U000(INT)...U215(User)]
Selects the arpeggio pattern.
P000: UP Preset Arpeggio Pattern
P001: DOWN Preset Arpeggio Pattern –50 –25 +25 +25
P002: ALT1 Preset Arpeggio Pattern Swing

P003: ALT2 Preset Arpeggio Pattern


P004: RANDOM Preset Arpeggio Pattern Sort* [Off, On]
U000(INT)...U199(INT) for Preloaded User Arpeggio Pattern This specifies the order in which the notes you press will be
arpeggiated.
U200(User)…U215(User) for User Arpeggio Pattern
On (checked): Notes will be arpeggiated in the order of
P000–P004 are preset arpeggio patterns, U000 (INT)– their pitch, regardless of the order in which you pressed
U215(User) are user arpeggio patterns. User arpeggio pat- them.
terns can be created in GLOBAL 6.1. Off (unchecked): Notes will be arpeggiated in the order in
which you pressed them.
Arpeggio patterns U000 (INT)–U215(User) can be
selected using the numeric keys [0]–[9] and the

24
Latch* [Off, On] Copy Arpeggiator

PROG
Specifies whether or not the arpeggio will continue playing This command copies arpeggio settings.
after you take your hand off the keyboard. 1 Select “Copy Arpeggiator” to access the dialog box.
On (checked): The arpeggio will continue playing after you
remove your hand from the keyboard.
Off (unchecked): The arpeggio will stop when you remove

7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1
your hand from the keyboard.

Key Sync.* [Off, On]


Specifies whether the arpeggio pattern will begin when you 2 In “From” specify the copy source arpeggio settings
press a key, or whether it will always follow the “! (Tempo)” (mode, bank, number).
setting.
3 If you are copying from Combination or Song, specify
On (checked): The arpeggio pattern will start playing from
whether you wish to copy from A or B.
the beginning when a note-on occurs from a condition
where no keys are pressed. This setting is suitable when you 4 To execute the Copy Arpeggio operation, press the [F8]
are playing in realtime and want the arpeggio to play from (“OK”) key. To cancel, press the [F7] (“Cancel”) key.
PROG

the beginning of the measure.


Off (unchecked): The arpeggio pattern will always play
according to the “ ! (Tempo) .”
6.1–2: Zone (Scan Zone)
Keyboard* [Off, On]
This specifies whether the notes you play on the keyboard
7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1

will be sounded as usual in addition to being sounded as 6.1–2a


part of the arpeggio.
On (checked): The notes you play will be sounded on their
own, in addition to being sounded as part of the arpeggio.
For example if you simultaneously press two or more notes, 6.1–2b
they will be sounded as usual in addition to being played as
arpeggiated notes.
Off (unchecked): Only the arpeggiated notes will be heard.
* These parameters can also be set in “1.1–3: Arp.”
6.1–2a: Scan Zone
Zone Map
6.1–1b: Arpeggiator Tempo This shows the “Scan Zone” setting.

! (Tempo) [040...240, EXT] Key:


Sets the tempo. Btm (Bottom Key) [C–1...G9]
This can also be set by the REALTIME CONTROLS C-mode
[TEMPO] knob. When “MIDI Clock” (GLOBAL 2.1–1a) is Top (Top Key) [C–1...G9]
either External, this will indicate EXT, and the arpeggiator These parameters specify the range of notes (keys) for which
will synchronize to MIDI Clock messages received from an the arpeggiator will function. “Top” is the upper limit, and
external MIDI device. “Btm” is the lower limit.

Vel:
■ 6.1–1c: UTILITY
Btm (Bottom Velocity) [001...127]
Top (Top Velocity) [001...127]
Specifies the range of velocities for which the arpeggiator
will function. “Top” is the upper limit, and “Btm” is the
lower limit.
The note number and velocity can also be specified by
☞ “Write Program” (1.1–1c) holding down the [ENTER] key and pressing a note on
For details on how to select the desired utility function, refer the keyboard.
to “PROG 1.1–1c: UTILITY.”
■ 6.1–2b: UTILITY
☞ “Write Program” (1.1–1c), “Copy Arpeggiator” (6.1–1c)

25
CC#93 will control the Send 1 level for OSC 1 and 2,
PROG 7.1: Ed–InserFX and control change #91 will control the Send 2 level for
OSC 1 and 2. These are controlled on the global MIDI
☞ For details on insertion effect, refer to p.155 “7. Effect channel “MIDI Channel” (GLOBAL 2.1–1a).
Guide.” The actual send level is determined by summing these
values with the send level setting of each oscillator.

7.1–1: BUS 7.1–1b: Use DKit Setting


These settings specify the bus on which the output of the The LCD screen shown below is for when “Mode (Oscillator
oscillator will be sent, and adjust the send levels to the mas- Mode)” (2.1–1a) is set to Drums.
ter effects.
The following diagram shows the LCD screen when “Mode
7.1–1b
(Oscillator Mode)” (2.1–1a) is set to Single or Double.

7.1–1a 7.1–1c

Use DKit Setting [Off, On]


7.1–1c
This will be available when “Mode (Oscillator Mode)” is set
to Drums.
7.1–1a: BUS On (checked): The “BUS (BUS Select)” (GLOBAL 5.1–3a)
setting for each key of the selected drum kit will be used.
BUS Select: Check this when you want to apply an insert effect to an
individual drum instrument, or to output an individual
BUS Select (All OSCs) [L/ R, IFX, 1, 2, 1/ 2, Off]
drum instrument to one of the AUDIO OUTPUT (INDIVID-
Specifies the bus to which oscillators 1 and 2 will be sent. UAL) jacks.
If this is set to 1/2, the oscillator pan settings (5.1–1b, If the “Mode (Oscillator Mode)” is Single or Double, this
5.2–1) will be used to output the sound in stereo from setting has no effect.
AUDIO OUTPUT (INDIVIDUAL) 1/2. When the oscil- Off (unchecked): The setting of the “BUS Select,” “MFX
lator pan is controlled by CC#10 (pan) or AMS (Alter- Send” (7.1–1a) parameter described below will be used. All
nate Modulation Source), the sound will be output with drum instruments will be sent to the specified bus.
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
■ 7.1–1c: UTILITY
(MAIN) L/MONO and R, the pan of a sounding note
will not change in real-time.
If you wish to adjust the pan in real-time while playing
a note and output the sound from AUDIO OUTPUT
(INDIVIDUAL) 1/2, set “BUS Select” to IFX, set “IFX”
to 00: No Effect, and set the “BUS Select” (7.1–2a) after
passing through IFX to 1/2.
☞ “Write Program” (1.1–1c)
MFX Send:
For details on how to select the desired utility function, refer
OSC1 Send1 [000...127] to “PROG 1.1–1c: UTILITY.”
Sets the volume (send level) at which the output of OSC1 Copy Insert Effect
will be sent to master effect 1. This is valid when “BUS
This command copies effect settings from Program, Combi-
Select” is set to L/R or Off.
nation, Song, or Sampling mode (if the EXB-SMPL option is
If “BUS Select” is set to IFX, the send levels to master effect 1
installed).
and 2 are set by “S1 (Send1(MFX1))” and “S2
(Send2(MFX2))” (7.1–2a) after passing through IFX of the 1 Select “Copy Insert Effect” to access the dialog box.
Setup page.

OSC1 Send2 [000...127]


Sets the volume (send level) at which the output of OSC1
will be sent to master effect 2 (☞“OSC1 Send1”).
2 In “From” select the copy source mode, bank, and num-
OSC2 Send1 [000...127]
ber.
OSC2 Send2 [000...127]
You can use the Bank [A]–[GM] keys to select the bank.
Sets the volume (send level) at which the output of OSC2
will be sent to master effects 1 and 2. These parameters will 3 Select the effect that you wish to copy. You can also copy
be valid when “Mode (Oscillator Mode)” (2.1–1a) is set to from a master effect.
Double and “BUS Select” is set to L/R or Off (☞“OSC1
Send1”). If you are copying from a master effect, the result may
not be identical, due to differences in the routing and
level settings of a master effect.

26
4 If you check “Post IFX Mixer Setting,” the “Pan (CC#8),” control change CC#91 will control the Send 2 level.

PROG
“BUS Select,” “S1 (Send1(MFX1))” and “S2 These messages are received on the global MIDI chan-
(Send2(MFX2))” settings that follow the copy source nel specified by “MIDI Channel” (GLOBAL 2.1–1a).
insert effect will also be copied. If you do not check this,
only the effect type and its parameters will be copied.
7.1–2b: Routing
5 To execute the Copy Insert Effect command, press the

7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1
[F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key. This displays the status of the insert effect.

7.1–2: Setup
Here you can select the type of insert effect, turn it on/off, This displays the routing of the insert effect, the specified
pan etc. effect name, and the on/off status.
The direct sound (Dry) of an insert effect is always stereo You can select (All OSCs) and use the VALUE controller to
input and output. The input/output of the effect sound specify “BUS Select” (☞7.1–1a).
(Wet) will depend on the effect type (☞p.156).
PROG

■ 7.1–2c: UTILITY
7.1–2a

7.1–2b
7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1

7.1–2c

☞ “Write Program” (1.1–1c), “Copy Insert Effect” (7.1–1c)


For details on how to select the desired utility function, refer
7.1–2a: InsertFX Setup to “PROG 1.1–1c: UTILITY.”

IFX On/ Off [Off, ON] Select by Category


Selects the insert effect on/off. Selects insert effect by category.
When this is Off, the input will be output without change. For the procedure, refer to “Select by Category” (☞p.2).
(For 00: No Effect, on/off will produce the same result.)
Separately from this setting, you can use control change
#92 to turn off insert effect. A value of 0 will be off, and
a value of 1–127 will be the original setting. This mes-
sage is received on the global MIDI channel specified
by “MIDI Channel” (GLOBAL 2.1–1a).
This command is valid when the 7.1–2a parameters are
Insert Effect [00...89: name] selected.
Indicates the type of insert effect.
For “Insert Effect” you can select from 89 types of effect: 01:
St.Amp Sim – 89: Reverb-Gate.
These effects can also be selected by category in Utility
7.1–3: IFX (Insert Effect)
“Select by Category” (7.1–2c). Here you can set the effect parameters for the IFX that was
selected in the Setup page (☞p.164–).
Pan(CC#8) (Post IFX Pan CC#8) [L000...C064...R127]
Sets the pan after the sound has passed through the insert
effect. This setting is valid only when the “BUS Select” from
the IFX output is set to L/R (☞p.158).
CC#8 will control the pan amount.

BUS Select [L/ R, 1, 2, 1/ 2, Off] 7.1–3a


Specifies the bus to which the sound will be sent after pass-
ing through the insert effect. Normally you will set this to L/ Effect dynamic modulation (Dmod) is controlled on the
R. If you wish to output to AUDIO OUTPUT (INDIVID- global MIDI channel “MIDI Channel” (GLOBAL 2.1–
UAL), set this to 1, 2 or 1/2. The Off setting is used when 1a). (☞p.217 “Dynamic Modulation Source (Dmod)” )
you wish to use “S1 (Send1(MFX1))” and “S2
(Send2(MFX2))” and in addition connect to the master
effects in series. ■ 7.1–3a: UTILITY
S1 (Send1(MFX1)) [000...127] ☞ “Write Program” (1.1–1c)
S2 (Send2(MFX2)) [000...127]
Sets the send levels to the master effects 1 and 2 for the
sound that has passed through the insert effect. These set-
tings are valid when “BUS Select” (7.1–1a) has been set to L/
R or Off.
Control change CC#93 will control the Send 1 level, and

27
Signal (Chain Signal) [L/ R Mix, L Only, R Only]
PROG 7.2: Ed–MasterFX When chain is On, this parameter specifies how the stereo
output signal of the first master effect will be connected to
☞ For details on master effects, refer to p.155 “7. Effect the input (mono) of the next master effect.
Guide.”
L/R Mix: The stereo output L/R of the first master effect will
be mixed before being input to the next master effect.
L Only, R Only: Only the left or right channel of the output
7.2–1: Setup will be input to the next master effect.

Here you can select the master effect types, switch them on/ Level (Chain Level) [000...127]
off, specify chain order, and set the master EQ. Sets the send level from the first master effect to the next
master effect when chain is turned on.
7.2–1a

7.2–1b 7.2–1c: Master EQ Gain [dB]


Sets the amount of cut and boost for the three-band EQ
located immediately before the AUDIO OUTPUT (MAIN
7.2–1c 7.2–1d
OUT) L/MONO and R jacks. This is linked with the various
“Gain” parameters of Master EQ (7.2–4).
7.2–1a: Master Effect Setup Low [–18.0...+18.0]
The master effects do not output the direct sound (Dry). The Mid [–18.0...+18.0]
return level (“Rtn 1, 2”) sends the effect sound (Wet) to the L High [–18.0...+18.0]
and R bus, and this is mixed with the direct sound (“BUS
The cutoff frequency for “Low,” “Mid” and “High” and the
Select” L/R: 7.1–1a, 7.1–2a).
“Q” of “Mid” can be adjusted in the MEQ page. These set-
The master effects are monaural input. The sound that is
tings are in “dB” units.
panned to L and R after passing through the oscillator and
insert effect is mixed to a monaural signal as adjusted by the
“S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” levels, and ■ 7.2–1d: UTILITY
input to the master effects.
The master effects are mono-in stereo-out. Even when
a stereo-input type effect is selected, the input will be
monaural.

MFX1 On/ Off, MFX2 On/ Off [Off, ON]


Switches master effect 1, 2 on/off. When off, the output will ☞ “Write Program” (1.1–1c)
be muted.
For details on how to select the desired utility function, refer
Separately from this setting, you can use CC#94 to switch to “PROG 1.1–1c: UTILITY.”
master effect 1 on/off, CC#95 to switch master effect 2
on/off. A value of 0 will be off, and a value of 1–127 will Copy Master Effect
be the original setting. This is controlled on the global This command lets you copy any desired effect settings from
MIDI channel “MIDI Channel” (GLOBAL 2.1–1a). Program, Combination, Song.
1 Select “Copy Master Effect” to access the dialog box.
Master Effect 1, 2 [00...89: name]
Indicates the effect type for master effect 1, 2. You can select
from 89 types of effect: 01: St.Amp Sim–89: Reverb-Gate. If
00: No Effect is selected, the output from the master effect
will be muted.

Rtn 1, 2 (Return 1, 2) [000...127]


2 In “From,” select the copy source mode, bank, and num-
Adjusts the return levels from the master effects to the L/R ber.
bus (main output L/MONO, R). You can use the Bank [A]–[GM] keys to select the bank.
3 Select the effect that you wish to copy. If you select MFX
7.2–1b: Chain 1 or 2, “Rtn (Return)” (return level) will be copied at the
same time. If you select Master EQ, only the master EQ
MFX Chain [Off, On] settings will be copied. You can also copy from an insert
On (checked): Chain (series connection) will be turned on effect. If you check “All,” all settings of the master effects
for MFX1 and MFX2. (☞p.161) and master EQ will be copied.
Off (unchecked): MFX 1 and MFX2 are operating in parallel.
If you copy from an insert effect the result may not be
Direction (Chain Direction) identical, due to differences in routing and level set-
tings.
[MFX1→MFX2, MFX2→MFX1]
Specifies the direction of the connection when MFX1 and 4 In “To,” select the copy destination master effect.
MFX2 are chained. 5 To execute the Copy Master Effect command, press the
MFX1→MFX2: Connect from MFX1 to MFX2. [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.
MFX2→MFX1: Connect from MFX2 to MFX1.

28
Swap Master Effect

PROG
■ 7.2–4a: UTILITY
This command swaps (exchanges) the settings of MFX1 and
MFX2. ☞ “Write Program” (1.1–1c)
1 Select “Swap Master Effect” to access the dialog box.

7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1
2 To execute the Swap Master Effect command, press the
[F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.

Select by Category
Selects master effects by category.
For the procedure, refer to “Select by Category” (☞p.2).
PROG

This command is valid when the 7.2–1a parameters are


7.2 7.1 6.1 5.3 5.2 5.1 4.2 4.1 3.1 2.2 2.1 1.1

on.

7.2–2: MFX 1 (Master Effect1)


7.2–3: MFX 2 (Master Effect2)
Indicates effect parameter settings for the MFX1 and 2
effects that were selected in the Setup page (☞p.164–).

7.2–2a

Effect dynamic modulation (Dmod) is controlled on the


global MIDI channel “MIDI Channel” (GLOBAL 2.1–
1a). (☞p.217 “Dynamic Modulation Source (Dmod)”)

■ 7.2–2(3)a: UTILITY
☞ “Write Program” (1.1–1c)

7.2–4: MEQ (Master EQ)


The master EQ is a three-band stereo EQ. It is used to adjust
the overall tonality of the sound immediately before the L/R
bus is output to the AUDIO OUTPUT (MAIN OUT) L/
MONO and R jacks (☞p.209). The MEQ High Gain and the
MEQ Low Gain can be controlled by assigning a modualtion
source to the “Low Gain Mod-Src.” and “High Gain Mod-
src.” functions on this page.

7.2–4a

29
30
2. Combination mode

COMBI PAGE MENU COMBI 1.1: Play


For details on how to select pages in Combination mode, In this display page you can select and play Combinations.
refer to p.1. A Combi allows you to use up to 8 programs at one time

COMBI
from the keyboard.

1.1–1: Combi (Combination)

7.2 7.1 6.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.1
1.1–1a
Play 1.1: Play Select and play combinations. Select a
program for each timbre, and set sta-
tus, pan, and level. Select an arpeggio 1.1–1b
pattern and make settings. (☞p.31)
P/M 2.1: Ed-Prog/Mix Select a program for each timbre, and
set pan and level. (Same as the 1.1: 1.1–1c
Play parameters; can be edited from
either page.) (☞p.35)
Ctrl 2.2: Ed-Ctrl Controller settings. (☞p.36)
Prm1 3.1: Ed-Param1 MIDI, OSC, and Pitch settings for each 1.1–1a: Bank, Combi Select, Category, Cat.Hold,
timbre. (☞p.36) 10’s Hold, ! (Tempo)
Prm2 3.2: Ed-Param2 Delay and scale settings for each tim-
bre. (☞p.38) Bank (Bank Select) [Bank A…C]
KeyZ 3.3: Ed-Key Zone Key zone settings for each timbre. This is the Combination bank display.
(☞p.39)
Use the front panel BANK [A]–[C] keys to select the bank.
VelZ 3.4: Ed-Vel Zone Velocity zone settings for each timbre.
(☞p.40) On this instrument, there are a total of 384 combination pro-
MIDI1 4.1: Ed-MIDI Filter1 MIDI message transmission/reception grams in three rewritable banks (A, B, C), each containing
filter settings for each timbre, such as 128 combinations. (☞For a list of the factory-set combina-
Prog Change and After Touch. (☞p.41) tions, refer to the separate VNL.)
MIDI2 4.2: Ed-MIDI Filter 2 Filter settings such as JS and Ribbon
Ctrl. (☞p.41) Bank A
MIDI3 4.3: Ed-MIDI Filter 3 Filter settings; REALTIME CONTROL Bank B Preloaded combinations
Knob (☞p.42)
Bank C
MIDI4 4.4: Ed-MIDI Filter 4 Filter settings; SW, Other Ctrl Change
(☞p.42)
If you have selected the “Program Select” (1.1–2c) edit
Arp 6.1: Ed-Arp. Arpeggiator settings. (Same as the 1.1:
Play parameters; can be edited from
cell for one of the timbres 1–8 in the Prog page, Bank
either page.) (☞p.43) [A]–[GM] will switch the program banks for timbres 1–
IFX 7.1: Ed-InsertFX Bus and master effect send level set- 8.
tings for each timbre.
Insert effect routing, selection, and set- Combi Select (Combination Select) [0...127: name]
tings. (☞p.45)
Here you can select a combination. Select this parameter,
MFX 7.2: Ed-MasterFX Master effect selection and settings. and use the [INC], [DEC] keys, numeric keys [0]–[9], or the
Master EQ settings. (☞p.47)
[VALUE] dial to select a combination. You can also select
combinations by category, or using “10’s Hold.” (☞p.2
“Cat.HOLD,” ”Select by Category,” “10’s HOLD”)
You can select Combis by receiving MIDI program
changes via a connected external MIDI device, or by
using a foot switch. (☞p.125 “Foot SW Assign” (GLO-
BAL 1.1–3a), p.222 “Foot Switch Assign List”)

31
Category [00...15: name] When you press the [REC/WRITE] key, the “Update
This is the combination category display. Combination” dialog box will appear. Here also you
All combinations are organized into sixteen categories. You can write to the currently selected combination.
can select a category, and then select from combinations that
Solo Selected Timbre
belong to that category.
To select combinations by category, use “Cat.HOLD” and The Solo function will alternately be switched on/off each
Utility “Select by Category.” (☞PROG 1.1–1a) time you select “Solo Selected Timbre.”
1 From the utility menu, choose “Solo Selected Timbre,”
To specify the category for a combination, use Utility
and press the [F8] (“OK”) key to execute the command.
“Write Combination” (1.1–1c). To modify a category
When you execute this, a check mark will appear at the
name, use “Category Name Comb. 00–07, 08–15”
left of the “Solo Selected Timbre” menu item, and the
(GLOBAL 4.1–3/4).
Solo function will be on.
Cat.HOLD 2 In pages that show parameters for an individual timbre,
Press the [./HOLD] key and the display will indicate you can select a timbre to Solo (in 1.1: Play, Prog page
. The category will be held (fixed). (☞PROG 1.1– “Program Select,” etc.) so that only that timbre will
1a) sound and the other timbres will be muted. The “Selected
To cancel, press the [./HOLD] key twice to turn off the Timbre Information” (1.1–2d) in each page will indicate
display. “Solo.”
To solo a different timbre, select a parameter of the tim-
10’s HOLD bre that you wish to solo.
When you press the [./HOLD] key a second time, the dis-
You can move to timbres “T1”–“T8” by holding down
play will indicate , and the first digit of the combi-
the [TIMBRE/TRACK] key and pressing one of the
nation number will be fixed. (☞PROG 1.1–1a)
[F1](T1/T9)–[F8](T8/T16) keys.
To cancel, press the [./HOLD] key to turn off the
display. 3 To defeat the Solo function, choose “Solo Selected Tim-
bre” from the utility menu once again, and press the [F8]
! (Tempo) [040...240, EXT] (“OK”) key to cancel it.
Sets the tempo of the arpeggiator. This can be adjusted by
the REALTIME CONTROLS C-mode [TEMPO] knob. If a timbre that is muted by the Solo function has been
EXT will be displayed if “MIDI Clock” (GLOBAL 2.1–1a) is set to a “Status” (3.1–1a) of EXT or EX2, MIDI note-on/
set to External, and the arpeggiator will synchronize to the off messages will not be transmitted by that timbre.
MIDI clock received from an external MIDI device.
Select by Category
This parameter can also be set from 6.1: Ed-Arp.
Selects a combination by category.
For the procedure, refer to “Select by Category” (☞p.2)
1.1–1b: Combination Information
This displays information for the selected combination. The
functions assigned to [SW1], [SW2], and REALTIME CON-
TROLS B-mode [ASSIGNABLE 1–4] knobs will be dis-
played.

■ 1.1–1c: UTILITY

For details on how to select the desired utility function, refer


to “PROG 1.1–1c: UTILITY.”

Write Combination
This command writes an edited combination into this
instrument’s internal memory. Be sure to write any combi-
nation that you wish to keep. If the power is turned off or a
different combination selected before you write an edited
combination, your edits cannot be recovered.
For the procedure, refer to “Write Program” (PROG 1.1–1c).

If you use “Category” to specify a category for the combina-


tion that you are writing, you will be able to select it by cate-
gory when selecting combinations in COMBI 1.1: Play.

32
1.1–2: Prog (Timbre Program) If bank select and program change messages are
received on a MIDI channel that matches the MIDI
Indicates the program that will be used by each timbre. channel of a timbre whose “Status” (3.1–1a) is INT, the
program of that timbre will change. However if the
1.1–2a
MIDI channel of the incoming message matches the
1.1–2b global MIDI channel “MIDI Channel,” then the combi-
1.1–2c nation will change.
1.1–2d
If you do not want the combination to change, you can

COMBI
either change the global MIDI channel so that it does
1.1–2e not match the channel on which the program change
messages are being received, or you can uncheck
“Combi (Combi Change)” (GLOBAL 2.1–1b). Alter-
1.1–2a: Bank, Combi Select, Cat.Hold, 10’s Hold,
nately, you can uncheck “Bank (Bank Change)” (GLO-
(Tempo) BAL 2.1–1b) so that only the program number will

7.2 7.1 6.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.1
change and the bank will remain the same.
Bank [Bank A…C]
If you wish to change a program without changing the
Combi Select (Combination Select) [0…127: name]
combination, you can also set “Program Change” (4.1–
Cat. (Cat. HOLD) 1a) so that the program will change on certain timbres
10’s (10’s HOLD) but not on others.
! (Tempo) [040...240, EXT] Program Name
In the same way as in the Combi page, select a combination This displays part of the program name selected for the tim-
and set the tempo of the arpeggiator. (☞1.1–1a) bre. In the case of the the GM drums bank, drums bank (d)
will be indicated.
1.1–2b: Timbre Number & Category
1.1–2d: Selected Timbre Information
Timbre Number & Categor y 1...8
This displays the timbre number and an abbreviated cate- This shows information on the timbre (1–8) that is currently
gory name. selected for editing.

Timbre No.: Bank No., Prog No.: and name


1.1–2c: Program Select, Program Name This shows the timbre number, and the program bank, num-
ber and name selected for that timbre.
Program Select [A000...g128]
Indicates the program that will be used by each timbre. Status (INT, Off, EXT, EX2)
When “Program Select” is selected, you can use the Bank This shows the MIDI and internal tone generator status for
[A]–[GM] key, VALUE controller to select a program. each track.
“Program Select” settings can also be made in the Prog page
of 2.1: Ed-Prog/Mix.
Ch (01...16, Gch)
This shows the MIDI channel number specified for the tim-
You can also use Utility “Select by Category” to select pro- bre.
grams by category.
You can move to timbres “T1”–“T8” by holding down
■ 1.1–2e: UTILITY
the [TIMBRE/TRACK] key and pressing one of the
[F1](T1/T9)–[F8](T8/T16) keys.
When you select a combination on this instrument, a
MIDI program change for the selected combination
number will be transmitted on the global MIDI channel
“MIDI Channel” (GLOBAL 2.1–1a). At the same time,
bank select, program change, and volume (CC#7) mes-
☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c)
sages will be transmitted on the MIDI channel specified
for each timbre that is set to “Status” (3.1–1a) of EXT or For details on how to select the desired utility function, refer
EX2. However, these messages will not be transmitted to “PROG 1.1–1c: UTILITY.”
for timbres that are set to the same MIDI channel as the
global MIDI channel. In this case, EX2 timbres will
Select by Category
show the “Program Select” Bank as “–”, and will trans- (Category/ Combi, Category/ Prog T1...T8)
mit the bank number that was specified in “Bank (EX2) Combinations or the programs used by each timbre can be
MSB”and “Bank (EX2) LSB” (3.1–1a). selected by category.

MIDI messages transmitted when you operate this If you have selected “Combi Select,” selecting Utility “Select
instrument are transmitted on the global MIDI channel. by Category” will access the Category/Combi dialog box,
At the same time, timbres whose “Status” is EXT or EX2 allowing you to select a combination by category. (☞p.32)
will transmit the same messages on their own MIDI
channel.

33
If you have selected “Program Select,” selecting Utility Volume [000...127]
“Select by Category” will access the Category/Prog T1…T8 Adjusts the volume of each timbre 1–8. (This parameter can
dialog box, allowing you to select a program for each timbre also be set from the Mixer page of 2.1: Ed-Prog/Mix.)
by category.
The volume of each timbre is determined by summing
For the procedure of selecting by category, refer to p.2.
this volume value with the MIDI volume (CC#7) and
expression (CC#11). If “Status” (3.1–1a) has been set to
INT, incoming MIDI CC#7 or CC#11 messages will con-
1.1–3: Mix (Mixer) trol the volume of a timbre. (However these messages
will not affect the setting of this parameter.)
Here you can set the pan and volume for each timbre 1–8. If “Status” is EXT or EX2, the value of this parameter
will be transmitted as MIDI CC#7 when the combina-
tion is changed. However this will not be transmitted
by a timbre that is set to the same MIDI channel as the
1.1–3a
global MIDI channel. This message is transmitted on
the “MIDI Channel” (3.1–1a) specified for each timbre.

1.1–3b
■ 1.1–3b: UTILITY

1.1–3a: Pan, Volume


Pan [RND, L001...C064...R127]
Sets the pan for each timbre 1–8. (This parameter can also be
set from the Mixer page of 2.1: Ed-Prog/Mix.)
L001...C064...R127: A setting of L001 is far left and R127 is ☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c),
far right. A setting of C064 will reproduce the pan setting “Select by Category” (1.1–1c, PROG 1.1–1a)
that was made for the oscillator in Program mode.
For details on how to select the desired utility function, refer
OSC1 OSC2
OSC1: Amp1 Pan=L001 OSC1: Amp1 Pan=L032
to “PROG 1.1–1c: UTILITY.”
OSC2: Amp2 Pan=R127 OSC2: Amp2 Pan=R096
Left Center Right Left Center Right
Hold Balance
Pan (CC#10) Pan (CC#10)

C064 C064
Adjusts the volume of the Combi while preserving the vol-
L032 L032
ume balance between timbres 1–8.
L001 L001
Selects the “Volume” of any timbre, select “Hold Balance”
from the Utility menu, and press the [F8] (“OK”) key. A
R096 R096
check mark will appear at the left of “Hold Balance.” (The
R127 R127
upper right of the LCD screen will indicate [Hold Bal.]) In
Left Center Right Left Center Right
this state, adjusting any “Volume” value will simulta-
neously change the volume of the other timbres as well,
OSC1 OSC2
OSC1: Amp1 Pan=C064 while preserving the volume balance between timbres 1–8.
OSC2: Amp2 Pan=C064
Left Center Right

Pan (CC#10)

C064

L032

L001

R096

R127

Left Center Right

If a mono-type insertion effect is inserted, the setting you


make here will be ignored. In this case, the “Pan (CC#8)”
parameter in 7.1: Ed–InsertFX, Setup page will adjust the
panning of the sound after the insertion effect (☞p.158 “3.
Mixer”).
RND: The oscillator pan will change randomly at each note-
on.
If “Status” (3.1–1a) has been set to INT, MIDI control
change #10 (panpot) messages can be received to con-
trol the setting. CC#10 values of 0 or 1 will place the
sound at far left, 64 at center, and 127 at far right.
Pan can be controlled by messages received on the
“MIDI Channel” (3.1–1a).

34
1.1–4: Arp. A (Arpeggio Play A)
COMBI 2.1: Ed–Prog/ Mixer
1.1–5: Arp. B (Arpeggio Play B)
Here you can select the arpeggiator settings for the combina-
tion. A combination can run two arpeggiators simulta- 2.1–1: Prog (Timbre Program)
neously. Arpeggiator parameters can be edited in 6.1: Edit-
Arp., but certain major parameters can be edited in these Indicates the bank and program for each timbre 1–8. These
pages as well. You can edit these parameters in realtime, for parameters can also be set from the 1.1: Play, Prog page.

COMBI
example by changing the arpeggio pattern while playing in
COMBI 1.1: Play.
To save the edits you make, use “Write Combination.” The 2.1–1a
arpeggiator can also be edited in realtime by the REALTIME
CONTROLS C-mode [TEMPO] knob, [ARP-GATE] knob,

7.2 7.1 6.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.1
and [ARP-VELOCITY] knob. (☞BG p.27)
2.1–1b

1.1–4a
2.1–1a: Program Select, Program Name
1.1–4b

Program Select
1.1–4c Indicates the program that will be used by each timbre.
(☞1.1–2c)

Program Name
1.1–4(5)a: Arpeggiator Run, Timbre assign This displays part of the program name selected for each
timbre. (☞1.1–2c)
Arpeggiator Run A, B (Run A, B) [Off, On]
When the [ARP ON/OFF] key is on, any arpeggiator that is
checked here will run if it is assigned to a timbre in “Assign” ■ 2.1–1b: UTILITY
(6.1–1b).
Even if the arpeggiator is on, you can turn A and B on/off ☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c),
independently. “Select by Category (Category/Combi, Category/Prog
This parameter can also be set from the 6.1: Ed-Arp. Setup T1...T8)” (1.1–2e)
page.

Timbre assign
This displays the timbres 1–8 to which arpeggiators A and B
2.1–2: Mix (Mixer)
are assigned. This can be set in “Assign” (6.1–1b). Specifies the pan and volume for each timbre 1–8. These
parameters can also be set from the 1.1: Play, Mixer page.

1.1–4(5)b: Arpeggiator A(B)


Pattern [P000....P004, U000(INT)...U215(User)] 2.1–2a
Reso (Resolution) [ !" , ! , #" , # , $" , $ ]
Octave [1, 2, 3, 4]
Sort [Off, On] 2.1–2b

Latch [Off, On]


Key Sync. [Off, On]
Keyboard [Off, On] 2.1–2a: Pan, Volume
Sets the various parameters of the combination arpeggiator Pan
(☞“PROG: Ed–Arp.”). These parameters can also be set in
Sets the pan of each timbre 1–8. (☞1.1–3a)
COMBI 6.1: Ed-Arp.
Volume
■ 1.1–4(5)c: UTILITY Sets the volume of each timbre 1–8. (☞1.1–3a)

☞ “Write Combination,” “Solo Selected Timbre,” “Select by


Category” (1.1–1c) ■ 2.1–1b: UTILITY
☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c)

35
COMBI 2.2: Ed–Ctrl COMBI 3.1: Ed–Param1
Here you can set the Combination mode functions of the B-
mode functions of REALTIME CONTROLS knobs [1]–[4],
and [SW1] key, [SW2] key. 3.1–1: MIDI
Here you can make MIDI settings for each timbre.

2.2–1: Ctrls (Controls)


3.1–1a

2.2–1a

3.1–1b

2.2–1b 2.2–1c
3.1–1a: Status, MIDI Channel, Bank(EX2) MSB/ LSB
Status [INT, Off, EXT, EX2]
2.2–1a: Knob B Assign Specifies the status of MIDI and the internal tone generator
for each timbre.
These settings assign functions (mainly various control INT: When you play this instrument, the internal tone gen-
changes) to the B-mode of the REALTIME CONTROLS erator will sound, and will also sound in respond to MIDI
knobs [1]–[4] (☞p.221 “Realtime Control Knobs B Assign messages received from an external MIDI device.
List”). Off: The program will not sound. Nor will MIDI data be
The functions you specify here will be controlled when you transmitted.
operate the REALTIME CONTROLS knobs [1]–[4] in B- EXT: Playing this instrument will not cause it to sound, but
mode. it will transmit data via MIDI to control external MIDI
Since the REALTIME CONTROLS knob [1]–[4] function of devices.
the B-mode assignments made for the programs assigned to EX2: “Bank (EX2) MSB” and “Bank (EX2) LSB” (3.1–1a) will
each timbre are not valid for the combination, new functions be enabled. Instead of the bank numbers for A–G(d) that can
must be set by these parameters. be selected on this instrument, the bank numbers you spec-
ify here will be transmitted via MIDI. In other respects this is
Knob1–B (Knob1–B Assign) [Off...MIDI CC#95] the same as EXT.
Knob2–B (Knob2–B Assign) [Off...MIDI CC#95] INT
MIDI IN
Knob3–B (Knob3–B Assign) [Off...MIDI CC#95]
Tone
Knob4–B (Knob4–B Assign) [Off...MIDI CC#95] generator

2.2–1b: SW1/ 2 Assign EXT, EX2

These settings assign the function of the [SW1] key and


MIDI OUT
[SW2] key (☞p.220 “SW1, SW2 Assign List”).
Since the function assignments of the [SW1] key and [SW2]
key made for the programs assigned to each timbre are not MIDI Channel [01...16, Gch]
valid for the combination, new functions must be set by
Set the MIDI transmit/receive channel for each timbre 1–8.
these parameters.
Gch: The timbre will use the channel that has been selected
SW1 (SW1 Assign) [Off...AfterT Lock] as the global MIDI channel “MIDI Channel” (GLOBAL 2.1–
SW1 Mode [Toggle, Momentary] 1a).
SW2 (SW2 Assign) [Off...AfterT Lock] When “Status” is INT, MIDI messages will be received on
SW2 Mode [Toggle, Momentary] the channel you specify here. If this setting is the same as the
global MIDI channel, the internal tone generator will sound
(☞PROG 2.2–1b)
according to the internal settings. If this is set to EXT or EX2,
playing this instrument will transmit MIDI messages on the
■ 2.2–1c: UTILITY MIDI channel specified here. (Messages will also be trans-
mitted simultaneously on the global MIDI channel.)
☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c)
Bank(EX2) MSB [000:000...127:127]
Bank(EX2) LSB [000:000...127:127]
Specifies the bank number that will be transmitted when
“Status” is set to EX2. If “Status” is not set to EX2, this set-
ting has no effect.

■ 3.1–1b: UTILITY
☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c)

36
3.1–2: OSC 3.1–3: Pitch
These settings specify how each timbre will be sounded. Here you can make pitch-related settings for each timbre.

3.1–2a 3.1–3a

COMBI
3.1–2b 3.1–3b

3.1–2a: Force OSC Mode, OSC Select, Portamento 3.1–3a: Transpose, Detune, Bend Range

7.2 7.1 6.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.1
Force OSC Mode [PRG, Poly, Mono, LGT] Transpose [–24…+24]
Specifies the “Mode (Voice Assign Mode)” (PROG 2.1–1b) of Adjusts the pitch of each timbre in semitone steps.
the program selected for each timbre 1–8. 12 units equal one octave.
PRG: The settings of the program will be used. When “Status” (3.1–1a) is INT, this parameter will
Poly: The timbre will play polyphonically, regardless of the affect the pitches sounded by the TRITON Le. When
settings of the program. “Status” is EXT, this parameter will affect the note
Mono: The timbre will play monophonically, regardless of numbers of the MIDI note messages that are transmit-
the settings of the program. ted.
LGT (Legato): The timbre will play monophonically, with For example if you make settings of +04 and +07
single triggering (legato). respectively for two timbres that are set to EXT, playing
With settings of Mono or LGT, the note priority will be the C key will transmit a C note number on the global
according to the “Priority” (PROG 2.1–1b) setting of the pro- MIDI channel, and at the same time will also transmit E
gram. and G note numbers on the MIDI channels of those tim-
bres.
OSC Select [Both, OSC1, OSC2]
Specifies the “Mode (Oscillator Mode)” (PROG 2.1–1a) of
Detune (BPM Adj.) [–1200...+1200]
the program selected for each timbre 1–8. If the “Mode Adjusts the pitch of each timbre in one-cent units.
(Oscillator Mode)” is Double, you can specify that either or 0: Normal pitch.
both oscillators sound. You can also use the Utility “Detune BPM Adj.” (3.1–3b)
Both: OSC1 and 2 will sound as specified by the settings of page menu command to automatically make a detune
the program. setting from a calculation in BPM units.
OSC1: Only OSC1 will sound.
“Transpose” and “Detune” can be controlled via MIDI
OSC2: Only OSC2 will sound. If “Mode (Oscillator Mode)”
RPN messages. Depending on the “Mode (Oscillator
is Single or Drums, there will be no sound.
Mode)” (PROG 2.1–1a) settings of the programs used
Portamento [PRG, Off, 001...127] by timbres 1–8, they can be controlled as follows.
When “Mode (Oscillator Mode)” is Single or Double
Indicates portamento settings for each timbre 1–8.
MIDI RPN Coarse Tune can be received to control and
PRG: Portamento will be applied as specified by the pro- change the setting of “Transpose,” and RPN Fine Tune
gram settings. can be received to control and change the setting of
Off: Portamento will be off, even if the original program set- “Detune.”
tings specified for it to be on. When “Mode (Oscillator Mode)” is Drums, MIDI RPN
001...127: Portamento will be applied with the portamento Coarse Tune and Fine Tune can be received to control
time you specify here, even if it is turned off by the program and change the setting of “Detune.” The controllable
settings. range is ±1 octave for coarse tune and fine tune
If the “Status” (3.1–1a) is set to INT, CC#05 (portamento together.
time) and CC#65 (portamento switch) messages will be Bend Range [PRG, –24...+24]
received to control and change this setting. (If the set-
ting is PRG, CC#05 portamento time will not be Specifies the amount of pitch change that will occur when
received.) These messages will be received on the MIDI the pitch bender is operated, in semitone units.
channel specified for each timbre by “MIDI Channel” PRG: The pitch range specified by the program will be used.
(3.1–1a). –24–+24: This setting will be used regardless of the setting in
the program.

■ 3.1–2b: UTILITY The MIDI RPN Pitch Bend Change message can be
received to control this and change the setting. (How-
☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c) ever it will not be received if this parameter is set to
PRG.) This message is received on the MIDI channel for
each timbre set by “MIDI Channel” (3.1–1a).

37
■ 3.1–3b: UTILITY
COMBI 3.2: Ed–Param2

3.2–1: Other
Specifies the delay from note-on until sound is produced for
☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c) each timbre. Also specifies the scale.
For details on how to select the desired utility function, refer
to “PROG 1.1–1c: UTILITY.”
3.2–1a
Detune BPM Adjust 3.2–1b
If the program of a timbre uses a phrase or rhythm loop
multisample or sample that was created in the Sampling
mode (using the EXB-SMPL option) is matched to a specific 3.2–1c
BPM (or was loaded in Media mode), you can use this Util-
ity to modify its BPM value. “Detune BPM Adjust” changes
the BPM of a phrase or rhythm by modifying its pitch.
This is valid for a track when timbre “Detune” is selected.
3.2–1a: Delay [ms], Use Prog’s Scale
When this Utility is executed, the selected “Detune” value
Delay [ms] [0000…5000, KeyOff]
will be set automatically. (☞PROG 2.1–2c, 2.1–3, GLOBAL
5.1–1b, 5.1–2) Specifies a delay time from note-on until the sound begins
for each timbre.
1 Select “Detune BPM Adjust” to access the dialog box.
KeyOff: The note will begin sounding at note-off. In this
case, the sound will not die away if the sustain level of the
program’s amp EG is other than 0. This setting is used when
creating harpsichord sounds.
Normally you will set this to 0.
2 In “From” specify the original BPM value. In “To” spec- Use Prog’s Scale [Off, On]
ify the desired BPM value. The appropriate “Detune”
Each timbre can use the scale that is specified by “Scale”
value will be calculated automatically from these two
(PROG 2.1–1c).
values.
For example if you set “From” to 60bpm and “To” to On (checked): The scale specified by the program will be
120bpm, the “Detune” parameter will be set to +1200 used.
(one octave up). Off (unchecked): The scale specified by “Type (Combi’s
Scale)” (3.2–1b) will be used.
3 To execute the Detune BPM Adjust command, press the
[F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.
The detune value that is calculated when you execute 3.2–1b: Combi’s Scale, Key, Random
this command will be added to “Detune” +0000. You
Specifies the scale that the combination will use.
must set the “From” BPM value when “Detune” is
+0000. For example if you execute “From” 60bpm “To” Type (Combi’s Scale)
120bpm, and then execute “From” 120bpm “To” [Equal Temperament...User Octave15]
60bpm, this will not return the original result. (Rather,
Indicates the type of scale.
this will set Detune= –1200, which is one octave down.)
☞ “Type (Scale Type)” (PROG 2.1–1c)
This command is valid when “Detune” (3.1–3a) is
selected. Key [C…B]
Indicates the tonic key of the selected scale.
☞ “Key” (PROG 2.1–1c)

Random [0…7]
As this value is increased, an increasingly random devia-
tion will be added to the pitch at each note-on.
☞ “Random” (PROG 2.1–1c)

■ 3.2–1c: UTILITY
☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c)

38
■ 3.3–1c: UTILITY
COMBI 3.3: Ed–Key Zone
☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c)
These settings specify the keyboard range in which each
timbre will sound.
The top/bottom key parameters specify the range of notes
in which timbres 1–8 will sound, and the top/bottom slope 3.3–2: Slope (Key Slope)
parameters specify the range over which the original vol-

COMBI
ume will be reached.
By setting timbres of different sounds to ranges that do not
overlap, you can play different sounds in different ranges of 3.3–2a
the keyboard (Key Split).
By setting the ranges to overlap, you can play two or more
sounds with a single note (Layer). 3.3–2b

7.2 7.1 6.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.1
If you set the slopes (the grayed portion) to overlap, the
sounds will overlap, and the proportion of the overlap will
change according to the keyboard location (Positional 3.3–2a: Top Slope, Bottom Slope
Cross-fade).
Top Slope [00...72]
Specifies the range of keys (12 is one octave) over which the
3.3–1: Key (Key Zone) maximum programmed volume level will be reached, start-
ing from the top key.
0: The volume will be at the original level from the top key.
3.3–1a 12: The volume will increase gradually as you play down-
ward, and will reach the original volume one octave below
3.3–1b
the top key.
60: The volume will increase gradually as you play down-
ward, and will reach the original volume five octaves below
3.3–1c
the top key.

Bottom Slope [00...72]


3.3–1a: Key Zone Map (1) Specifies the range of keys (12 is one octave) over which the
maximum programmed volume level will be reached, start-
Bottom Slope Top Slope ing from the bottom key.
Bottom Key Top Key 0: The volume will be at the original level from the bottom
key.
12: The volume will increase gradually as you play upward,
This displays the range of note data that will sound the cur- and will reach the original volume one octave above the bot-
rently selected track. The range of notes sounded is shown tom key.
as a line, and the slope portion is shaded. 60: The volume will increase gradually as you play upward,
and will reach the original volume five octaves above the
bottom key.
3.3–1b: Top Key, Bottom Key
Top Key [C–1...G9] ■ 3.3–2b: UTILITY
Specifies the top key (upper limit) of the notes that will ☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c)
sound each timbre 1–8.

Bottom Key [C–1...G9]


Specifies the bottom key (lower limit) of the notes that will 3.3–3: Review
sound each timbre 1–8.
You can also set this parameter by holding down the
[ENTER] key and playing a note.
3.3–3a
It is not possible to set the bottom key above the top key
of the same timbre. Nor is it possible for the top and
bottom slopes to overlap.
3.3–3b
How volume will change according to keyboard location

Volume
3.3–3a: Key Zone Map (All)
T1...T8
This displays the range of notes that will sound for each of
the timbres 1–8. The range of notes sounded is shown as a
Key
Bottom Slope Top Slope line, and the slope portion is shaded.
Bottom Key Top Key

39
■ 3.3–3b: UTILITY 3.4–2: Slope (Velocity Slope)
☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c)

3.4–2a

COMBI 3.4: Ed–Vel Zone 3.4–2b


(Velocity Zone)

Sets the Top/Bottom Velocity parameters to specify the 3.4–2a: Top Slope, Bottom Slope
range of velocities that will sound each timbre 1–8, and sets
the Top/Bottom Slope parameters to specify the range over Top Slope [0…120]
which the volume will change. Specifies the number of velocity steps over which the origi-
By setting two or more timbres to velocity zones that do not nal volume will be reached, starting from the Top Velocity.
overlap, you can use variations in playing dynamics to play
0: The volume will be at the original value from the top
different sounds (Velocity Switch).
velocity.
If you set two or more timbres to velocity zones that overlap,
120: The volume will decrease as the velocity approaches the
the sounds will be heard together (Layer).
top velocity.
If the slope ranges (gray line) overlap, different sounds will
be sounded together, and your playing dynamics will deter- Bottom Slope [0…120]
mine the proportion of each sound (Velocity Cross-fade).
Specifies the number of velocity steps over which the origi-
nal volume will be reached, starting from the Bottom Veloc-
ity.
3.4–1: Vel (Velocity Zone) 0: The volume will be at the original value from the bottom
velocity.
120: The volume will decrease as the velocity approaches the
3.4–1a
bottom velocity.
3.4–1b How volume will change according to key position

Volume

3.4–1c

3.4–1a: Velocity Zone Map (1)


Velocity
Bottom Slope Top Slope
Bottom Slope Top Slope
Bottom Velocity Top Velocity
Bottom Velocity Top Velocity

■ 3.4–2b: UTILITY
This displays the range of velocities that will sound the cur- ☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c)
rently selected timbre. The range of velocities sounded is
shown as a line, and the slope portion is shaded.

3.4–3: Review
3.4–1b: Top Velocity, Bottom Velocity
Top Velocity [1…127] 3.4–3a
Specifies the maximum velocity value that each timbre 1–8
will sound.

Bottom Velocity [1…127]


3.4–3b
Specifies the minimum velocity value that each timbre 1–8
will sound.
You can also set this parameter by holding down the
3.4–3a: Velocity Zone Map (All)
[ENTER] key and playing a note.
It is not possible to set the bottom velocity greater than T1...T8
the top velocity for the same timbre. Nor can the top Displays the range of velocities that each timbre will
slope and the bottom slope overlap. respond to.
The range of velocities sounded is shown as a line, and the
slope portion is shaded.
■ 3.4–1c: UTILITY
☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c) ■ 3.4–3b: UTILITY
☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c)

40
4.1–2: MIDI 1–2 (MIDI Filter 1–2)
COMBI 4.1: Ed–MIDI Filter1
These settings allow you to apply filters to the MIDI data
that will be transmitted and received by each timbre 1–8. For 4.1–2a
example even if two timbres are being played by the same
MIDI channel, you can make settings so that the damper
pedal will apply to one but not the other.

COMBI
4.1–2b
On (checked): Transmission and reception of MIDI data is
enabled.
When “Status” (3.1–1a) is INT, operations of the built-in
controllers or incoming MIDI data will apply the effect of 4.1–2a: Damper CC#64, Portamento SW CC#65
the checked item to the program of the corresponding tim-
bre. (The effect dynamic modulation function is not affected Damper CC#64 [Off, On]

7.2 7.1 6.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.1
by this setting.) Specifies whether or not MIDI control change message #64
When “Status” is EXT or EX2, operations of the built-in con- hold (damper pedal) messages will be transmitted and
trollers will transmit MIDI data on the channel of that tim- received.
bre. MIDI transmission and reception settings for this
instrument are made in “MIDI Filter” (GLOBAL 2.1–1b). Portamento SW CC#65 [Off, On]
The MIDI Filter 3 and MIDI Filter 4 pages contain MIDI fil- Specifies whether or not MIDI control change message #65
ters for assignable controllers (whose function can be set by portamento on/off messages will be transmitted and
the user), and if these are assigned to MIDI control changes, received.
the filter settings will affect those control changes.
In this case, if the assignable controllers have been set to
■ 4.1–2b: UTILITY
control changes that are also found in the MIDI Filter 1 or
MIDI Filter 2 pages, the settings in the MIDI Filter 1 and ☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c)
MIDI Filter 2 pages will take priority. Also, if the same con-
trol change is assigned to two or more controllers in the
MIDI Filter 3 and MIDI Filter 4 pages, checking any one of
them will enable that control change.
Off (unchecked): Transmission and reception of MIDI data COMBI 4.2: Ed–MIDI Filter2
is disabled.

4.2–1: MIDI 2–1 (MIDI Filter 2–1)


4.1–1: MIDI 1–1 (MIDI Filter 1–1)

4.2–1a
4.1–1a

4.2–1b
4.1–1b

4.2–1a: JS+Y CC#01, JS–Y CC#02


4.1–1a: Program Change, After Touch
JS+Y CC#01 [Off, On]
Program Change [Off, On] Specifies whether or not MIDI control change #1 (the +Y axis
Specifies whether or not MIDI program change messages of this instrument’s joystick, or specified as the “B” assign-
will be transmitted and received. ment of a REALTIME CONTROL knob) will be transmitted
or received.
After Touch [Off, On]
Specify whether or not MIDI after touch messages will be JS–Y CC#02 [Off, On]
transmitted and received. Specifies whether or not MIDI control change #2 (the –Y axis
of this instrument’s joystick, or specified as the “B” assign-
ment of a REALTIME CONTROL knob) will be transmitted
■ 4.1–1b: UTILITY or received.
☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c)
■ 4.2–1b: UTILITY
☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c)

41
4.2–2: MIDI 2–2 (MIDI Filter 2–2) Knob2 [Off, On]
Specifies whether MIDI control change message #71 (inter-
nal low pass filter resonance or high pass filter cutoff fre-
quency) for the A-mode of knob [2] and the MIDI control
4.2–2a change message assigned to the B-mode of knob [2] will be
transmitted and received.

4.2–2b 4.3–2a: Real-time Control Knob 3, 4


Knob3 [Off, On]
Specifies whether MIDI control change message #79 (inter-
4.2–2a: JS X/ Bend as AMS, Ribbon CC#16
nal filter EG intensity) for the A-mode of knob [3] and the
JS X/ Bend as AMS [Off, On] MIDI control change message assigned to the B-mode of
knob [3] will be transmitted and received.
Specifies whether or not MIDI pitch bend messages (the X
axis of this instrument’s joystick) will be received to control Knob4 [Off, On]
the AMS (☞p.212 “Alternate Modulation Source”) effect Specifies whether MIDI control change message #72 (inter-
assigned to JS X. (This is not a filter for MIDI pitch bend nal filter and amp EG release time) for the A-mode of knob
message reception.) [4] and the MIDI control change message assigned to the B-
Ribbon CC#16 [Off, On] mode of knob [4] will be transmitted and received.
Specifies whether MIDI control change message #16
(selected as assignment B for REALTIME CONTROLS [1]– ■ 4.3–1(2)b: UTILITY
[4] knobs, or assigned to the ribbon controller of a TRITON
etc.) will be transmitted or received. ☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c)

■ 4.2–2b: UTILITY
☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c) COMBI 4.4: Ed–MIDI Filter4

COMBI 4.3: Ed–MIDI Filter3 4.4–1: MIDI 4–1 (MIDI Filter 4–1)

Specifies whether the A- and B-mode effects of REALTIME


CONTROLS knobs [1], [2], [3], and [4] will be transmitted 4.4–1a
and received. The A-mode of each knob is fixed as a MIDI
control change message. For B-mode, you can assign a MIDI
control change message in 2.2: Ed-Ctrl.
4.4–1b

4.3–1: MIDI 3–1 (MIDI Filter 3–1)


4.4–1a: SW1, SW2
4.3–2: MIDI 3–2 (MIDI Filter 3–2)
SW1, SW2 [Off, On]
Specifies whether or not the effect of the [SW1] key and
[SW2] key will be transmitted and received.
4.3–1a [SW1] key and [SW2] key correspond to the control change
messages specified in 2.2: Ed-Ctrl.
This filter setting is valid for settings of SW1 Mod.(CC#80),
SW2 Mod.(CC#81), or Porta.SW(CC#65).
4.3–1b

■ 4.4–1b: UTILITY
4.3–1a: Real-time Control Knob 1, 2 ☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c)

Knob1 [Off, On]


Specifies whether MIDI control change message #74 (inter-
nal low pass filter cutoff frequency) for the A-mode of knob
[1] and the MIDI control change message assigned to the B-
mode of knob [1] will be transmitted and received.

42
4.4–2: MIDI 4–2 (MIDI Filter 4–2) 6.1–1b: Assign
Assign [Off, A, B]
Assigns arpeggiator A or B to each timbre 1–8. When the
4.4–2a [ARP ON/OFF] key is on, the arpeggiator specified for each
timbre will operate according to “Arpeggiator Run” and
these settings.

COMBI
4.4–2b Off: The arpeggiator will not play this timbre.
A: This timbre will be played by Arpeggiator A. Make set-
tings in the Arp. A page to select the arpeggio pattern and
set parameters.
4.4–2a: Foot Pedal/ Switch, Other Control Change B: This timbre will be played by Arpeggiator B. Make set-
tings in the Arp. B page to select the arpeggio pattern and
FootPedal/ Switch [Off, On]
set parameters.

7.2 7.1 6.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.1
Specifies whether or not the effect of the ASSIGNABLE
PEDAL/SWITCH will be transmitted and received. The If the “Status” (3.1–1a) of the timbre is INT, each timbre
function is assigned in GLOBAL 1.1–3a: System Foot page. 1–8 to which arpeggiator A or B is assigned will be
This filter setting is valid when a MIDI control change is sounded by the note data generated by the arpeggiator,
assigned. regardless of the “MIDI Channel” (3.1–1a) setting of the
timbre. If a timbre is set to EXT or EX2, MIDI note data
Other Ctrl Change [Off, On] will be transmitted on the “MIDI Channel” of each tim-
Specifies whether or not MIDI control change message not bre.
covered in the preceding items MIDI Filter 1–4 will be trans-
In this case, the arpeggiator can be triggered (operated)
mitted and received.
by any MIDI channel specified for the “MIDI Channel”
parameter of any timbre 1–8 assigned to arpeggiator A
■ 4.4–2b: UTILITY or B.
If Local Control (“Local Control On,” GLOBAL 2.1–1a)
☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c)
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
COMBI 6.1: Ed–Arp. (Arpeggiator) external sequencer to trigger the TRITON Le’s arpeg-
giator.
These parameters specify how the arpeggiator will function If you want the note data generated by the arpeggiator
within the combination. Two arpeggiators can run simulta- to be recorded on the external sequencer, turn the TRI-
neously. TON Le’s Local Control ON, and turn off the echo back
This offers a variety of possibilities, such as applying sepa- function on your external sequencer.
rate arpeggio patterns to two sounds that have been
assigned as a keyboard split, or using velocity to switch You can control the arpeggiator from an external
between two arpeggio patterns. sequencer, or use an external sequencer to record arpeg-
gio note data. (☞p.239)
Example 1)
Set the “MIDI Channel” (3.1–1a) of timbres 1 and 2 to
6.1–1: Setup Gch, and set “Status” (3.1–1a) to INT. Assign arpeggiator
A to timbre 1 and arpeggiator B to timbre 2, and check
6.1–1a
“Arpeggiator Run A, B” (1.1–4a/5a, 6.1–1a).
• When the front panel [ARP ON/OFF] key is off, timbres
6.1–1b 1 and 2 will sound simultaneously (layered) when you
play the keyboard.
• When the front panel [ARP ON/OFF] key is turned on,
6.1–1c timbre 1 will be played by arpeggiator A, and timbre 2
will be played by arpeggiator B.
Arpeggiator
Assign
Trigger Arpeggiator Pattern - A
6.1–1a: Arpeggiator Run, (Tempo) = Gch A
A Timbre 1 MIDI Ch=Gch Status=INT Pattern - A

B Timbre 2 MIDI Ch=Gch Status=INT Pattern - B

Trigger Arpeggiator
Arpeggiator Run A, B (Run A, B) = Gch B Pattern - B

When the [ARP ON/OFF] key is on, the arpeggiator(s)


checked here will run if they are assigned to a timbre by
“Assign” (6.1–1b). (☞1.1–4(5)a)

! (Tempo) [040...240, EXT]


Set the tempo of the arpeggiator. This can also be adjusted
by the REALTIME CONTROLS C-mode [TEMPO] knob
(☞1.1–1a)

43
Example 2) 6.1–2: Arp. A (Arpeggiator A)
The “MIDI Channel” (3.1–1a) of timbres 1, 2, 3, 4, and 5
are set respectively to Gch, Gch, 02, Gch, and 03. Their 6.1–3: Arp. B (Arpeggiator B)
“Status” (3.1–1a) is set respectively to INT, Off, INT, Off,
and INT. Assign arpeggiator A to timbres 2 and 3, assign The Arp. A pages you make settings for arpeggiator A. The
arpeggiator B to timbres 4 and 5, and check “Arpeggiator Arp. B pages you make settings for arpeggiator B.
Run A, B” (1.1–4a/5a, 6.1–1a). You can also use Utility “Copy Arpeggiator” (6.1–1c) to
• When the front panel [ARP ON/OFF] key is off, playing copy settings from another mode such as Program
the keyboard will sound only timbre 1. (Timbres 2 and 4 mode.
are receiving the Gch, but they will not sound since their
6.1–2b
“Status” is Off.)
• When you turn on the front panel [ARP ON/OFF] key,
6.1–2a
arpeggiator A will operate for timbres 2 and 3, and
arpeggiator B will operate independently for timbres 4
and 5. (Arpeggiators A and B are triggered by receiving
note data on any MIDI channel of an assigned timbre,
but in this example they are being triggered from the 6.1–2c
Gch.)
When you play the keyboard, arpeggiator A will operate
for timbres 2 and 3, but only timbre 3 whose “Status” is 6.1–2(3)a: Arpeggiator-A(B) Setup
INT will sound. Similarly, arpeggiator B will operate for
timbres 4 and 5, but only timbre 5 whose “Status” is INT Pattern* [P000...P004, U000(INT)...U215(User)]
will sound.
In this way, you can make settings so that a timbre does
Octave* [1, 2, 3, 4]
not sound when the arpeggiator is off, but sounds only Reso (Resolution)* [ !" , ! , #" , # , $" , $ ]
when the arpeggiator is on. Gate [000...100%, Step]
Arpeggiator
Assign Velocity [001...127, Key, Step]
Off Timbre 1 MIDI Ch=Gch Status=INT Sounded by normal

Trigger Arpeggiator Pattern - A A Timbre 2 MIDI Ch=Gch Status=Off


keyboard playing
Does not sound
Swing [–100...+100%]
= Gch, Ch2 A
A Timbre 3 MIDI Ch=2ch Status=INT Pattern - A Sort* [Off, On]
Arpeggiator Pattern - B
Trigger
= Gch, Ch3 B
B Timbre 4 MIDI Ch=Gch Status=Off Does not sound
Latch* [Off, On]
B Timbre 5 MIDI Ch=3ch Status=INT Pattern - B
Key Sync.* [Off, On]
Keyboard* [Off, On]
■ 6.1–1c: UTILITY These parameters are the arpeggiator A settings for the com-
bination.
(☞p.24 PROG 6.1: Ed–Arp.)
* These parameters can also be set in “1.1–4: Arp. A, 1.1–5:
Arp. B”

6.1–2(3)b: $ (Tempo)
☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c)
For details on how to select the desired utility function, refer $ (Tempo) [040...240, EXT]
to “PROG 1.1–1c: UTILITY.” ☞ 1.1–1a

Copy Arpeggiator
This command copies arpeggiator settings.
■ 6.1–2(3)c: UTILITY
1 Select “Copy Arpeggiator” to access the dialog box. ☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c),
“Copy Arpeggiator” (6.1–1c)

2 In “From” select the copy source (mode, bank, number)


arpeggiator.
If you are copying from Combination, or Song, select
either A or B to if you wish to copy settings from only
one arpeggiator, or select A&B if you wish to copy the
settings of both arpeggiators.
3 If you are copying from a Program, or are copying either
A or B from Combination, or Song, select either A or B as
the “To” copy destination.
4 To execute the Copy Arpeggiator command, press the
[F8] (“OK”) key. To cancel without executing, press the
[F7] (“Cancel”) key.

44
6.1–4: Zone (Scan Zone)
COMBI 7.1: Ed–InsertFX
These settings specify the note and velocity ranges that will
operate arpeggiators A and B. ☞ For details on insertion effects, refer to p.155 “7. Effect
Guide.”

6.1–4a
7.1–1: BUS

COMBI
6.1–4b
7.1–1a

6.1–4a: Scan Zone A/ B

7.2 7.1 6.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.1
7.1–1b
Zone Map
This shows the “Scan Zone” for each arpeggiator, A and B.
Key zone of arpeggiator B
Key zone of arpeggiator A
7.1–1a: BUS Select, Send1(MFX1), Send2(MFX2)
C–1–G9
Velocity zone of Velocity zone of Here you can specify the output bus for each timbre 1–8.
arpeggiator A arpeggiator B You can also specify the send level to the master effects.

A: Key BUS Select [DKit, L/ R, IFX, 1, 2, 1/ 2, Off]


Specifies the output bus for the program oscillator of each
Btm (A-Bottom Key) [C–1...G9] timbre 1–8. The current setting status can be viewed in the
Top (A-Top Key) [C–1...G9] 7.1–2c: Routing Map.
Specifies the range of notes (keys) that will operate arpeg- DKit: This can be selected only if the program for which set-
giator A. “Top” specifies the upper limit, and “Btm” speci- tings are being made is a drum program “Mode (Oscillator
fies the lower limit. Mode) Drums” (PROG 2.1–1a). With a setting of DKit, the
“BUS Select” (GLOBAL 5.1–3a) setting made for each key of
A: Vel (Velocity) the drum kit will be used.
For example if you have made “BUS Select” settings for each
Btm (A-Bottom Velocity) [001...127] key of a drum kit so that the Snare sounds are sent to IFX
Top (A-Top Velocity) [001...127] and the other sounds are sent to L/R, selecting Dkit will
Specifies the range of velocities that will operate arpeggiator send the Snare sounds to IFX and the other sounds to L/R. If
A. “Top” specifies the upper limit, and “Btm” specifies the you want to re-specify these routings, use Utility “DKit IFX
lower limit. Patch” (7.1–1b).

B: Key If this is set to 1/2, the programs of timbres 1–8 will be


sent in stereo from AUDIO OUTPUT (INDIVIDUAL)
Btm (B-Bottom Key) [C–1...G9] 1/2. If the pan of the program oscillator is controlled by
MIDI control change #10 (pan) or AMS (Alternate Mod-
Top (B-Top Key) [C–1...G9]
ulation Source), the sound will be output with the pan
B: Vel (Velocity) setting that is in effect at the moment of note-on. Unlike
the case when this parameter is set to L/R, the pan of a
Btm (B-Bottom Velocity) [001...127] sounding note will not change in real-time.
Top (B-Top Velocity) [001...127] If you wish to move the pan of a sounding note in real-
time and output it from AUDIO OUTPUT (INDIVID-
Specify the range of notes (keys) and velocities that will
UAL) 1/2, you must set “BUS Select” to IFX, select 00:
operate arpeggiator B (☞“A: Key,” “A: Vel”).
No Effect for “IFX” (7.1–2a), and then set “BUS Select”
The values of these parameters can also be entered by (7.1–2a) to 1/2.
playing a note on the keyboard while you hold down
the [ENTER] key. S1 (Send1(MFX1)) [000...127]
S2 (Send2(MFX2)) [000...127]
For each timbre 1–8, these parameters set the send level to
■ 6.1–4b: UTILITY master effects 1 and 2. These settings are valid when “BUS
☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c), Select” is set to L/R or Off. When IFX is selected, the send
“Copy Arpeggiator” (6.1–1c) levels to master effects 1 and 2 are set by the “S1
(Send1(MFX)), ” “S2 (Send2(MFX))” parameters of the Setup
page (7.1–2a), after the sound has passed through IFX.
If “BUS Select” is set to 1, 2 or 1/2 these settings are ignored.

45
Control change #93 can be used to control the Send 1 7.1–2: Setup
level, and #91 to control the Send 2, and modify their
respective settings. These messages will be received on Here you can select the type of insert effect, turn it on/off
the MIDI channel specified for each timbre in the 3.1: etc.
Ed–Param1, MIDI page. 7.1–2b
The actual send levels are determined by summing this
value with the send level “S1 (Send1(MFX)), ” “S2 7.1–2a
(Send2(MFX))” (PROG 7.1–2a) for each oscillator of the
program selected for the timbre. 7.1–2c

■ 7.1–1b: UTILITY 7.1–2d

7.1–2a: Ed-InsertFX Setup


IFX On/ Off [Off, ON]
Insert Effect [00...89: name]
☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c) Pan(CC#8) [L000...C064...R127]
For details on how to select the desired utility function, refer BUS Select [L/ R, 1, 2, 1/ 2, Off]
to “PROG 1.1–1c: UTILITY.”
S1 (Send1(MFX1)) [000...127]
Copy Insert Effect S2 (Send2(MFX2)) [000...127]
☞PROG 7.1–1c These parameters are the same as in Program mode.
However, the MIDI control channel specified for “Control (☞PROG 7.1–2)
Channel” of the 7.1: Ed–InsertFX, Setup page will not be However, dynamic modulation (Dmod) of the insert effect
copied. and the “Pan (CC#8), “Send1(MFX1),” and “Send2(MFX2)”
that follow the insert effect will be controlled on the “Con-
DKit IFX Patch (DrumKit IFX Patch) trol Channel” (7.1–2b) MIDI channel, unlike in Program
This command changes the “BUS Select” settings for each mode. The control changes used are the same as in Program
key of the drum kit, so that connections to the IFX are tem- mode.
porarily changed to L/R. This can be executed only if the
program specified for a timbre is a drum program, and the
“BUS Select” (7.1–1a) setting is DKit, and the “BUS Select” 7.1–2b: Control Channel
(GLOBAL 5.1–3a) for each key of the drum kit is IFX.
Control Channel [Ch01...16, G ch, All Rt.]
1 Select “DKit IFX Patch” to access the dialog box.
Specifies the MIDI channel on which dynamic modula-
tion (Dmod) of the insert effect and the “Pan (CC#8),
“Send1(MFX1),” and “Send2(MFX2)” that follow the
insert effect will be controlled.
The channel number of the timbre routed through this IFX
will be followed by a “*” displayed at the right of Ch01–16.
2 At the right of “DrumKit IFX→,” select L/R as the patch
If two or more timbres with different MIDI channel settings
destination.
are routed through the IFX, this parameter specifies which
3 To execute Drum Kit Insert Effect Patch, press the [F8] of these channels will be used to control the effect.
(“OK”) key. To cancel without executing, press the [F7]
G ch: The global MIDI channel “MIDI Channel” (GLOBAL
(“Cancel”) key.
2.1–1a) will be used to control the effect. Normally you will
To return the drum kit to its original state, execute IFX →
set this to G ch.
IFX.
All Rt. (All Routed): The channel of any timbre routed
through this effect can be used to control the effect. (Chan-
nels of each routed timbre will be indicated by “*”.)
If “BUS Select” (7.1–1a) is set to DKit for a timbre for
which a drums program is selected, the MIDI channel
of that timbre will be valid only if this is set to All Rt.,
regardless of the drum kit “BUS Select” setting (GLO-
BAL 5.1–3a) or the Utility “DrumKit IFX Patch” (7.1–
1b) setting.

46
7.1–2c: Routing Map, BUS Select
COMBI 7.2: Ed–MasterFX
This displays the bus to which the programs used by tim-
bres 1–8 will be sent. ☞ For details on master effects, refer to p.155 “7. Effect
Guide.”
Routing Map
This displays the insert effect settings. The routing, the spec-
ified effect name, and the on/off status are shown. 7.2–1: Setup

COMBI
T01...8: BUS Sel [DKit, L/ R, IFX, 1, 2, 1/ 2, Off] Here you can select the type of each master effect, turn it
While viewing the map, you can specify the bus where each on/off, and make chain and master EQ settings.
timbre 1–8 will be sent. With the exception of “MFX1 Control Ch,” “MFX2 Control
Use the cursor keys to select the timbre, and use the [INC]/ Ch,” and “MEQ Control Ch,” this is the same as in Program
[DEC] keys or the [VALUE] dial to set “BUS Select” (7.1–1a). mode. (☞PROG 7.2: Ed-MasterFX)

7.2 7.1 6.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.1
These settings can also be made in “BUS Select” (7.1–1a).
7.2–1a

■ 7.1–2d: UTILITY 7.2–1b


7.2–1c

7.2–1d 7.2–1e

7.2–1a: MasterFX Setup


☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c),
MFX1 On/ Off, MFX2 On/ Off [Off, ON]
“Copy Insert Effect” (PROG 7.1–1c, 7.1–1b), “Dkit IFX
Patch” (7.1–1b), “Select by Category” (PROG 7.1–2c) Master Effect 1, 2 [00...89: name]
Rtn 1, 2 (Return 1, 2) [000...127]
These are the same as in Program mode. Refer to “PROG
7.2–1: Setup.” However, the master effects will be controlled
7.1–3: IFX (Insert Effect) on the “MFX 1, 2 Control Ch” MIDI channel, unlike in Pro-
Here you can adjust the parameters for the IFX that was gram mode.
selected in the Setup page (☞p.164–). The control changes used are the same as in Program mode.

MFX 1, 2 Control Ch [Ch01...16, G ch]


Selects the MIDI channel that will control dynamic
modulation (Dmod) for the master effects.
G ch: The global MIDI channel “MIDI Channel” (GLOBAL
2.1–1a) will be used for control. Normally you will set this
7.1–3a
parameter to G ch.

■ 7.1–3a: UTILITY 7.2–1b: MasterFX Chain

☞ “Write Combination” (1.1–1c) MFX Chain [Off, On]


Direction (Chain Direction)
[MFX1→MFX2, MFX2→MFX1]
Signal (Chain Signal) [LR Mix, L Only, R Only]
Level (Chain Level) [000...127]
These are the same as in Program mode. (☞PROG 7.2–1:
Setup)

7.2–1c: MEQ Ctrl


MEQ Ctrl (MEQ Control Ch) [Ch01...16, G ch]
Selects the MIDI channel that will control dynamic
modulation (Dmod) for the master EQ.
G ch: The global MIDI channel “MIDI Channel” (GLOBAL
2.1–1a) will be used for control. Normally you will set this
parameter to G ch.

47
7.2–1d: Master EQ Gain [dB] 7.2–4: MEQ (Master EQ)
The master EQ is a three-band stereo EQ. It is located imme-
Low [–18.0...+18.0] diately before the AUDIO OUTPUT (MAIN OUT) L/
Mid [–18.0...+18.0] MONO and R from the L/R bus, and adjusts the overall
High [–18.0...+18.0] tonal character of the sound (☞p.209). The MEQ High Gain
and the MEQ Low Gain can be controlled by assigning a
These are the same as in Program mode. (☞PROG 7.2–1:
modualtion source to the “Low Gain Mod-Src.” and “High
Setup)
Gain Mod-src.” functions on this page.

■ 7.2–1e: UTILITY

7.2–4a

☞ “Write Combination,” “Solo Selected Timbre” (1.1–1c),


“Select by Category” (PROG 7.2–1d)
For details on how to select the desired utility function, refer
■ 7.2–4a: UTILITY
to “PROG 1.1–1c: UTILITY.”
☞ “Write Combination” (1.1–1c)
Copy Master Effect
☞p.28 PROG 7.2–1d
Note, the MIDI control channel that is specified by “MFX1, 2
Control Ch” (7.2–1a) will not be copied.

Swap Master Effect


☞p.29 PROG 7.2–1d
Note, the MIDI control channel that is specified by “MFX1, 2
Control Ch” (7.2–1a) will not be swapped.

7.2–2: MFX1 (Master Effect1)


7.2–3: MFX2 (Master Effect2)
Here you can set the parameters of the “Master Effect1” and
“Master Effect2” effects that were selected in the Setup page
(☞p.164–).

7.2–2a

■ 7.2–2(3)a: UTILITY
☞ “Write Combination” (1.1–1c)

48
3. Sequencer mode
In Sequencer mode you can use the built-in 16-track
sequencer to play, record and edit songs. You can also record SEQ PAGE MENU
and play patterns, make settings for the RPPR (Realtime Pat-
tern Play Recording) function, play songs that use the arpeg- For details on how to select pages in Sequencer mode, refer
giators, record patterns, and create Cue Lists to playback to p.1.
multiple songs consecutively.
If the EXB-SMPL option (sold separately) is installed,
executing the Sampling mode “Time Slice” command
(SMPL 3.1–2e) will divide the sample and will at the
same time create song performance data for these
divided samples. You can then freely re-create the origi-
nal rhythm loop in various ways; for example you can P/R 1.1: Play/REC Make settings for song playback/record-
change the song tempo in Sequencer mode to play the ing, select a program for track, and make
pan and level settings. (☞p.50)
rhythm loop at a different tempo without changing the

SEQ
pitch, or you can edit the sequence data to change the Loop 1.2: Loop Make settings for track play loop function.
(☞p.57)
note numbers or timing.
Cue 2.1: Cue List Play, create, and make settings for cue
These settings and any song data you have recorded are lists. (☞p.58)
not backed up when the power is turned off. Before Ctrl 2.2: Controller Controller settings. (☞p.61)
turning off the power, be sure to save important data on

7.2 7.1 6.1 5.2 5.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.2 1.1
Prm1 3.1: Param1 MIDI, OSC, and pitch settings for each
a SmartMedia or a data filer. Immediately after the track. (☞p.62)
power is turned on, memory will not contain any song Prm2 3.2: Param2 Delay and scale settings for each track.
data, so in order to playback the sequencer, you will (☞p.64)
need to load data from the SmartMedia, or receive a KeyZ 3.3: Key Zone Key zone settings for each track. (☞p.64)
MIDI bulk data dump from an external MIDI sequencer VelZ 3.4: Vel Zone Velocity zone settings for each track.
(☞p.130). (☞p.65)
MIDI1 4.1: MIDI Filter1 MIDI message transmission/reception fil-
ter settings for each track: Prog Change,
After Touch etc. (☞p.66)
MIDI2 4.2: MIDI Filter2 Filter settings: JS, Ribbon Ctrl etc.
(☞p.67)
MIDI3 4.3: MIDI Filter3 Filter settings: REALTIME CONTROL
Knob (☞p.68)
MIDI4 4.4: MIDI Filter4 Filter settings: SW, Other Ctrl Change
(☞p.68)
RPPR 5.1: RPPR Pattern recording and editing. Pattern
name settings. RPPR settings. (☞p.69)
TEdit 5.2: Track Edit Edit track playback data. Specify track
names. (☞p.73)
Arp 6.1: Arp. Arpeggiator settings. (☞p.81)
IFX 7.1: Insert FX Set BUS and master effect send level for
each track.
Insert effect routing, selection, and set-
tings. (☞p.84)
MFX 7.2: Master FX Master effect selection and settings. Mas-
ter EQ settings. (☞p.85)

49
Changing the time signature in the middle of a measure
SEQ 1.1: Play/ REC If you know beforehand the location at which you wish to
change time signatures in the middle of a measure, use
Here you can select a song, begin to create a new song, or “Insert Measure” (5.2–1b) to specify and insert the time sig-
make basic settings such as selecting the program used by nature for each measure of the same time signature, and
each track. then record your musical data. Alternatively, if you wish to
change the time signature in the middle of a song which
already contains musical data, use “Track Select” (1.1–1c) to
specify the Master Track (or any Track01–16 which contains
1.1–1: Play.REC (Play/ REC) data), and use “Event Edit” (5.2–1b) to modify the time sig-
Here you can select a song, make settings for song play- nature of the Bar event.
back/recording, and turn RPPR on/off. If the number of beats in a measure increases when you
modify the time signature, rests will be inserted in the por-
tion that was added. Conversely if the number of beats
1.1–1a
decreases, that portion will not be played. However if you
1.1–1b
return to the original time signature, the data that had been
1.1–1c hidden will once again be played.

! ! ! ! #
1.1–1d
! ! ! !
Rest is inserted

1.1–1a: Location, Meter, Reso (Resolution), ! ! ! !


! (Tempo), Tempo Mode
Not played
Location [001:01.000...999:16.191]
This display shows the current position in the song. From Reso (Real-time Quantize Resolution) [Hi, "3...!]
the left, the numbers are the measure, beat, and clock. When This corrects the timing of data as it is recorded in real-time.
you modify these values, the current location will change. (It does not affect previously-recorded data.)
When “MIDI Clock” (GLOBAL 2.1–1a) is Internal, Hi (High Resolution): Timing will not be corrected. Data
changing the location will cause Song Position Pointer will be recorded at the maximum resolution (!/192).
messages to be transmitted. If this parameter is set to "3 – ! : Data will be corrected to the nearest interval of the
External, Song Position Pointer messages from the specified timing as it is recorded. For example if you select
specified source will change the location. "3 , data will be corrected to the nearest 32nd note triplet
interval. If you select !, data will be corrected to the nearest
The range in which the beat and clock can be modified
quarter note interval.
will depend on the currently specified time signature.

$ $ $$ $ $ $ $
Meter [*/ *, 1/ 4...16/ 16] With a setting of $
This is the time signature at the current location of the song.
The time signature can be changed at each measure.

$ $ $ $ $ $ $ $
*/*: This will be displayed when you press the [REC/
WRITE] key. Specify this when you wish to use the time sig-
nature that is already recorded for that measure, and wish to
record without changing the time signature.
Since all of the musical data that is recorded into the
1/4–16/4, 1/8–16/8, 1/16–16/16: This is the time signature at
sequencer will be corrected to the specified timing resolu-
the current location of the song. After pressing the front
tion, coarse settings of this parameter will cause continuous
panel [REC/WRITE] key, specify the time signature here.
controllers such as pitch bend to be recorded in “stairstep”
Then press the [START/STOP] key to begin recording, and
fashion.
the specified time signature will be recorded on the Master
In such cases, use a setting of Hi to record, and then use
Track and on previously-recorded tracks. Be aware that if
“Quantize” (5.2–1b) to correct only the desired type of data
you press the [START/STOP] key during the pre-count to
(notes etc.). It is best to avoid recording at a stiff resolution
stop recording, the time signature will not be recorded.
to begin with.
Normally, you will specify the time signature when you
record the first track, and select */* when recording subse- ! (Tempo) [040…240, EXT]
quent tracks. This sets the playback tempo of the song and the tempo of
Recording from measure 2 of track 2 the arpeggiator.
when Meter = */* when Meter =7/8
040...240: When the “Tempo Mode” is Manu, this tempo will
Track 1 1 (4/4) 2 (3/4) 3 (4/4) Track 1 1 (4/4) 2 (3/4) 3 (4/4) 3 (4/4)
be used for recording and playback. When “Tempo Mode”
Track 2 1 (4/4) Recording
Track 2 1 (4/4) Recording is REC, this tempo will be recorded on the master track.
EXT: This will appear when “MIDI Clock” (GLOBAL 2.1–1a)
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) is External. The tempo of the internal sequencer will syn-
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) chronize with the MIDI Clock messages received from an
external sequencer etc. When “MIDI Clock” is Internal, the
above tempo setting (040...240) will be used.
If Tempo is selected as an alternate modulation source,
! = 120 will be the base value.

50
Tempo Mode [Auto, Manu, REC] Track Select [T01...T16: name, Master Track]
Auto: The tempo will follow the tempo of the Master Track. T01–T16: Select the track(s) that will record or play song
The tempo of the master track can be specified by using data.
“Event Edit” (5.2–1b) with Master Track chosen in “Track The track name can be specified using the “Rename Track”
Select,” (1.1–1c) or by the REC operation described below. (5.1–1c) procedure.
When Auto is selected, it will not be possible to modify the When you perform real-time recording on a single track, the
“! (Tempo)” setting while a song is playing or recording (or musical data will be recorded on the track you select here.
during standby). When you perform real-time recording on two or more
Manu (Manual): The “! (Tempo)” setting will be used. tracks simultaneously (☞“Multi REC” 1.1–6a), the “PLAY/
REC: Tempo changes will be recorded on the Master Track. MUTE/REC” (1.1–2(3)b) will select the recording track,
This can be selected if you set “Track Select” (1.1–1c) to T01– regardless of the setting you make here.
T016 and press the [REC/WRITE] key to enter Recording Master Track: Select the master track when you wish to use
Standby mode. the 5.2–1: Track Edit page menu commands to edit the
Start recording and adjust the “!” (Tempo)” value, or use the tempo track. When using real-time recording or step record-
REALTIME CONTROLS C-mode [TEMPO] knob to adjust ing, it is not possible to record the master track alone.
the tempo.
When you play the keyboard of this instrument and
This cannot be selected when the 1.1–6: Preferences page

SEQ
operate its controllers, the internal tone generator will
item “REC Setup” is set to Loop All Tracks.
sound according to the settings (program, level etc.) of
Tempo changes can also be created using “Event Edit” (5.2–
the tracks that are selected here (if “Status” 3.1–1a is
1b) or “Create/Ers. Ctrl” (5.2–1b).
INT or BTH), and other tracks whose MIDI channels
If you wish to record only the tempo changes, set “REC match will also sound at the same time (if “Status” is
Setup” (1.1–6a) to OverDub, and the tempo will be INT or BTH). Messages will also be transmitted on the

7.2 7.1 6.1 5.2 5.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.2 1.1
recorded on the master track without being affected by MIDI channels of these tracks (whose “Status” is EXT,
the musical data of “Track Select.” EX2 or BTH).

Selected Track Information


1.1–1b: Song Select This shows information on the “Track Select” that is cur-
rently selected for editing.
Song Select [000...199: name]
T (Track) No.: Bank No.: Prog No. and name
Indicates the song that you wish to record or play.
This displays the track number, and the bank, number, and
If you wish to create a new song, you can either select a
name of the program selected for that track.
number from the popup menu for which the song name is
blank, or use the numeric keys [0]–[9] to directly specify the Ch 01...16
song number, then press the [ENTER] key to access the dia- This shows the MIDI channel number specified for the track.
log box, and finally press the [F8] (“OK”) key.
If you wish to change the length of the song after creat- ■ 1.1–1d: UTILITY
ing it, execute “Set Song Length” (☞p.81, 5.2–1b).
When you create a new song, you may wish to set it
somewhat longer than you expect to need; then when
you are finished recording and editing, you can use
“Set Song Length” to specify the correct length.
If “MIDI Clock” (GLOBAL 2.1–1a) is Internal, changing
the song will cause Song Select and Song Position For details on how to select the desired utility function, refer
Pointer messages to be transmitted. If “MIDI Clock” is to “PROG 1.1–1c: UTILITY.”
External, Song Select messages can be received from
the specified source to change songs. When the song Memory Status
changes, tracks whose track status (“Status” (3.1–1a)) is This displays the remaining amount of sequencer memory.
EXT, EX2 or BTH will transmit Bank Select, Program
Change, Volume, Panpot, Poramento, Send1, 2, Post Solo Selected Track
IFX Pan, and Post IFX send 1, 2 messages on the MIDI The Solo function will alternate on/off each time you select
channel of the respective track. this command.
When checked, the Solo function will be turned on, and
only the currently selected track will sound. Other tracks
1.1–1c: RPPR (Real-time Pattern Play/ Rec), Track will be muted. To solo another track, select a parameter of
Select, Selected Track Information the desired track. “Selected Track Information” (1.1–1c) will
indicate [Solo].
RPPR [Off, On] To defeat the Solo function, select the “Solo Selected Track”
This turns the RPPR (Real-time Pattern Play/Recording) page menu command once again.
function on/off. RPPR lets you assign a pattern to each note
Even if multiple “SOLO On/Off” (1.1–2(3)b) settings
of the keyboard, so that the pattern will playback (or be
are On, turning on the Solo function here and selecting
recorded) when you press the appropriate key.
“SOLO On/Off” or the parameter of another track will
On (checked): The RPPR function will be on. If a pattern has cause only that track to be soloed and sounded.
been assigned to each key in the 5.1–2: RPPR Setup page,
pressing that key will perform the assigned pattern (☞5.1–2: If any tracks that have been muted by the Solo function
RPPR Setup). have a “Status” (3.1–1a) setting of EXT, EX2, or BTH,
the MIDI note-on/off messages of that track will not be
transmitted.

51
Rename Song Copy From Combi (Copy From Combination)
Here you can rename the selected song. A name of up to six- Copies the settings of the combination you specify to the set-
teen characters can be input. (☞BG p.43) tings of the currently selected song.

Delete Song 1 Select “Copy From Combi” to access the dialog box.

This command deletes the currently selected song.


1 Select “Delete Song” to access the dialog box.

2 In “Combi,” select the copy source combination.


3 Check or uncheck “with Effects” to specify whether effect
2 If you wish to execute the Delete Song command, press
and EQ settings will also be copied.
the [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”)
key. When you execute this command, the musical data, If this is checked, the insert effect, master effect, and mas-
setting data, and patterns etc. of the currently selected ter EQ settings will also be copied.
song will be erased, and the memory area allocated to 4 In “To,” select the copy destination tracks (1–8 or 9–16).
that song will be freed.
5 To execute the copy, press [F8] (“OK”) key. To cancel
Copy From Song without executing, press [F7] (“Cancel”) key.
Copies all settings and musical data from the song you spec- When you execute, the settings of the currently selected
ify to the currently selected song. song will be erased, and replaced by the settings of the
combination.
1 Select “Copy From Song” to access the dialog box.
Load Template Song
This command loads a template song as a song.
The built-in sequencer contains sixteen different preset tem-
plate songs (P00–15) that contain preset settings for pro-
grams and effects appropriate for various musical styles.
2 In “From,” select the copy source song number.
You are also free to create your own favorite settings for pro-
3 Select the data that will be copied. grams, track parameters, and effects, and save them as one
All: Copy all musical data (e.g., track events and pat- of sixteen user template songs (U00–15) (☞“Save as User
terns) and settings. Template Song”).
Without Track/Pattern Events: Only song settings other
1 Select “Load Template Song” to access the dialog box.
than Play Loop and RPPR will be copied.
4 To execute Copy Song, press [F8] (“OK”) key. To cancel
without executing, press [F7] (“Cancel”) key.
If you execute All, all musical data and settings of the
currently selected song will be erased, and replaced by
the copy source data. 2 In “From,” specify the template song that you wish to
If you execute Without Track/Pattern Events, song set- load.
tings other than Play Loop and RPPR will be erased, and 3 If you check “Copy Pattern to Track too?,” the “Copy
replaced by the copy source data. Pattern To Track” dialog box will appear automatically
after “Load Template Song” has been executed.

Preset Template Song Track No.: Name Program Corresponding Preset Pattern No.:Name
P00: Pop/Ballade Track01: Drums A020:Standard Kit 1 P00: Pop&Balad 1/Std ... P10: Pop(6/8) 3/Std
P01: Rock/Metal Rock Track01: Drums D020:Processed Kit P11: Rock 1/Process ... P21: Rock11/Process
P02: R & B Track01: Drums 1(Std 2) B020:Standard Kit 2 P22: R&B 1/Std2 ... P27: R&B 6/Std2
Track09: Drums 2(Std) A020:Standard Kit1 P28: R&B 7/Std ... P32: R&B11/Std
P03: Jazz Track01: Drums C020:Jazz/Brush Kits P33: Jazz 1/Jazz ... P39: Jazz 7/Jazz
P04: Latin Track01: Drums C020:Jazz/Brush Kits P40: Latin 1/Jazz ... P42: Latin 3/Jazz
P46: Latin 7/Jazz ... P47: Latin 8/Jazz
Track08: Percussion C100:Percussion Kit P43: Latin 4/Perc ... P45: Latin 6/Perc
P05: Reggae Track01: Drums B084:Drum'nBass Kit P48: Reggae 1/D'n'B ... P53: Reggae 6/D'n'B
P06: Country Track01: Drums A020:Standard Kit 1 P54: Country 1/Std ... P57: Country 4/Std
P07: Folk Track01: Drums A020:Standard Kit 1 P58: Folk 1/Std ... P61: Folk 4/Std
P08: European Trad. Track01: Drums A020:Standard Kit 1 P62: E.Trad 1/Std ... P67: E.Trad(3/4)2/Std
Track08: Percussion C100:Percussion Kit —
P09: Orchestral Track01: Percussion B100:Orchestra&Ethnic —
P10: Techno/Euro Beat Track01: Drums C004:House Kit P68: Techno 1/House ... P78: Techno11/House
P11: House Track01: Drums C004:House Kit P79: House 1/House ... P92: House14/House
P12: Drum'n'Bass Track01: Drums B084:Drum'n'Bass Kit P93: Drum'nBs 1/D'n'B ... P108: Drum'nBs16/D'n'B
P13: Acid Jazz Track01: Drums B020:Standard Kit 2 P109: AcidJazz 1/Std2 ... P120: AcidJazz12/Std2
P14: Hip Hop/Rap Track01: Drums B004:HipHop Kit P121: HipHop 1/HipHop ... P135: HipHop15/HipHop
P15: Big Beats Track01: Drums 1(Hip/Hop) B004:HipHop Kit P136: Bigbeat 1/HipHop ... P143: Bigbeat 8/HipHop
Track09: Drums 2(Tricky) A100:! {Tricky} Kit! P144: Bigbeat 9/Tricky ... P149: Bigbeat14/Tricky

52
If you execute without checking this, only the template Save Template Song (Save as User Template Song)
song you specified in step 2 will be loaded. This command saves the program selections, track parame-
4 To load the template song, press the [F8] (“OK”) key. To ters, and effect settings etc. of the song as a user template
cancel without loading, press the [F7] (“Cancel”) key. song U00–15.
When you execute, song settings other than Play Loop 1 Select “Save Template Song” to access the dialog box.
and RPPR will be copied.
If in step 3 you checked “Copy Pattern to Track too?”
and pressed the [F8] (“OK”) key, the “Copy Pattern To
Track” dialog box will appear.

2 In “To,” specify the user template song (U00–15) in which


the data will be saved.
3 To save the template song, press the [F8] (“OK”) key. To
cancel, press the [F7] (“Cancel”) key.
This dialog box is the same as in 5.1: RPPR, Pattern page, Be aware that when you execute this command, all set-
utility menu command “Copy To Track” (☞p.71). ting data of the save destination User Template Song will

SEQ
5 In “Pattern,” select the pattern that you wish to copy. If be erased and rewritten.
you press the [START/STOP] key, the selected pattern
FF/ REW Speed
will play.
In To “Track,” select the copy destination track. This allows you to set the speed at which fast-forward or
In “Measure,” specify the beginning measure of the copy rewind will occur when you press the [FF] key or [REW]
destination. key.

7.2 7.1 6.1 5.2 5.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.2 1.1
1 Select “FF/REW Speed” to access the dialog box.
Track 1 of all sixteen preset template songs contains a
drum category program. (In preset template songs P02,
P04, P08, and P15 drum category programs are speci-
fied for multiple tracks.)
The pattern names of the 150 preset patterns indicate
the musical genre and part of the optimal drum cate- 2 In “Speed,” specify the speed (relative to the playback
gory program. (☞The table in the previous page) tempo) at which fast-forward and rewind will occur.
For example in P00: Pop&Balad 1/Std, the musical With a setting of 2, this will occur at double the playback
genre is “Pop&Balad 1,” and “Std” is part of the name tempo; with a setting of 3, triple the tempo; and with a
of the drum category program that is most suitable. setting of 4, quadruple the tempo. However in sections
By loading the drum track for these preset template where the playback data is dense, the fast-forward or
songs and the corresponding preset patterns, you can rewind speed may slow down.
efficiently set up a drum track that is suited to each pre- 3 If “Ignore Tempo” is checked, the playback tempo and
set template song. note length will be ignored, and fast-forward and rewind
6 To execute, press the [F6] (“Copy”) key. When you exe- will be performed as fast as possible. The speed of fast-
cute, “Measure” will count up automatically. You may forward and rewind will differ between sections where
then copy patterns as well. To exit the command, press the playback data is dense and sections where it is sparse.
the [F7] (“Exit”) key. If this item is unchecked, fast-forward and rewind will
be performed at the speed you specify for “Speed.”
(Example)
Load preset template song P00: Pop/Ballade together 4 To execute the settings, press the [F8] (“OK”) key. To can-
with preset pattern P01: Pop&Balad 2/Std into song cel, press the [F7] (“Cancel”) key.
S000. Set Location (Set Location for Locate Key)
1 Select “Load Template Song” to access this dialog box. When you press the [LOCATE] key, you will move to the
2 In “From,” select P00: Pop/Ballade. location specified here.
3 Check “Copy Pattern to Track too?” 1 Select “Set Location” to access the dialog box.
4 Press the [F8] (“OK”) key to access the “Copy Pattern To
Track” dialog box.
5 Set “Pattern” to Preset to select preset patterns, and
select one of the patterns P00: Pop&Balad 1/Std–
P07: Pop&Balad 8/Std for the pattern name. (Preset tem- 2 In “Location,” specify the location to which you will
plate song P00: Pop/Ballade specifies program A020: move when you press the [LOCATE] key. If you specify
Standard Kit 1 for track 1.) If you wish to play the 001:01:000, you will move to the beginning of the song
selected pattern, press the [START/STOP] key. If you when you press the [LOCATE] key.
wish to adjust the tempo, use the [TEMPO] knob. 3 To execute the settings, press the [F8] (“OK”) key. To can-
For this example, select P01: Pop&Balad 2/Std. cel, press the [F7] (“Cancel”) key.
6 Set To:”Track” to 01, and “Measure” to 001.
7 Press the [F6] (“Copy”) key once. The eight-measure pre-
set pattern P01: Pop&Balad 2/Std has now been copied
to the song. “Measure” will count-up automatically.
By repeating steps 5 and 7 you can continue to copy
other patterns. When you press the [F7] (“Exit”) key, the
dialog box will close.

53
Even when this dialog box is not opened, you can set 1.1–2: Prog...8 (Program T01...08)
this value to the current location by holding down the
[ENTER] key and pressing the [LOCATE] key. 1.1–3: Prog...16 (Program T09...16)
GM Initialize Here you can make basic settings such as selecting the pro-
This command transmits a GM System On message to gram used by each track.
Sequencer mode, resetting all tracks to the GM settings
(refer to the table below).
1.1–2a
In Sequencer mode when a GM System On message is 1.1–2b
received from an external device or the tone generator 1.1–1c
will be reset to the GM settings in the same way as
when this command is executed (However even in 1.1–2c
these cases, the parameters of the 7.2: Master Fx will not
be reset).
1.1–2(3)a: Program
Program Select
[A...D/ 000...127, G001...128, g001...g128:d]
Here you can select the program that will be used by each
track.
When this parameter is selected, you can use the VALUE
controller to make a selection. At this time, the BANK
SELECT key LEDs will light to indicate the bank of the
selected program.
The track number and the abbreviated category name of the
selected program are displayed above “Program Select.”
By holding down the [TIMBRE/TRACK] key and
pressing a [F1](T1/T9)–[F8](T8/T16) key you can move
to the corresponding track “T1”–“T16.”
The program bank can also be selected directly by using
the BANK [A]–[GM] keys.
When this parameter is selected, you can use the Utility
menu command “Select by Category” to select a pro-
gram by category. (☞p.2)

GM Initialize Parameters
Parameter Track1–9, 11–16 Track10
1.1 Program Select G001:Acoustic Piano g001: (d): STANDARD Kit
Pan C064 C064
Volume 100 100
3.1 Status – – The setting remains unchanged
3.2 Use Program’s Scale – – The setting remains unchanged
6.1 Arpeggiator Assign – – The setting remains unchanged
Other Arpeggiator parameters – – The setting remains unchanged
7.1 IFX/Indiv.Out BUS Select L/R DKit
Send1(MFX1) 0 0
Send2(MFX2) 40 40
IFX – – 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
7.2 MFX1 – – 16: St. Chorus
MFX2 – – 53: Rev Smth. Hall
Return1 – – 127
Return2 – – 050
Other Master Effect and Master EQ parameters – – Default settings

54
The program you select here will be used when the song is Select by Category
played or recorded from the beginning. If the program is Select the program for each track by category.
changed while recording, the program change will be This will appear and can be selected when “Program Select”
recorded as musical data, and the program will change dur- is selected. (☞PROG 1.1–1a)
ing playback. You can also change the program manually
during playback. However if program change command is
already recorded, the program will change at that point.
If the “Status” (3.1–1(2)a) is INT or BTH, the program
1.1–4: Mix..8 (Mixer T01...08)
can be specified by receiving a MIDI program change. 1.1–5: Mix..16 (Mixer T09...16)
When you switch songs or return to the beginning of
the song, tracks whose “Status” is EXT, EX2, or BTH Here you can set the pan and volume of each track.
will transmit the bank and program number via MIDI. The pan and volume that you specify here will be used
Tracks whose “Status” is EX2 will display the Bank as when you playback or record from the beginning of the
“–,” and will transmit via MIDI the bank number speci- song. If you change the settings during recording, the
fied by “Bank (EX2) MSB” and “Bank (EX2) LSB” in the changes will be recorded as sequencer data, and pan and
Param1 page (3.1–1(2)a). volume will change during playback. You can also change
the settings during playback. However when the song

SEQ
reaches a location where pan or volume data was recorded,
1.1–2(3)b: PLAY/ MUTE/ REC, SOLO On/ Off the settings will change as recorded.

PLAY/ MUTE/ REC [PLAY, MUTE, REC]


Specifies the mute status of each track, and select the record-

7.2 7.1 6.1 5.2 5.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.2 1.1
ing tracks for multi-track recording. During playback or sin- 1.1–4a
gle track recording (normal recording), you can select PLAY 1.1–1c
or MUTE for tracks other than the recording track. During
multi-track recording, each track can be set to PLAY, MUTE, 1.1–4b
or REC. Use the [INC][DEC] keys, or the [VALUE] dial to
change the setting.
PLAY: The track will play. 1.1–4(5)a: Pan, Volume
MUTE: The track will be muted (silent).
REC: This will appear in single track recording (normal Pan (Panpot) [RND, L001...C064...R127]
recording). It cannot be selected. Sets the pan of tracks 1–16.
If you have selected multi-track recording (Preference page
L001...C064...R127: A setting of L001 is far left, and R127 is
“Multi REC” on), select REC for the tracks that you wish to
far right. A setting of C064 will reproduce the pan setting of
record.
the oscillator in Program mode.
SOLO On/ Off [SOLO On, SOLO Off] OSC1 OSC2
OSC1: Amp1 Pan=L001 OSC1: Amp1 Pan=L032
OSC2: Amp2 Pan=R127
Turn the Solo function on/off. Left Center Right Left Center Right
OSC2: Amp2 Pan=R096

Select the box located at the right of “PLAY/MUTE/REC,” Pan (CC#10) Pan (CC#10)

and turn the setting on/off. A track for which this is turned C064 C064

on will show an “S” in the box, and only that track will L032 L032

sound. The other tracks will be muted. L001 L001

In the case of tracks whose “Status” (3.1–1(2)a) is BTH, R096 R096

EXT, or EX2, a track that has been muted by the Mute or R127 R127

Solo functions will not transmit note on/off data on the Left Center Right Left Center Right

MIDI channel specified for that track.


OSC1 OSC2
If the utility menu command “Solo Selected Track” OSC1: Amp1 Pan=C064
OSC2: Amp2 Pan=C064

(1.1–1d) is on, you cannot turn the solo mode off from Left Center Right

here, its solo state will take priority. To turn the solo Pan (CC#10)

mode off in this case, you must use the utility menu C064

command (1.1-1d) to deselect it. When you press L032

“SOLO On/Off” or a parameter of another track, only L001

that selected track will be soloed, and will be heard. R096

R127

Left Center Right

■ 1.1–2(3)c: UTILITY
If a mono-type insertion effect is inserted, this setting will be
ignored. In this case, the 7.1: Insert FX Setup page “Pan
(CC#8)” setting will adjust the pan of the sound following
the insertion effect. (☞p.158 “3. Mixer”)
RND: The sound will be panned randomly at each note-on.
If “Status” (3.1–1(2)a) is INT or BTH, CC#10 Panpot
☞ “Memory Status,” “Solo Selected Track,” “Rename Song,”
can be received to control the panning. When receiving
“Delete Song,” “Copy From Song,” “Copy From Combi,”
CC#10, a value of 0 or 1 is far left, 64 is center, and 127 is
“Load Template Song,” “Save Template Song,” “FF/REW
far right. When you change the song or return to the
Speed,” “Set Location” (1.1–1d)
beginning of the song, tracks whose “Status” is EXT,
For details on how to select the desired utility function, refer EX2 or BTH will transmit the pan you specify here as a
to “PROG 1.1–1c: UTILITY.” MIDI message (except for RND).

55
Volume [000...127] Manual Punch In
Set the volume of tracks 1–16. Select this method when you wish to use the [REC/WRITE]
key or a foot switch to re-record selected portions of a previ-
When “Status” (3.1–1(2)a) is INT or BTH, CC#7 Volume ously-recorded track.
can be received to control the volume. The volume of a Press the [START/STOP] key to playback the song. When
track is determined by multiplying the MIDI Volume you reach the measure at which you wish to begin re-writ-
(CC#7) and Expression (CC#11) values. When you ing the data, press the [REC/WRITE] key or the foot switch,
change the song or return to the beginning of the song, and recording will begin. When you are finished recording,
tracks whose “Status” is EXT, EX2 or BTH will transmit press the [REC/WRITE] key or the foot switch once again,
the volume you specify here as a MIDI Volume mes- and recording will end.
sage.
Auto Punch In
Select this method when you wish to automatically re-
■ 1.1–4(5)b: UTILITY
record selected portions of a previously-recorded track.
☞ “Memory Status,” “Solo Selected Track,” “Rename Song,” If you select Auto Punch In, the display will indicate “M***–
“Delete Song,” “Copy From Song,” “Copy From Combi,” M*** (Auto P Start Meas–Auto P End Meas)” at the right,
“Load Template Song,” “Save Template Song,” “FF/REW allowing you to specify the range of measures that will be
Speed,” “Set Location” (1.1–1d) rewritten.
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
1.1–6: Pref. (Preference) area (“Auto P Start Meas–Auto P End Meas”), rewriting it
with the newly recorded data.
Here you can select the method of real-time recording, and
set the metronome. Auto P Start Meas–Auto P End Meas
[M001...M999–M001...M999]
When “Recording Mode” is set to Auto Punch In, specify
1.1–6a
the measures at which recording will start and end.

1.1–1c Loop All Tracks


Select this method when you wish to repeatedly record a
1.1–6b specified area of a track, and continue adding data. This is
suitable for creating drum patterns, etc.
If you select Loop All Tracks, the display will indicate “
1.1–6a: Rec Setup, Metronome M***–M*** (Loop Start Meas–Loop End Meas)” at the right,
allowing you to specify the range of measures that will be
Indicates the method of real-time recording. recorded repeatedly.
Refer to BG p.64, 78 for the real-time recording. Press the [REC/WRITE] key and then the [START/STOP]
key, and playback will occur until the specified measure is
REC Setup: reached. Then, recording will occur repeatedly over the
Recording Mode [Over Write...Loop All Tracks] specified area (“Loop Start Meas”–“Loop End Meas”). Previ-
ously-recorded data will remain, and the new data will be
Over Write added. While recording, you can check “Remove Data” to
When recording for the first time, you will normally select delete unwanted data.
this method. If you check “Multi REC,” Loop All Tracks cannot be
To begin recording, press the [REC/WRITE] key and then selected.
the [START/STOP] key. To stop recording, press the
[START/STOP] key once again. Loop Start Meas–Loop End Meas
Be aware that when this method of recording is used to [M001...M999–M001...M999]
record on a track that already contains data, any previously
When the “Recording Mode” is set to Loop All Tracks, you
existing data will be erased from the measure at which you can specify the range of measures that will define the loop.
begin recording and from all subsequent measures.
Remove Data [Off, On]
Over Dub
You can delete unwanted musical data while recording with
Select this when you wish to add data to a previously- Loop All Tracks.
recorded track. This is available when Loop All Tracks is chosen in
To begin recording, press the [REC/WRITE] key and then “Recording Mode.”
the [START/STOP] key. To stop recording, press the
[START/STOP] key once again. On (checked): During recording, press the key (note num-
Previously-recorded data will remain in the track, and the ber) that corresponds to the musical data you wish to delete.
newly-recorded data will be added. All occurrences of that note number will be deleted for the
interval that you continue holding down the key.
Controller data can also be erased in a similar way. For
example while you move and hold the joystick in the X (hor-
izontal) direction, bender data will be erased. While you
apply pressure to the keyboard, after touch data will be
erased.
Also, you can press and hold down the [REC/WRITE] key
to delete all musical data for as long as the key is held.

56
Multi REC [Off, On]
On (checked): Multi-track recording mode will be selected. SEQ 1.2: Loop
Check this when you wish to record multiple tracks simulta-
neously.
Use this when you want to record a keyboard performance
using a Combi, or to realtime-record an arpeggiator perfor-
1.2–1: Loop...8 (Track Play Loop T01...08)
mance on multiple tracks of differing channels. 1.2–2: Loop...16 (Track Play Loop T09...16)
If this is checked, the “PLAY/MUTE/REC” (1.1–2(3)b) set-
ting of all tracks will be set to REC. When playing/recording a song, you can independently
At this time, use the Program page (1.1–2(3)b) “PLAY/ loop the playback of tracks 1–16.
MUTE/REC” setting to specify the tracks on which multi-
track recording will occur. (☞BG p.80)
The Multi REC setting also allows MIDI data on multiple
1.2–1a
channels to be received from a multi-track sequencer con-
1.1–1c
nected to this instrument, and recorded simultaneously on
multiple tracks.

SEQ
In this case, MIDI data of matching MIDI channels will be 1.2–1b
recorded on tracks whose “PLAY/MUTE/REC” (1.1–2(3)b) is
set to REC, regardless of the “Track Select” (1.1–1c) setting.
When you do this, it is a good idea to set “MIDI Clock” 1.2–1(2)a: Track Play Loop
(GLOBAL 2.1–1a) to External so that this instrument will
synchronize to the external sequencer. However, tempo Loop On [Off, On]

7.2 7.1 6.1 5.2 5.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.2 1.1
changes will not be recorded. Turn looping on/off for each track 1–16.
☞p.237 “Recording musical data from an external device”
On (checked): That track will loop between “Loop Start
Off (unchecked): Single track recording mode will be Meas” and “Loop End Meas.”
selected. Recording will occur on the track you select in
“Track Select.” Loop Start Meas (Loop Start Measure) [001...999]
Specifies the first measure of the loop.
Metronome:
Here you can adjust the metronome settings. Loop End Meas (Loop End Measure) [001...999]
Specifies the last measure of the loop.
Metronome Sound [REC Only, REC/ Play, Off]
REC Only: The metronome will sound only during record- Play Intro [Off, On]
ing. On (checked): After the measures before the specified “Loop
REC/Play: The metronome will sound during recording and Start Meas” are played once, the region of “Loop Start
playback. Meas” – “Loop End Meas” will be played repeatedly.
Off: The metronome will not sound. However, the pre-count For example, you can use this on a drum track to make it
will sound before recording begins. play a fill-in and then begin looping.
This parameter is linked to SEQ 5.1: RPPR Pattern “Metro- Off (unchecked): Playback will begin from the “Loop Start
nome Sound” (5.1–1b). Meas,” and will begin looping immediately.
Precount [0…2] This will be valid if “Track Play Loop” is checked and
Specifies the pre-count that will occur before recording “Loop Start Meas” is set to other than 001.
begins. Example)
With a setting of 0, recording will begin the instant you press When “Play Intro” is checked
the [START/STOP] key (after first pressing the [REC/
WRITE] key).

Level [000…127]
Sets the volume of the metronome.

BUS (BUS Select) [L/ R, L, R, 1, 2, 1/ 2] Track 1 will loop as follows.


Select the output destination of the metronome sound. M001–M002–M003–M004–M003–M004–M003–M004…
L/R, L, R: Output from OUTPUT (MAIN) L/MONO and/or When “Play Intro” is not checked
R.
1, 2, 1/2: Output from OUTPUT (INDIVIDUAL) 1, 2, respec-
tively.

■ 1.1–6b: UTILITY
Track 1 will loop as follows.
☞ “Memory Status”, “Solo Selected Track”, “Rename Song”, M003–M004–M003–M004–M003–M004–M003–M004...
“Delete Song”, “Copy From Song”, “Copy From Combi”,
“Load Template Song”, “Save Template Song”, “FF/REW
Speed”, “Set Location,” “GM Initialize” (1.1–1d)

57
■ 1.2–1(2)b: UTILITY Cue List Select [C00...C19: name]
Indicates the cue list that you wish to play.
☞ “Memory Status,” “Solo Selected Track,” “Rename Song,” When using a cue list to play songs, you must first load the
“Delete Song,” “Copy From Song,” “Copy From Combi,” necessary data into internal memory, either from SmartMe-
“Load Template Song,” “Save Template Song,” “FF/REW dia, or by a MIDI data dump from an external sequencer
Speed,” “Set Location” (1.1–1d) (☞p.129).
When “MIDI Clock” (GLOBAL 2.1–1a) is Internal,
selecting a cue list in this page will cause a Song Select
message (corresponding to the cue list number) and
SEQ 2.1: Cue List Song Position Pointer message to be transmitted. When
“MIDI Clock” is External, a Song Select message from
the specified source will switch cue lists.

Track Select [T01...T16: name]


2.1–1: Cue List
Indicates the track that you wish to play manually from the
The cue list allows you to playback multiple songs in succes- keyboard along with the playback. While a cue list is play-
sion. You can specify a number of repetitions for each song. ing, you can play along using the track settings and musical
This instrument allows you to create twenty cue lists. In a data of the song selected by the current “Step” (2.1–1c). The
single cue list you can freely connect up to 99 songs. track you select here will also follow the track settings and
Each unit in a cue list is called a “step,” and you can specify musical data of the currently playing song. If you wish to
a song number and a repeat (number of repetitions) for each continue using the same program to play along from the
step. keyboard with consecutive songs, specify the same program
For example you could create each part of a song (intro, mel- for this track in the songs of each Step.
ody A, melody B, break, solo backing, ending etc.) as an
individual song, and use a cue list to play the intro twice, Selected Track Information
melody A four times, melody B four times, the break twice, This area shows the program bank number, program num-
melody A four times ... etc. to produce the entire song. In ber, and name of the track selected in “Track Select.”
cases when you wish to change the structure of the song,
this Cue List function can help you work more efficiently. ! (Tempo) [040...240, EXT]
The utility menu command “Convert to Song” (2.1–1e) lets Specifies the tempo at which the song in the cue list will be
you convert the songs in a cue list into a single song. For played (☞“1.1–1a: Tempo”).
example you can use a cue list to create the backing, convert
the cue list to a song, and then add solo phrases on unused Tempo Mode [Auto, Manu]
tracks. Auto: Playback will use the tempo specified by the currently
playing song. During playback, the “! (Tempo)” setting can-
not be modified.
2.1–1a
Manu (Manual): Tempo specified in the song will be
2.1–1b ignored, and playback will use the tempo specified above
for “! (Tempo).”
2.1–1c

2.1–1d 2.1–1e
2.1–1b: Step, Cue Edit-Song, Rep (Cue Edit-Repeat),
FX (Cue Edit-Load FX)
2.1–1a: Location, Meter, Cue List Select, Track Here you can create and edit a Cue List. When creating a
Select, Selected Track Information, ! new cue list, the cue list will show a default cue list of two
(Tempo), Tempo Mode “Steps,” consisting of “Step” 01 (S000: NEW SONG) and
“Step” 02 (End).
Location [0001:01.000…9999:16.191] To create or edit a cue list, press the [F7] (“EDIT”) key. If you
This displays the current location within the selected cue now select a song for “Step” 01, that song will play once. If
list. From the left, the numbers indicate the measure, beat, you set “Rep (Repeat)” to 02, that song will play twice.
and clock. Press [F7] (“EDIT”), and with “Step” 01 selected, press the
The range of the beat and clock will depend on the time sig- [F4] (“Insert”) key to insert a step.
nature of the corresponding song. For example with “Song” S001 selected for “Step” 01, set
“Rep” to 02, select “Song” S002 for “Step” 02 and set “Rep”
When “MIDI Clock” (GLOBAL 2.1–1a) is Internal, to 02. When you press the [START/STOP] key, song 1 (S001)
changing the location within a cue list will cause Song will be played twice, and then song 2 will be played twice.
Position Pointer messages to be transmitted. If “MIDI In this way, arrange the desired songs in the cue list and
Clock” is External, this message can be received from specify the number of times that each will be played.
the specified source to change the location within the
cue list. Step [Measure] [01...100 (M0001...M9999)]
If the location exceeds the allowable data range of a This shows the step number and its beginning measure.
Song Position Pointer message, it will not be transmit- When playback is stopped, the step currently selected by
ted. “Step” (2.1–1c) will be a black triangle. When you use the
[START/STOP] key to begin playback, it will begin from this
Meter (Time Signature) [1/ 4...16/ 16]
step. While a cue list is playing, the playing step will be a
This displays the time signature of the currently-playing black triangle.
song. “M**** (Measure)” shows the beginning measure of each
step. It cannot be edited.

58
Cue Edit-Song 2.1–1c: Step (Current Step)
[S000...S199: name, End, Continue to Step01]
This selects the song for the step. It cannot be selected dur- Step (Current Step) [01...100]
ing playback. Indicates the step that will be inserted, cut or copied.
You can also select whether playback will end with the last If you wish to playback from a step in the middle of the cue
step in the cue list, or whether playback will return to “Step” list, select the desired step here, and press the [START/
01 and continue endlessly. STOP] key.
End: Playback will end.
Continue to Step01: Playback will return to “Step” 01, and Last Step [Last: 001...100]
the cue list will continue playing endlessly. To stop, press the This will be displayed at the right of “Step” for the last step.
[START/STOP] key.

Rep (Cue Edit-Repeat) [01...64, FS] 2.1–1d: EDIT/ DONE, INSERT, CUT, COPY
Specifies the number of times that the song of this step will
be repeated. EDIT/ DONE ([F7])
FS: A foot switch connected to the rear panel can be used to Press this to create or edit a cue list. When you press this key,
specify the point at which the song will stop repeating. the display will change from “EDIT” to “DONE.”

SEQ
When you press the foot switch, that repetition of the song When you are finished creating or editing the cue list, press
will finish playing, and then playback will continue to the “DONE” (the [F7] key).
next step. Set “Foot Switch Assign” (GLOBAL 6.1–1a) to Cue
Repeat Control. INSERT ([F4])
When you press the [F4] (“Insert”) key, the step data that
FX (Cue Edit-Load FX) [Off, On]

7.2 7.1 6.1 5.2 5.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.2 1.1
was temporarily saved in the buffer by the [F6] (“Copy”)
Specifies whether the effect settings will also change simul- key or [F5] (“Cut”) key will be inserted at the “Current
taneously when the playback advances to the song of the Step.” (If copy or cut has not been executed, default data
next step. will be inserted.)
On (checked): The effect settings will change to those of the
CUT ([F5])
newly selected song.
Off (unchecked): The effect settings will not change. When you press the [F5] (“Cut”) key, the “Current Step”
will be cut, and its data will be saved temporarily in the
Depending on the effect settings, a certain amount of buffer. If you Insert immediately after you cut, the data will
time may be required to switch effects. In this case, return the state in which it was before you cut.
playback will not be smoothly connected from song to
song. COPY ([F6])
If you want to transition smoothly from song to song, When you press the [F6] (“Copy”) key, the data of the “Cur-
check “FX” in “Step” 01. For the remaining steps, do rent Step” will be saved temporarily in the buffer.
not check “FX” With these settings, the effects will be Press the [F4] (“Insert”) key to insert the copied step into the
set before playback begins, so there will be no time lag “Step.”
to interrupt the smooth transition between songs.
Although it is not possible to change the effect types in
the middle of a cue list, you can use the dynamic modu- ■ 2.1–1e: UTILITY
lation function or MIDI control changes (effect control)
to apply reverb more deeply to certain songs, or raise
the LFO speed for other songs, etc. When using a cue
list to construct a song, we recommend this method.
When you execute the “Convert to Song” (2.1–1e) page
menu command, the effect settings of the “Step” 01
☞ “Memory Status,” “FF/REW Speed,” “Set Location” (1.1–
song will be specified at the beginning of the song that
1d)
is created by the conversion.
For details on how to select the desired utility function, refer
Even when “FX” is not checked, there may be a time
to “PROG 1.1–1c: UTILITY.”
lag in the transition from one song to the next, depend-
ing on the musical data in the song. There may also be Rename Cue List
cases in which the musical data at the transition
This command lets you rename the selected cue list.
between songs does not play at the correct timing. To
In the “Rename Cue List” dialog box, press the [F5] (“Name”)
fix this, you can edit the musical data of the song, or
key, and enter the desired name.
convert the cue list to a single song. If you use “Convert
You can input up to 16 characters. (☞BG p.43)
to Song” (2.1–1e) to convert the cue list to a song, there
will be no time lag at the transition, and the musical Delete Cue List
data will play at the correct timing.
This command deletes the currently selected cue list.
1 Select “Delete Cue List” to access the dialog box.

2 To execute, press the [F8] (“OK”) key. To cancel without


executing, press the [F7] (“Cancel”) key.
When you execute this command, the settings of the cur-
rently selected cue list will be deleted.

59
Copy Cue List grams, the playback result produced by a cue list may
This command copies the settings of another cue list to the not be reproduced when the cue list is converted into a
currently selected cue list. song.

1 Select “Copy Cue List” to access the dialog box. Converting “Track Play Loop” (SEQ 1, 2: Loop, Track Play-
loop page)
If “Loop On” is on, the area from “Loop Start Meas” to
“Loop End Meas” will be expanded as far as the last mea-
sure in the master track.

2 In “From,” specify the copy source cue list. Example)


If Track Play Loop is M005–M008, and the master track
3 To execute, press the [F8] (“OK”) key. To cancel without contains 10 measures, the data will be expanded from the
executing, press the [F7] (“Cancel”) key. beginning of the track as M005, 6, 7, 8, M005, 6, 7, 8,
When you execute this command, the settings of the cur- M005, 6.
rently selected cue list will be deleted and rewritten by
the copy source data. Converting patterns
Patterns in the “Step” 01 song will be copied as patterns of
Convert to Song (Convert Cue List to Song) the converted song.
This command converts a cue list consisting of multiple If there is a second or subsequent repeat for “Step” 01, or if
songs to a single song. Although it is not possible to record the tracks of “Step” 02 and subsequent songs contain pat-
additional tracks into a cue list, you can convert the cue list terns, they will be expanded into track events (musical
to a song, and then record solos etc. onto open tracks. Also, data).
it will be necessary to convert a cue list to a song if you wish “Transpose” settings
to write it to a SmartMedia as SMF data. During the conver- If the “Transpose” (3.1–5(6)a) of the tracks in “Step” 02 and
sion, the track and effect settings of the song specified for subsequent songs differ from the settings of the “Step” 01
“Step” 01 will be copied to the beginning of the resulting song, the note numbers of the note data will be shifted.
song, and all track and effect settings of subsequent songs
Example)
will use the settings of the song for “Step” 01.
If “Step” 01 “Transpose” = +1 and “Step” 02 “Transpose”
The “Convert to Song” command converts a cue list to a –1, the actual note numbers of the “Step” 02 track note
song as described below. data will be shifted downward by 2.
Song/ Track parameters will use the settings of the “Step” 01 If “Rep” is set to FS (Foot Switch), it will be converted as “Rep”
song. 1.
The MIDI channel of each track will be according to the When you execute “Convert to Song” to convert a cue
settings of the “Step” 01 song. If “Step” 02 and follow- list to a song, the repeat settings within the cue list and
ing songs have different settings, it may not be possible the pattern and track play loop settings of the songs
to convert the playback result of the cue list into a song. used by the cue list will all be converted into events
As far as possible, try to keep the MIDI channel assign- such as note data. For this reason, the amount of data
ments consistent between songs that you intend to use will increase significantly, and in some cases there may
as part of a play list that will be converted into a song. not be enough internal memory to perform the conver-
sion. In particular if the cue list uses long songs, or if
The following track parameters will not be reflected in the
numerous repeats have been specified, or if many pat-
conversion. As with the MIDI channels, we recommend that
terns are used by the songs, you should try executing
you keep these settings consistent between all songs in the
the “Convert to Song” command from time to time as
cue list.
you create the cue list, in order to verify the amount of
SOLO On/Off, Status, MIDI Channel, Bank(EX2) LSB, Bank(EX2) memory that will be required for the conversion.
MSB, Force OSC Mode, OSC Select, Delay, Use Programs Scale,
Key Zone, Velocity Zone, MIDI Filter1–4 A cue list that is longer than 999 measures cannot be
converted into a song.
Converting Song/ Track parameters into track events
1 Select the cue list (C00–C19) that you wish to convert into
Second and subsequent repetitions of the “Step” 01 song,
a song.
and the settings of “Step” 02 and following songs will all be
converted into track events (musical data). The following 2 Select “Convert to Song” to access the dialog box.
data will be converted.
Track1–16 Bank/Program, Pan, Volume, Portamento, Detune,
Bend Range
Master Track Tempo, Meter
3 In “To,” specify the song into which the cue list will be
If “Pan” (1.1–4(5)a) is RND, it will be converted to C064. If converted. If you select a new song, a dialog box will ask
“Portamento” (3.1–3(4)a) is PRG, or if “Bend Range” (3.1– you for confirmation. Press the [F8] (“OK”) key to create
5(6)a) is PRG or a negative value, these will not be reflected a new song and convert the cue list to that song.
in the conversion.
4 To execute the conversion, press the [F8] (“OK”) key. To
“Detune” (3.1–5(6)a) will be divided into RPN Fine cancel, press the [F7] (“Cancel”) key.
Tuning and Coarse Tuning, and converted into events. If you select an existing song that already contains set-
For example if the “Detune” setting of +600, Fine Tun- tings and/or musical data, executing this command will
ing will be 00 and Coarse Tuning will be 6. Fine Tuning erase the data of that song and rewrite it with the data
will modify the playback pitch (Detune). Coarse Tuning that was converted from the cue list. Before you execute,
will change the notes that are played back (Transpose). be sure that you will not be losing important data.
For this reason with some programs such as drum pro-

60
After executing this command, you can press the [COM-
PARE] key to return to the state before execution. SEQ 2.2: Controller
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 2.2–1: Ctrls (Controls)
song and want to repeat measures 5–8, you can use this Here you can set the B-mode functions that the REALTIME
command to create a four-measure song from that portion. CONTROL knobs [1]–[4] and the [SW1] key, [SW2] key, will
Then you can assign the resulting song to a step in a cue list, have in Sequencer mode.
and repeat it.
When these switches or knobs are operated during
1 In “Step,” select the desired step.
recording, the MIDI messages that you assign here will
2 Select “Copy Song” to access the dialog box. be recorded.

2.2–1a

SEQ
3 In “From Measure,” specify the first measure in the copy
source song. In “To End of Meas,” specify the last mea- 2.2–1b 2.2–1c
sure.
4 In “To,” specify the song into which the data will be con-

7.2 7.1 6.1 5.2 5.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.2 1.1
verted. If you select a new song, a dialog box will ask you 2.2–1b: Knob B Assign
for confirmation. Press the [F8] (“OK”) key to create a
new song and copy the data to that song. If you select an Here you can set the B-mode functions (mainly various con-
existing song that already contains settings and/or musi- trol changes) that the front panel REALTIME CONTROL
cal data, executing this command will erase the data of knobs [1]–[4] will have in Sequencer mode (☞p.221 “Real-
that song and rewrite it with the data from the copy time Control Knobs B Assign List”). The functions you spec-
source. Before you execute, be sure that you will not be ify here will operate when you rotate the front panel
losing important data. REALTIME CONTROL knobs [1]–[4] in B-mode.
Since the functions assigned to these knobs by the program
5 If you check “Replace to original Song in Cue” and exe-
of each track will not be valid, you can make new assign-
cute this command, the “Step” song will be replaced by
ments here.
the newly created song. If you execute without checking
this box, the newly created song can be selected later for Knob1-B (Knob1-B Assign) [Off...MIDI CC#95]
the desired step of the cue list.
Knob2-B (Knob2-B Assign) [Off...MIDI CC#95]
6 To execute the Copy Song operation, press the [F8]
Knob3-B (Knob3-B Assign) [Off...MIDI CC#95]
(“OK”) key. To cancel, press the [F7] (“Cancel”) key.
Knob4-B (Knob4-B Assign) [Off...MIDI CC#95]
☞ “Knob B Assign” (PROG 2.2–1a).

2.2–1b: SW1/ 2 Assign


Here you can assign functions to the front panel [SW1] and
[SW2] keys (☞p.220 “SW1, SW2 Assign List”).
Since the functions assigned to these switches and knobs by
the program of each track will not be valid, you can make
new assignments here.

SW1 (SW1 Assign) [Off, ..., AfterT Lock]


SW1 Mode [Toggle, Momentary]
SW2 (SW2 Assign) [Off, ..., AfterT Lock]
SW2 Mode [Toggle, Momentary]
☞ “SW 1/2 Assign” (PROG 2.2–1b).

2.2–1c: UTILITY

☞ “Memory Status,” “Solo Selected Track,” “Rename Song,”


“Delete Song,” “Copy From Song,” “Copy From Combi,”
“Load Template Song,” “Save Template Song,” “FF/REW
Speed,” “Set Location” (1.1–1d)

61
MIDI Channel [01…16]
SEQ 3.1: Param1 Specifies the MIDI channel that the track will use to transmit
and receive musical data. The MIDI channel you specify
here will be the receive channel when “Status” is INT, the
transmit channel when it is EXT or EX2, and the receive/
3.1–1: MIDI..8 (MIDI T01...08) transmit channel when it is BTH. Tracks set to INT which
3.1–2: MIDI..16 (MIDI T09...16) have the same MIDI channel will sound and be controlled
identically when they receive MIDI data or data from the
Here you can make MIDI-related settings for each track. sequencer tracks.

Bank(EX2) MSB [000...127]


Bank(EX2) LSB [000...127]
3.1–1a
When “Status” is set to EX2, this sets the bank number that
1.1–1c
will be transmitted. When “Status” is other than EX2, this
setting has no effect.
3.1–1b

3.1–1(2)b: UTILITY
3.1–1(2)a: Status, MIDI Channel, Bank(EX2) MSB/
LSB
Status [INT, Off, BTH, EXT, EX2]
This sets the status of MIDI and the internal tone generator
for each track.
☞ “Memory Status,” “Solo Selected Track,” “Rename Song,”
INT: When the musical data recorded in the track is played
“Delete Song,” “Copy From Song,” “Copy From Combi,”
back, or when you use “Track Select” (1.1–1c) to select a
“Load Template Song,” “Save Template Song,” “FF/REW
track that is set to INT and play the keyboard and operate
Speed,” “Set Location” (1.1–1d)
the controllers, the internal tone generator of this instrument
will sound, and MIDI data will not be transmitted to an
external device.
Off: The program will not sound, nor will MIDI data be 3.1–3: OSC..8 (OSC T01...08)
transmitted.
BTH: The operation of both INT and EXT will be per- 3.1–4: OSC..16 (OSC T09...16)
formed. When the musical data recorded in the track is
These parameters specify how each track will be sounded.
played back, or when you select a track that is set to BTH
and play the keyboard and operate the controllers, the inter-
nal tone generator of this instrument will sound, and at the
same time MIDI data will also be transmitted to an external 3.1–3a
device.
EXT: When the musical data recorded in the track is played 1.1–1c
back, or when you select a track that is set to EXT and play
the keyboard and operate the controllers, MIDI data will be 3.1–3b
transmitted to an external device, but the internal tone gen-
erator of this instrument will not sound.
When you switch songs or reset to the beginning of the
song, tracks that are set to EXT will transmit program
3.1–3(4)a: Force OSC Mode, OSC Select, Porta-
change, volume, panpot, portamento, send 1, 2, post IFX mento
pan, and post IFX send 1, 2 MIDI messages.
EX2: “Bank Select” will be enabled. Instead of the A–g: (d)
Force OSC Mode [PRG, Poly, Mono, LGT]
bank numbers that can be selected on this instrument, the Indicates the “Voice Assign Mode” (PROG 2.1–1b) of the
bank number you specify here will be transmitted. In other program selected for each track 1–16 (☞COMBI 3.1–2a).
respects this is the same as EXT.
OSC Select [Both, OSC1, OSC2]
MIDI data is transmitted and received on the MIDI Specifies the “Oscillator Mode” (PROG 2.1–1a) of the pro-
channel that is specified separately for each track by gram selected for each track 1–16. If the “Oscillator Mode” is
“MIDI Channel.” Double, you can use this setting to make only one or the
other oscillator sound (☞COMBI 3.1–2a).
Recorded data
Keyboard and controller Received data
operations
Status Internal tone MIDI OUT Internal tone MIDI OUT
generator generator
INT ● × ● —
EXT, EX2 × ● × —
BTH ● ● ● —

62
Portamento [PRG, Off, 001...127] “Transpose” and “Detune” settings do not affect the
Specifies the portamento effect for each track 1–16 note data that is transmitted via MIDI. “Transpose” and
(☞COMBI 3.1–2a). “Detune” are controlled by received MIDI RPN mes-
sages. The “Oscillator Mode” (PROG 2.1–1a) of the pro-
The portamento setting you make here will be used grams selected for tracks 1–16 will be controlled as
when the song is played or recorded from the begin- follows.
ning. If you change the setting while recording, it will
be recorded as part of the musical data. (However if • If “Oscillator Mode” is Single or Double, MIDI RPN
you set this to PRG, it will not be recorded.) You can Coarse Tune messages can be received to control and
change this setting during playback. However if you change the “Transpose” setting, and Fine Tune
come to any Portamento On/Off data or Portamento messages to control and change the “Detune” setting.
Time data that was recorded, the settings will change to • If “Oscillator Mode” is Drums, MIDI RPN Coarse Tune
the recorded values. and Fine Tune messages can be received to control and
When the track whose “Status” (3.1–1a) is INT or BTH, change the “Detune” setting. The range of control will
MIDI control change (CC) #05 (Portamento Time) and be ±1 octave when Coarse Tune and Fine Tune are
CC#65 (Portamento Switch) can be received to control added.
this and change the setting. (If the setting is PRG,

SEQ
CC#05 Portamento Time will not be received.) Bend Range [PRG, –24...+24]
When you switch songs or return to the beginning of Specifies the range of pitch change that will occur when the
the song, tracks whose “Status” is BTH, EXT, or EX2 pitch bender is operated.
will transmit this setting via MIDI. If this is Off, CC#65
PRG: The pitch range specified by the program will be used.
with a value of 0 will be transmitted. If this is 001–127, a
–24–+24: Regardless of the setting of the program, pitch
CC#65 of 127 and CC#05 of 1–127 will be transmitted.

7.2 7.1 6.1 5.2 5.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.2 1.1
bending will use the range you specify here.
If this is set to PRG, nothing will be transmitted.
This data is transmitted on the MIDI channel specified This setting can be controlled and changed by received
for each track by “MIDI Channel” (3.1–1a). MIDI RPN Pitch Bend Range messages. (These mes-
sages will not be received if the setting is PRG.)

3.1–3(4)b: UTILITY
3.1–5(6)b: UTILITY
☞ “Memory Status,” “Solo Selected Track,” “Rename Song,”
“Delete Song,” “Copy From Song,” “Copy From Combi,”
“Load Template Song,” “Save Template Song,” “FF/REW
Speed,” “Set Location” (1.1–1d)

3.1–5: Ptch..8 (Pitch T01...08) ☞ “Memory Status,” “Solo Selected Track,” “Rename Song,”
“Delete Song,” “Copy From Song,” “Copy From Combi,”
3.1–6: Ptch..16 (Pitch T09...16) “Load Template Song,” “Save Template Song,” “FF/REW
Here you can make pitch-related settings for each track. Speed,” “Set Location” (1.1–1d)
For details on how to select the desired utility function, refer
to “PROG 1.1–1c: UTILITY.”
3.1–5a
Detune BPM Adjust
1.1–1c If the program of a track uses a phrase or rhythm loop multi-
sample or sample created by adjusting the BPM in Sampling
3.1–5b mode (if the separately sold EXB-SMPL option is installed)
or loaded in Media mode, this command adjusts the BPM.
“Detune BPM Adjust” adjusts the BPM of the phrase or
3.1–5(6)a: Transpose, Detune, Bend Range rhythm by changing the pitch.
This command is available for a track when the “Detune”
Transpose [–24...+24] setting of that track is selected. When you execute this com-
Adjusts the pitch of each track in semitone steps. mand, the selected “Detune” value will be adjusted.
12 steps are one octave. For the procedure, refer to “Detune BPM Adjust” (COMBI
3.1–3b).
Detune (BPM Adj.) [–1200... +1200]
Adjusts the pitch of each track in one-cent steps from the
normal pitch.
0: Normal pitch.
You can use the “Detune BPM Adjust” (3.1–5(6)b) page
menu command to make a calculation in BPM units
and set Detune automatically.

63
SEQ 3.2: Param2 SEQ 3.3: Key Zone
Here you can specify the range of keys that will be sounded
by each track.
3.2–1: Othr..8 (Other T01...08) Top/Bottom Key settings specify the range of notes that will
be sounded by tracks 1–8, 9–16, and Top/Bottom Slope set-
3.2–2: Othr..16 (Other T09...16) tings specify the range from the top/bottom key until the
Here you can make additional settings for each track. original volume is reached.
These settings do not affect MIDI transmission/recep-
3.2–1a
tion. All note data that is received will be recorded into
the internal sequencer, and all note data from the inter-
3.2–1b
nal sequencer or from the keyboard will be transmitted.
1.1–1c

3.2–1c
3.3–1: Key..8 (Key T01...08)
3.2–1(2)a: Delay [ms], Use Prog’s Scale 3.3–2: Key..16 (Key T09...16)
Delay [ms] (Delay Time) [0000...5000, KeyOff]
3.3–1a
Specifies a delay time from when a track receives a note-on
3.3–1b
until it actually sounds.
KeyOff: The sound will begin when note-off occurs. In this 1.1–1c
case, the sound will continue indefinitely unless the amp EG
Sustain Level of the program is other than 0. This setting is 3.3–1c
useful for simulating harpsichord sounds.
Normally you will leave this at 0.
3.3–1(2)a: Key Zone Map
Use Prog’s Scale (Use Program’s Scale) [On, Off]
Each track can use the scale that is specified for the program This shows the range of note data that will sound the cur-
by “Type.” rently selected track.
On (checked): The scale of the program will be used. The note range that will be sounded is shown as a line, and
Off (unchecked): The scale specified by “Type” (3.2–1(2)b) the slope portion is grayed. (☞p.39 COMBI 3.3–1a)
will be used.
3.3–1(2)b: Top Key, Bottom Key
3.2–1(2)b: Scale
Top Key [C–1...G9]
Specifies the scale that will be used for the song. Specifies the top key (upper limit) that will be sounded by
each track 1–8, 9–16.
Type (Song’s Scale)
[Equal Temperament...User Octave 15] Bottom Key [C–1...G9]
Indicates the type of scale (☞“Type” PROG 2.1–1c). Specifies the bottom key (lower limit) that will be sounded
by each track 1–8, 9–16. For a diagram of Key and Slope
Key [C…B] parameters, refer to “COMBI 3.3: Ed-Key Zone.”
Indicates the tonic key of the selected scale (☞“Key” PROG
You can also enter a value for these parameters by play-
2.1–1c).
ing a note while you hold down the [ENTER] key.
Random [0…7]
As this value is increased, an increasingly random devia- ■ 3.3–1(2)c: UTILITY
tion will be added to the pitch at each note-on (☞“Random”
PROG 2.1–1c). ☞ “Memory Status,” “Solo Selected Track,” “Rename Song,”
“Delete Song,” “Copy From Song,” “Copy From Combi,”
“Load Template Song,” “Save Template Song,” “FF/REW
■ 3.2–1(2)c: UTILITY Speed,” “Set Location” (1.1–1d)
☞ “Memory Status,” “Solo Selected Track,” “Rename Song,”
“Delete Song,” “Copy From Song,” “Copy From Combi,”
“Load Template Song,” “Save Template Song,” “FF/REW
Speed,” “Set Location” (1.1–1d)

64
3.3–3: Slp..8 (Slope T01...08)
SEQ 3.4: Vel Zone
3.3–4: Slp..16 (Slope T09...16)
Top/Bottom Velocity specify the range of velocities that will
be sounded by tracks 1–8 and 9–16, and Top/Bottom Slope
specify the range over which the volume will be adjusted.
3.3–3a
These settings do not affect MIDI transmission/recep-
1.1–1c tion. All note data that is received will be recorded into
the internal sequencer, and all note data from the inter-
3.3–3b nal sequencer or from the keyboard will be transmitted.

3.3–3(4)a: Top Slope, Bottom Slope


3.4–1: Vel..8 (Vel T01...08)
Top Slope [00...72] 3.4–2: Vel..16 (Vel T09...16)
Specifies the key range (12 is one octave) from the top key

SEQ
until the original volume is reached.
3.4–1a
Bottom Slope [00...72]
3.4–1b
Specifies the key range (12 is one octave) from the bottom
1.1–1c
key until the original volume is reached.

7.2 7.1 6.1 5.2 5.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.2 1.1
3.4–1c
■ 3.3–3(4)b: UTILITY
☞ “Memory Status,” “Solo Selected Track,” “Rename Song,”
“Delete Song,” “Copy From Song,” “Copy From Combi,” 3.4–1(2)a: Velocity Zone Map (1)
“Load Template Song,” “Save Template Song,” “FF/REW
Speed,” “Set Location” (1.1–1d) This shows the range of velocities that will sound the cur-
rently selected track.
The velocity range that will be sounded is shown as a line,
and the slope portion is grayed. (☞p.40 COMBI 3.4–1a)
3.3–5: Review
3.4–1(2)b: Top Velocity, Bottom Velocity
3.3–5a Top Velocity [1…127]
Specifies the maximum velocity that will be sounded by
each track 1–8, 9–16.
3.3–5b Bottom Velocity [1…127]
Specifies the minimum velocity that will be sounded by
each track 1–8, 9–16.
3.3–5a: Key Zone Map (All) For a diagram of these parameters, refer to “COMBI 3.4: Ed-
Vel Zone.”
T1...16
This shows the range of note data that will be sounded by You can also enter a value for these parameters by play-
tracks 1–16. The note range that will be sounded is shown as ing a note while you hold down the [ENTER] key.
a line, and the slope portion is grayed.
■ 3.4–1(2)c: UTILITY
■ 3.3–5b: UTILITY
☞ “Memory Status,” “Solo Selected Track,” “Rename Song,”
☞ “Memory Status,” “Solo Selected Track,” “Rename Song,” “Delete Song,” “Copy From Song,” “Copy From Combi,”
“Delete Song,” “Copy From Song,” “Copy From Combi,” “Load Template Song,” “Save Template Song,” “FF/REW
“Load Template Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d)
Speed,” “Set Location” (1.1–1d)

65
3.4–3: Slp..8 (Slope T01...08)
SEQ 4.1: MIDI Filter1
3.4–4: Slp..16 (Slope T09...16)
Here you can select whether or not to apply filtering to the
MIDI data received by tracks 1–16. For example even if two
tracks are receiving the same MIDI channels, one can be
3.4–3a made to respond to damper pedal activity while the other
does not.
1.1–1c
These MIDI filter settings have no effect on the MIDI
3.4–3b messages that have already been recorded.
These MIDI filter settings do not affect the transmission
of MIDI messages that have already been recorded.
3.4–3(4)a: Top Slope, Bottom Slope These settings affect the MIDI messages that are trans-
mitted when you adjust program, pan, volume, porta-
Top Slope [0…120] mento and send 1/2 parameters of a track whose
Specifies the range of values over which the volume will be “Status” (3.1–1(2)a) is set to BTH, EXT, or EX2.
adjusted from the top velocity until the original volume is On (checked): Reception of MIDI data is enabled.
reached. Tracks whose “Status” (3.1–1(2)a) is INT or BTH will receive
MIDI messages whose channel matches and whose types are
Bottom Slope [0…120] checked. The types of effect that are checked will be applied
Specifies the range of values over which the volume will be to the program of each track when this instrument’s control-
adjusted from the bottom velocity until the original volume lers are operated or when MIDI data is received. (The effect
is reached. dynamic modulation function is not affected by these set-
tings.) Settings that regulate MIDI transmission/reception of
this instrument itself are made in “MIDI Filter” (GLOBAL
■ 3.4–3(4)b: UTILITY 2.1–1b).
If the user-assignable controllers that can be filtered in the
☞ “Memory Status,” “Solo Selected Track,” “Rename Song,”
MIDI Filter 3 and MIDI Filter 4 pages are set to MIDI control
“Delete Song,” “Copy From Song,” “Copy From Combi,”
changes, filtering will be performed for these control
“Load Template Song,” “Save Template Song,” “FF/REW
changes. In this case, any control change filtering that is
Speed,” “Set Location” (1.1–1d)
being performed in the MIDI Filter 1 and MIDI Filter 2
pages will be given priority. Furthermore, if the same con-
trol change is assigned to multiple controllers for which
3.4–5: Review there are filter settings in the MIDI Filter 3 and 4 pages,
checking any one of these will enable that control change.
Off (unchecked): Reception of MIDI data is disabled.

3.4–5a

4.1–1: M1–1..8 (MIDI Filter1–1 T01...08)


3.4–5b 4.1–2: 1–1..16 (MIDI Filter1–1 T09...16)

3.4–5a: Velocity Zone Map (All)


4.1–1a
T1...16 1.1–1c
This shows the range of velocity that will be sounded by
tracks 1–16. The note range that will be sounded is shown as 4.1–1b
a line, and the slope portion is grayed.

■ 3.4–5b: UTILITY 4.1–1(2)a: Program Change, After Touch


☞ “Memory Status,” “Solo Selected Track,” “Rename Song,” Program Change [Off, On]
“Delete Song,” “Copy From Song,” “Copy From Combi,” Specifies whether or not MIDI program change messages
“Load Template Song,” “Save Template Song,” “FF/REW will be received.
Speed,” “Set Location” (1.1–1d)
After Touch [Off, On]
Specifies whether or not MIDI after touch messages will be
received.

66
■ 4.1–1(2)b: UTILITY JS-Y CC#02 [Off, On]
Specifies whether or not MIDI control message #2 (the –Y
☞ “Memory Status,” “Solo Selected Track,” “Rename Song,” axis of this instrument’s joystick, or assigned to B-mode of
“Delete Song,” “Copy From Song,” “Copy From Combi,” the REALTIME CONTROL knobs [1]–[4]) will be received.
“Load Template Song,” “Save Template Song,” “FF/REW
Speed,” “Set Location” (1.1–1d)
■ 4.2–1(2)b: UTILITY
☞ “Memory Status,” “Solo Selected Track,” “Rename Song,”
4.1–3: 1–2..8 (MIDI Filter1–2 T01...08) “Delete Song,” “Copy From Song,” “Copy From Combi,”
“Load Template Song,” “Save Template Song,” “FF/REW
4.1–4: 1–2..16 (MIDI Filter1–2 T09...16) Speed,” “Set Location” (1.1–1d)

4.2–3: 2–2..8 (MIDI Filter2–2 T01...08)


4.1–3a
4.2–4: 2–2..16 (MIDI Filter2–2 T09...16)

SEQ
1.1–1c

4.1–3b

4.2–3a

4.1–3(4)a: Damper, Portamento SW 1.1–1c

7.2 7.1 6.1 5.2 5.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.2 1.1
Damper CC#64 [Off, On] 4.2–3b
Specifies whether or not MIDI control change message #64
Hold (damper pedal) will be received.

Portamento SW CC#65 [Off, On] 4.2–3(4)a: JSX/ Bend as AMS, Ribbon


Specifies whether or not MIDI control change message #65 JSX/ Bend as AMS [Off, On]
Portamento On/Off will be received.
Allow incoming MIDI pitch bend messages (the X-axis of
this instrument’s joystick) to control the AMS (☞“Alternate
4.1–3(4)b: UTILITY Modulation Source”) that is specified for JS X. (This is not a
reception filter for MIDI pitch bend messages.)
☞ “Memory Status,” “Solo Selected Track,” “Rename Song,”
“Delete Song,” “Copy From Song,” “Copy From Combi,” Ribbon CC#16 [Off, On]
“Load Template Song,” “Save Template Song,” “FF/REW Specifies whether MIDI control change message #16 (speci-
Speed,” “Set Location” (1.1–1d) fied as the B-mode assignment of REALTIME CONTROLS
knobs [1]–[4], or the ribbon controller of a TRITON etc.) will
be received.

SEQ 4.2: MIDI Filter2 ■ 4.2–3(4)b: UTILITY


☞ “Memory Status,” “Solo Selected Track,” “Rename Song,”
“Delete Song,” “Copy From Song,” “Copy From Combi,”
4.2–1: M2–1..8 (MIDI Filter2–1 T01...08) “Load Template Song,” “Save Template Song,” “FF/REW
Speed,” “Set Location” (1.1–1d)
4.2–2: 2–1..16 (MIDI Filter2–1 T09...16)

4.2–1a
1.1–1c

4.2–1b

4.2–1(2)a: JS+Y, JS-Y


JS+Y CC#01 [Off, On]
Specifies whether or not MIDI control message #1 (the +Y
axis of this instrument’s joystick, or assigned to B-mode of
the REALTIME CONTROL knobs [1]–[4]) will be received.

67
SEQ 4.3: MIDI Filter3 SEQ 4.4: MIDI Filter4
Specifies whether the A- and B-mode operations of REAL-
TIME CONTROLS knobs [1]–[4] will be received. MIDI con-
trol messages are fixed as the A-mode operation of each 4.4–1: M4–1..8 (MIDI Filter4–1 T01...08)
knob. In B-mode the knobs correspond to the messages you
assign in the 2.2: Controller Controls page.
4.4–2: 4–2..16 (MIDI Filter4–1 T09...16)

4.3–1: M3–1..8 (MIDI Filter3–1 T01...08) 4.4–1a

4.3–2: 3–1..16 (MIDI Filter3–1 T09...16) 1.1–1c

4.3–3: 3–2..8 (MIDI Filter3–2 T01...08) 4.4–1b

4.3–4: 3–2..16 (MIDI Filter3–2 T09...16)


4.4–1(2)a: SW1, SW2
SW1, SW2 [Off, On]
4.3–1a
Specifies whether or not the effect of the [SW1] and [SW2]
1.1–1c keys will be received. The function of these keys can be set
in the 2.2: Controller page. This is valid when the switches
4.3–1b are set to SW1 Mod.(CC#80), SW2 Mod.(CC#81) or
Porta.SW(CC#65).

4.3–1(2)a: Real-time Control Knob 1, 2 ■ 4.4–1(2)b: UTILITY


Knob1 [Off, On] ☞ “Memory Status,” “Solo Selected Track,” “Rename Song,”
Specifies whether or not the A-mode MIDI control change “Delete Song,” “Copy From Song,” “Copy From Combi,”
message #74 (this instrument’s low pass filter cutoff fre- “Load Template Song,” “Save Template Song,” “FF/REW
quency) and the B-mode MIDI control change message will Speed,” “Set Location” (1.1–1d)
be received.

Knob2 [Off, On]


Specifies whether or not the A-mode MIDI control change
4.4–3: 4–2..8 (MIDI Filter4–2 T01...08)
message #71 (this instrument’s low pass filter resonance or 4.4–4: 4–2..16 (MIDI Filter4–2 T09...16)
high pass filter cutoff frequency) and the B-mode MIDI con-
trol change message will be received.

4.3–3(4)a: Real-time Control Knob 3, 4 4.4–3a


1.1–1c
Knob3 [Off, On]
Specifies whether or not the A-mode MIDI control change 4.4–3b
message #79 (this instrument’s filter EG intensity) and the B-
mode MIDI control change message will be received.

Knob4 [Off, On] 4.4–3(4)a: Foot Pedal/ Switch, Other Control


Specifies whether or not the A-mode MIDI control change Change
message #72 (the release time of this instrument’s filter and
amp EG’s, release time) and the B-mode MIDI control Foot Pedal/ Switch [Off, On]
change message will be received. Specifies whether or not the effect of the ASSIGNABLE
PEDAL/SWITCH will be received. The function of this
switch is set in GLOBAL 1.1: System Foot page. This is valid
■ 4.3–1(2)b, 4.3–3(4)b: UTILITY when the switch is set to a MIDI control change.
☞ “Memory Status,” “Solo Selected Track,” “Rename Song,” Other Control Change [Off, On]
“Delete Song,” “Copy From Song,” “Copy From Combi,”
Specifies whether or not MIDI controller messages other
“Load Template Song,” “Save Template Song,” “FF/REW
than those included in MIDI Filter 1–4 will be received.
Speed,” “Set Location” (1.1–1d)

■ 4.4–3(4)b: UTILITY
☞ “Memory Status,” “Solo Selected Track,” “Rename Song,”
“Delete Song,” “Copy From Song,” “Copy From Combi,”
“Load Template Song,” “Save Template Song,” “FF/REW
Speed,” “Set Location” (1.1–1d)

68
5–1–1b: Pattern, Metro. (Metronome)
SEQ 5.1: RPPR
Pattern:
On this instrument you can use preset patterns P000–149,
and user patterns U00–99. One song can contain up to one Pattern (Pattern Bank) [Preset, User]
hundred user patterns. Preset patterns suitable for use in a Indicates the type of pattern.
drum track are provided in memory, and can be selected If you select Preset, recording will not be possible. You will
from any song. be able to select and execute the utility menu commands
Preset patterns cannot be edited, but you may copy a preset “Copy Pattern,” “Bounce Pattern,” “Put To Track,” and
pattern to a user pattern, and edit. “Copy To Track.”
User patterns can be created by realtime recording (includ-
ing recording that uses the arpeggiator), step recording, the Pattern Select [P00...149, U00..U99]
Get From Track command (obtaining data from a track), or Indicates the pattern. User patterns can be renamed by the
the Copy Pattern command (copying from another pattern) utility menu command “Rename Pattern.”
(☞✢✧ ❐✎✘✐).
These patterns can be assigned to each key by the RPPR ! (Tempo) [040...240, EXT]
(Real-time Pattern Play/Recording) function and played by Specifies the playback tempo of the pattern. Refer to “!

SEQ
pressing a single key, and the resulting performance can be (Tempo)” (1.1–1a).
recorded on the sequencer (☞5.1–2: RPPR Setup page).
Resolution [Hi, "3 … ! ]
Specifies a correction to the timing when real-time recording
5.1–1: Pattern a pattern. (☞1.1–1a “Reso (Resolution)”)

7.2 7.1 6.1 5.2 5.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.2 1.1
If you wish to record pattern data, use “Pattern Bank” and Remove Data [Off, On]
“Pattern Select” to select a user pattern and pattern number. Deletes unwanted musical data while recording a pattern.
Next, use the “Pattern Param. (Pattern Parameter)” page (☞p.1.1–6a “Remove Data”)
menu command to set the number of measures in the pat-
tern and its time signature. Then you can perform real-time Metro. (Metronome):
recording in the Pattern Edit tab, or step recording by using The metronome parameters you specify here are linked with
the “Step Recording (Loop)” page menu command. Finally, the 1.1: Play/REC, Preference page Metronome parameters
use page menu commands as desired to perform event edit- (1.1–6a).
ing or other types of editing.
Metronome Sound [REC Only, REC/ Play, Off]
Specifies whether the metronome will sound during record-
5.1–1a ing or playback. (☞1.1–6a “Sound (Metronome Sound)”)

5.1–1b Precount [0...2]


Specifies the number of measures in the pre-count before
recording begins. (☞1.1–6a “Precount”)
5.1–1c
Level [000...127]
Specifies the volume of the metronome. (☞1.1–6a “Level”)
5.1–1a: Location, Song Select, Track Select
BUS (BUS Select) [L/ R, L, R, 1, 2, 1/ 2]
Location Specifies the output destination of the metronome sound.
This shows the current location of the selected pattern, in (☞1.1–6a “BUS”)
measure units.

Song Select [000…199: name] ■ 5.1–1c: UTILITY


Selects the song that you wish to use. (☞1.1–1b)

Track Select [T01…T16: name]


Selects the track that will record/play the pattern data.
(☞1.1–1c)
The program bank, number, and name of the selected track
will be displayed at the right. ☞ “Memory Status,” “Rename Track” (1.1–1d)
For details on how to select the desired utility function, refer
to “PROG 1.1–1c: UTILITY.”

69
Rename Pattern 2 Select “Erase Pattern” to access the dialog box.
Press the [F5] (“Name”) key to access the dialog box, and
rename the selected pattern.
You may input up to sixteen characters. (☞BG p.43)

Step Rec (Loop)


3 If you check “All Pattern,” all user patterns in the song
Here you can perform step recording into a pattern.
will be erased.
This is available when a user pattern is selected.
If “All Patterns” is not checked, only the pattern speci-
1 In “Pattern Bank” and “Pattern Select,” specify the pat- fied in 1 will be erased.
tern. By default, the pattern length is one measure. If you
4 To execute the Erase Pattern command, press the [F8]
wish to change the number of measures in the pattern,
(“OK”) key. To cancel, press the [F7] (“Cancel”) key.
set the Utility “Pattern Param.”
2 Select the “Step Rec (Loop)” to access the dialog box. Copy Pattern
This command copies the settings and musical data of the
Time signature
selected pattern to another pattern.
User patterns belong to a particular song, but you can use
the Copy Pattern command to use a pattern in another song.
While preset patterns cannot be edited, you can copy a pre-
set pattern to a user pattern and then edit and save it as a
user pattern. Be aware that when you execute the Copy Pat-
tern operation, the pattern settings and musical data of the
Location within the Note number Velocity Length (beat, clock) copy destination will be erased.
measure (beat, clock)
1 Select “Copy Pattern” to access the dialog box.
3 The remaining steps are the same as when step recording
a track. Refer to steps 3 and following of “Step Record-
ing” (5.2–1b). However, step recording a pattern differs
from step recording a track in that when you reach the
end of the pattern, you will automatically return to the
beginning of the pattern and continue recording, allow- 2 In From: “Pattern,” specify the copy source pattern. (By
ing you to add more data. default, this will be the pattern that was selected in the
page.)
Event Edit 3 In To: “Song” and “Pattern,” specify the copy destination
Here you can edit individual events of the musical data in a song and pattern. For “Pattern,” only user patterns U00–
pattern that you input. U99 can be specified.
Use “Pattern Bank” and “Pattern Select” to specify the pat-
4 To execute the Copy Pattern command, press the [F8]
tern that you wish to edit.
For the remaining steps, refer to “Event Edit” (5.2–1b). (“OK”) key. To cancel, press the [F7] (“Cancel”) key.

Pattern Param. (Pattern Parameter) Bounce Pattern


This command specifies the number of measures and the This command combines the musical data of the bounce
time signature of the selected pattern. source pattern and bounce destination pattern, and places
the combined musical data in the bounce destination. The
1 Use “Pattern Bank” and “Pattern Select” to specify the time signature and length of the pattern following execution
pattern. will be according to the settings of the bounce destination.
2 Select “Pattern Param.” to access the dialog box. If MIDI control data exists in the selected pattern and in the
bounce destination pattern, the resulting playback following
the bounce operation may produce unexpected results. We
recommend that you use “Event Edit” (5.1–1c) to prepare
the MIDI control data of the two patterns before executing
the Bounce Pattern command.
3 In “Length,” specify the number of measures in the pat-
1 Use “Pattern Bank” and “Pattern Select” to specify the
tern.
bounce source pattern.
4 In “Meter,” specify the time signature of the pattern.
2 Select “Bounce Pattern” to access the dialog box.
However, this time signature is only temporary, and
when you “put” the pattern in a track of a song, the pat-
tern will play according to the time signature of that mea-
sure.
5 To execute the Pattern Parameter settings, press the [F8]
(“OK”) key. To cancel, press the [F7] (“Cancel”) key. 3 In From “Pattern,” select the bounce source pattern. (By
default, the pattern that are selected in the page will be
Erase Pattern chosen.)
This command erases the musical data from the selected 4 In To: “Song” and “Pattern,” select the bounce destina-
pattern. tion song and pattern. For “Pattern,” only user patterns
1 Use “Pattern Bank” and “Pattern Select” to specify the U00–U99 can be specified.
pattern. 5 To execute the Bounce Pattern command, press the [F8]
(“OK”) key. To cancel, press the [F7] (“Cancel”) key.

70
Get From Track 4 In “Measure,” specify the first measure of the “put” des-
This command loads musical data from a track into the tination.
specified pattern. 5 To execute the Put to Track command, press the [F6]
1 Use “Pattern” and “Pattern Select” to specify the pattern. (“Put”) key. When you execute the command, “Measure”
will automatically count up. If you wish to, you can con-
2 In “Pattern Param.”, specify the pattern length of the tinue “putting” the pattern. To exit the command, press
“get” destination. the [F7] (“Exit”) key.
3 Select “Get From Track” to access the dialog box.
Copy To Track
This command copies the specified area of musical data
from the specified pattern to a track as musical data.
Unlike the Put To Track command, this command actually
writes the musical data of the pattern into the track, so that
4 In “From: Song,” select the “get” source song. you can edit the copied data in the track. Even if you later
5 In “Track,” select the “get” source track. edit the copy source pattern, the musical data of the song
will not be affected.
6 In “Measure,” specify the first measure of the “get”
When you execute the Copy to Track command, the musical

SEQ
source.
data will be affected as follows.
7 To execute the Get From Track command, press the [F8] • Musical data previously existing in the copy destination
(“OK”) key. To cancel, press the [F7] (“Cancel”) key. measures will be erased.
• The musical data that is copied will playback according
Put To Track to the time signature specified at the beginning of the

7.2 7.1 6.1 5.2 5.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.2 1.1
This command places a pattern into a track. copy destination measures.
Unlike the Copy to Track command, this command only
places the pattern number in the song, so that when play- Example: Copy the musical data of pattern 41 to measure 2
back reaches that point, the pattern will be recalled. The
musical data of the pattern will not actually exist in the Before Copy 1 2 3 4

track. Pattern 41
By creating patterns that contain frequently-used phrases or
drum patterns, and then placing them on the tracks, you can After Copy 1 2 3 4

conserve memory.
Be aware that when you edit a pattern, all locations in the
The procedure is the same as for the Put to Track command.
song where that pattern has been placed will be affected.
☞“Put To Track” (5.1–1c).
When you execute the Put to Track command, the musical
data will be affected as follows. Rename Track
• Musical data previously existing at the “put” destination Press the [F5] (“Name”) key to access the dialog box and
will be erased. rename the selected track.
• The pattern that you “put” will playback according to Up to sixteen characters can be input. (☞BG p.43)
the time signature that is specified by the measures of
the “put” destination.
• Control data such as pitch bend etc. (but not including
volume data) previously existing in the track will be
reset immediately before the measure at which the
pattern was “put.”
If you wish to use control data such as pitch bend in the
measures in which a pattern is “put,” you must first write
the control data into the pattern (☞BG p.81).
To delete a pattern that has been placed in a track you can
use “Erase Measure” (5.2–1b), specifying the area in which
the pattern was “put,” and setting “Kind” to All.

Example: Pattern 20 has been Put at measures 2, 4, and 6 of track 10. When those measures
are reached, pattern 20 is called and its data is played.

Track 10
1 2 3 4 5 6
(Drums)

Pattern 20

1 Select “Put to Track” to access the dialog box

2 In “Pattern Bank” and “Pattern Select,” select the “put”


source pattern. (By default, this will be the pattern
selected in page)
3 In “To: Track,” select the “put” destination track.

71
5.1–2: RPPR Setup KEY (Key Select) [C#2...C8]
Indicates the key that you wish to edit. The following
Here you can make settings for the RPPR (Real-time Pattern
parameters will apply to the key that you select here.
Play/Recording) function. RPPR lets you assign a pattern
The key can also be selected by holding down the [ENTER]
from a song to each key, and then playback patterns simply
key and playing a note on the keyboard.
by pressing individual notes on the keyboard. The results
can also be recorded. Assign [Off, On]
For each song, you can assign either a preset pattern or a
On (checked): When you play the key specified by “KEY,”
user pattern to each of the seventy two keys in the range
the pattern selected in “Pat (Pattern Bank),” “Pattern Select”
C#2–C8. For each key, you can specify the pattern, track
will be triggered.
number, and how the pattern will be played.
Off (unchecked): That key will sound the currently selected
The arpeggiator is not operated by patterns played track at the corresponding pitch, just as in normal Sequencer
back by RPPR. When RPPR is on, keys for which no mode.
pattern is assigned will sound the track selected by
“Track Select.” At this time, the arpeggiator will operate Pattern (Pattern Bank) [Pre, User]
if either arpeggiator A or B is selected for that track and Pattern Select [P000...149, U00...99]
turned on. RPPR will not be triggered by notes gener- Indicates the RPPR pattern for the key selected in “KEY.” If
ated by the arpeggiator. the selected user pattern contains no musical data, there will
be no sound when you press that key.
When Local Control is OFF (“Local Control On” GLO-
BAL 2.1–1a), the keyboard will not trigger RPPR pat- Track [T01...T16: name]
tern playback. Notes received at MIDI IN on the
Indicates the track that will be used for the RPPR pattern
channel of the track currently selected by “Track Select”
selected for the “KEY.” When you play the key, the pattern
will trigger patterns. If you have recorded only the trig-
will be played according to the settings of the track you
ger notes on an external sequencer and wish to play-
select here. Track settings are made in 1.1: Play/REC–4.4:
back the external sequencer to trigger RPPR patterns on
MIDI Filter 4. When you record in real-time with the RPPN
this instrument, set Local Control OFF.
function turned on, the data will be recorded on the track
If you want the note data generated by RPPR to be
you select here. (☞BG p.74)
recorded on the external sequencer, set Local Control
ON, and turn off the echo back function of the external M (Mode) [Once, Manual, Endless]
sequencer.
Specifies how the pattern of the specified “KEY” will be
In the RPPR Setup page, RPPR is turned on automati- played.
cally. This will be the same result as when the RPPR Once: When you press the key, the pattern will playback
check box (1.1–1c) in each page is checked. only once to the end.
Manual: The pattern will continue repeating as long as you
5.1–2a continue holding the key, and will stop when you release the
key.
5.1–2b Endless: The pattern will continue repeating even after you
release the key. To stop the pattern playback, press any note
below C2, or press the same key once again.
5.1–2c 5.1–2d
Same key, or C2
Key-on Key-off Key-off

5.1–2a: Track Select, (Tempo) Once


START STOP

Track Select [T01…T16: name] START STOP


Manual
Indicates the track that will trigger RPPR. When note data is
received on the MIDI channel of the selected track, the corre- START STOP
sponding pattern will play. (☞1.1–1c) Endless

The program bank, number, and name of the selected track


will be displayed at the right.
Shift [–12...+12]
! (Tempo) [040...240, EXT] Adjust the playback pitch of the pattern for the specified
Specifies the playback tempo for RPPR. Refer to “! (Tempo)” “KEY” in semitone steps over a range of ±1 octave. With a
(☞1.1–1a). setting of 0, the pattern will be played at its original pitch.

Sync [Off, Beat, Measure, SEQ]


5.1–2b: RPPR Setup Specifies how the pattern playback will be synchronized
when you press the specified “KEY.”
Keyboard & Assigned drawing
Off: The pattern will begin playing at the moment you press
This shows the selected key, and the keys to which a pattern
the note.
has been assigned by the RPPR function. (Assignments are
Beat: The pattern will synchronize to the beats of the pattern
not possible for the keys displayed in gray.)
that was started by the first key (i.e., the first note-on that
Non-assignable keys Assigned keys Non-assigned keys occurs from a condition where no notes of the keyboard are
pressed). This setting is suitable when you wish to play
phrase patterns in unison.
Selected key

72
Measure: The pattern will synchronize to the measures of Example)
the pattern that was started by the first key. This setting is Using RPPR to assign preset patterns P00, P01, and P02 to
suitable for rhythm, bass or drum patterns. keys
SEQ: The pattern will synchronize to the measures of the Before you begin, assign a drum program such as A036 to
sequencer song. track 1.

Sync settings 1 Select C#2 as the “KEY.” Check “Assign,” and set “Pat
Key 1 on Key 2 on Key 1 off (Pattern Bank),” “Pattern Select,” and “Track.”

Song

Patterns 1 and 2 are set to


Mode=Manual, and have
identical Sync settings
Sync: OFF
Pattern 1
2 Select D2 as the “KEY.”
3 Press the [F4](“REVERT”) key, and the “Pat (Pattern
Pattern 2
Bank),” “Pattern Select” (Pat: Pre, P00: Pop&Balad 1/Std)

SEQ
and “Track” (T01: Drums) that you selected in step 1
Sync: Beat
Pattern 1
will be copied automatically.
4 Change only the “Pattern Select.” Select “Pattern Select,”
Pattern 2
and press the [INC] key to select P01: Pop&Balad 2/Std.
5 Select D#2 as the “KEY.”

7.2 7.1 6.1 5.2 5.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.2 1.1
Sync: Measure 6 Press the [F4](“REVERT”) key, and the “Pat (Pattern
Pattern 1
Bank),” “Pattern Select” (Pat: Pre, P01: Pop&Balad 2/Std)
and “Track” (T01: Drums) that you selected in step 4
Pattern 2
will be copied automatically.
7 As you did in step 4, set “Pattern Select” to P02:
Sync: SEQ
Pattern 1 Pop&Balad 3/Std.
In this way you can use the “REVERT” to efficiently
Pattern 2 assign “Pat (Pattern Bank),” “Pattern Select” and “Track”
to each “KEY” of an RPPR Setup. This function is partic-
ularly convenient when the patterns you are assigning to
• When Beat or Measure are selected, pattern playback each key are numbered consecutively or close to each
will begin when you press the first key. The second and other, and are used in the same track, as in the example
subsequent patterns that are triggered from the shown above.
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 ■ 5.1–2d: UTILITY
Measure they will synchronize in steps of a measure.
• When SEQ is selected, the pattern will playback in ☞ “Memory Status” (1.1–1d), “Rename Track” (5.1–1c)
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
SEQ 5.2: Track Edit
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.
5.2–1: Track Edit
Stopping playback of a RPPR pattern Here you can edit the settings of the currently selected track
By pressing C2 or any lower note, all the patterns being and the musical data that has already been recorded, as well
played by RPPR will stop. as perform step recording.
The patterns of keys whose “Sync” setting is Off will stop When you wish to edit musical data or perform step record-
immediately, but the playback of other keys will stop at the ing, first use the tab page window to select the track and
beginning of the next beat or measure. Pattern playback of specify the desired area. Then select the appropriate utility
keys whose “Sync” setting is other than Off can be stopped menu command.
immediately by rapidly pressing C2 or any lower note twice
in succession.

5.2–1a
■ 5.1–2c: REVERT
This copies “Pat (Pattern Bank),” “Pattern Select” and Displays the
From Measure To End of 5.2–1b
“Track” settings from the previously-edited “KEY” whose playback data Measure
“Assign” is checked to the currently-edited “KEY.” (selected track is
highlighted)
: Playback data exists No playback data Pattern used

73
4 In “Step (Step Time),” specify the length of the basic step
5.2–1a: Track Select, Measure (From)/ Meas. (To End that you wish to input, in terms of a note value.
of) For “Step (Step Time),” a Triplet (3)/Normal(–)/Dot(.)
symbol located at the right of the note type indicates the
Track Select [T01...T16, Master Trk] length of the note.
Use the cursor keys [ ][ ] to select the track in which you The note type can be selected from a range of ! (whole
wish to record or edit (or use as the copy source). note) – " (32nd note).
If you wish to select all tracks, you do not need to select If you set Triplet/Normal/Dot to 3 (Triplet), triplets of
T01...T16. Simply check “All Tracks” in the dialog box of the the specified note value will be used as the step time. If
utility menu command. you select “–” (Normal), the specified note value will be
Master Trk: You can edit the tempo and time signature of used without change. If you select “.” (Dot), the specified
the master track. note will be dotted.
The following table shows the number of clocks for each
Measure (From) [001...999] “Step (Step Time)” setting.
Specify the first measure that will be edited (or used as the

" # $ % & !
copy source) or step-recorded.

Meas. (To End of) [001...999] (0:24) (0:48) (0:96) (1:00) (2:00) (4:00)
Specify the last measure that will be edited (or used as the
copy source). "' #' $' %' &' !'
(0:36) (0:72) (0:144) (1:96) (3:00) (6:00)

■ 5.2–1b: UTILITY 3 3 3 3 3 3
" # $ % & !
(0:16) (0:32) (0:64) (0:128) (1:64) (2:128)

5 In “Duration,” specify the length that the note will actu-


ally be held, relative to the “Step (Step Time).” In general,
100% will be tenuto, 85% will be normal, and 50% will be
☞ “Memory Status” (1.1–1d), “Rename Track” (5.1–1c) staccato.

Step Recording 6 Use “Vel (Velocity)” to specify the velocity value (key-
board playing strength) of the note data. With the
Step recording allows you to specify the length and velocity
[PAUSE] key pressed, you can hold down the [ENTER]
of each note numerically, and to input the pitches from the
key and play a note on the keyboard to specify the veloc-
keyboard. You can use the[F4] (“Rest”) key and [F5] (“Tie”)
ity value. If you set this to Key, the actual velocity at
key to input a rest or tie.
which you played the key will be input.
Be aware that if you step-record onto a track which 7 Note events can be input as described below, using com-
already contains sequence data, all data will be erased mands from the keyboard and function keys.
from the measure specified in “Measure (From)” and all
subsequent measures. Inputting notes
When you press a key on the keyboard, that note number
It is best to use the “Create/Ers. Ctrl” Create mode to input will be input as a note of the length specified in 4.
data whose data whose value changes continuously, such as When you press a chord on the keyboard, those note
pitch bend, and to use “Event Edit” to input individual data numbers will be input as chords of the length specified in
items such as program changes. 4. Since each of the note numbers you press before
1 Use “Track Select” to select the track into which you wish releasing all of the keys will be input at the same loca-
to input data, and use Track Edit tab item “Measure tion, the notes will be input as a chord even if they are
(From)” to specify the measure at which you wish to actually played at different times.
begin input. Each time you press and release the keyboard, the loca-
tion will advance by the length specified in 4.
2 When you select “Step Recording,” the following dialog
box will appear. Inputting rests
Press the [F4] (“Rest”) key to input a rest of the length
Time signature
specified in 4.
Inputting a tie
If you press the [F5] (“Tie”) key without pressing the key-
board, the previously-input note will be tied, and length-
ened by the amount specified in 4.
If you press the [F5] (“Tie”) key while holding down a
note, the note you are playing will be tied, and length-
Location within the Note number Velocity Length (beat, clock)
measure (beat, clock)
ened by the amount specified in 4.

3 In “Meter,” set the time signature.


This will show the time signature that has already been
set for the measure.
If you change the time signature setting, the time signa-
ture data of the measures you record will change, and all
tracks will change to the time signature you specified.

74
You can even input notes as shown in the following dia- 4 Use the cursor keys [ ], [ ], [ ], [ ] to select the
gram. event that you wish to edit.
You can also press the [F1] (“JUMP”) key and use “M
" !
(Measure)” and “Index” so that the events of the measure
# ! being edited and the index number within that measure
are displayed at the beginning of the dialog box.
Step Time = ! Step Time = ! Step Time = ! 5 Select the event that you wish to edit, and use the
[VALUE] dial etc. to modify its value(s).
Tie
• By modifying the value of the “Bt” (Beat. Tick)
location within the measure, you can move the event
On Off ON
Press E and C Release E (continue holding C) Press G
within the measure.
• You can edit each event by modifying its data
value(s). When you select a note event, it will sound.
Deleting a note or rest
To delete a note or rest, press the [F6] (“Back”) key. The 6 You can press the keys located at the function of the dia-
location will move backward by the amount specified in log box to edit events as follows.
4, and the data in that interval will be deleted. Inserting an event

SEQ
Auditioning the next note before input Select the “Bt” location where you wish to insert an
If you wish to make sure of the next note before you actu- event, and press the [F4] (“Insert”) key 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 [F5] (“Cut”) key to delete the event.

7.2 7.1 6.1 5.2 5.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.2 1.1
(the LED will go dark) to cancel the pause mode and
Moving an event
resume input.
You can use the [F5] (“Cut”) key and [F4] (“Insert”) key
8 When you are finished with step recording, press the [F8] to move an event (by “cut and paste”).
(“Done”) key. If you press the [COMPARE] key, you will Use the [F5] (“Cut”) key to delete the event that you wish
return to the condition of before you began step record- to move, then use the [F4] (“Insert”) key to insert it at the
ing. desired location.
You can also move an event by modifying its “Bt” value.
Event Edit
Copying an event
Here you can edit individual events of music data that were
Select the event that you wish to copy, and press the [F6]
input.
(“Copy”) key. Then select the copy destination and press
1 Use “Track Select” to select the track that you wish to the [F4] (“Insert”) key to insert the event at that location.
edit, and use the Track Edit tab “Measure (From)” field to
7 The end of the pattern is indicated as End of Pattern.
specify the measure at which you wish to begin editing.
When you are finished event editing, press the [F8]
2 If you selected Track01–16 in “Track Select,” selecting this (“OK”) key. If you press the [COMPARE] key, you will
command will open the Set Event Filters dialog box. return to the state before you began event editing.
The following table shows the types of musical data that
can be edited by “Event Edit” and the range of their val-
ues.
BAR (displayed only) Meter: 1/4...16/16 *1
(Measure line) (Time signature)
In the Set Event Filters dialog box you can select the C–1...G9 *2 Val: 1...127 *2 L: 000.000...15984.000
types of events (musical data) that will appear and can be (Note data) (Velocity) (Length: beats, clocks)
edited in the event edit window. P.Aft C–1...G9 Val: 0...127
(Polyphonic after (Note number) (Value)
For “Note” you can set “Btm (Bottom)” and “Top” to touch)
specify the range of notes. These settings can also be Ctl.C #: 0...101 Val: 0...127
entered by holding down the [ENTER] key and pressing (Control change) (Control change num- (Value)
a key. Normally you will leave these set at C–1 and G9. ber)
“Control Change” lets you specify the control change PROG Bnk: A...D, 000...127, No.: 0...127, 1...128
number. Normally you will leave this set at ALL. G, g(d), - - - (G, g(d))
(Program change) (Program bank) (Program number)
If you selected Master Track in “Track Select,” this dialog
box will not appear. AftT 0...127
(After Touch) (value)
You can also check various other events (“Pitch Bend,”
BEND –8192...+8191
“Program Change,” “After Touch,” and “Poly After (Pitch bend) (value)
Touch”).
*1:Be aware that since the time signature is recorded in the
3 Press the [F8] (“OK”) key to open the Event Edit dialog master track, modifying it from any track will affect the
box. same measure of all tracks, causing them to be played in
that time signature.
*2:Note data and velocity values can also be entered by

Measure holding down the [ENTER] key and playing a note on


the keyboard.

Location within the Pattern numbers will be displayed in locations in which a


Index no. measure (beat, clock) Event data pattern has been “put” (placed). At the end of the track there
will be an indication of End of Track.

75
Erase Track 4 In “Kind,” specify the type of data that will be erased.
This command erases the data from the specified track. All will erase all types of data from the track, Note will
However, it is not possible to erase the master track by itself. erase note data, Ctl.C will erase control change data,
AftT will erase both channel pressure and polyphonic
1 In “Track Select,” select the track that you wish to erase. key pressure data, BEND will erase pitch bend data, and
2 Select “Erase Track” to access the dialog box. PROG will erase program change data.
5 If you check “All Tracks,” the specified type of data will
be erased from all tracks.
6 To execute the Erase Measure command, press the [F8]
(“OK”) key. To cancel, press the [F7] (“Cancel”) key.
If you check “All Tracks,” the musical data of all tracks
will be erased. Example: If measures 2–3 are erased, measures 2–3 will be blank.

3 To execute the Erase Track command, press the [F8] 1 2 3 4 5


Before Erase
(“OK”) key. To cancel, press the [F7] (“Cancel”) key.
After Erase 1 2 3 4 5
Copy/ Bounc. Trk (Copy/ Bounce Track)
Copy Track No data
Copies the musical data of the copy source track to the spec-
ified track. Be aware that when you execute Copy Track, the
data that previously existed in the copy destination track If control data extends across measures that were
will be erased. erased and measures that were not erased, only the
data within the range being erased will be erased. How-
Bounce Track ever if note data extends across two or more measures,
Combines the musical data of the bounce source and bounce deleting any of the intervening measures will delete
destination, and moves this data into the bounce destina- that note data from the following measures as well.
tion. All musical data that had been in the bounce source
will be erased. Note data can also be erased using “Shift/Ers. Note”.
If the bounce source track and bounce destination track con- Use this command when you wish to erase a specific
tain MIDI control data, this operation may produce unex- range of notes, or to erase notes from a specific
pected results. To prevent this from happening, use the “Beat.Tick.”
Erase mode of the “Event Edit” or “Create/Ers. Ctrl” utili-
You can also erase control changes by using the Erase
ties to edit the MIDI control data of the two tracks before-
mode of “Creat/Ers. Ctrl.” Use this when you wish to
hand.
specify the type of control change to be deleted, or to
1 Select “Copy/Bounc. Trk” to access the dialog box. use “Beat. Tick” units to specify the range from which
the data will be deleted.

Delete Measure
This command deletes the specified measures.
When the Delete Measure command is executed, the musi-
2 Set “Mode” to either Copy or Bounce. cal data following the deleted measures will be moved for-
ward in units of a measure.
3 Set “From” to the copy source (bounce source) track, and
set “To” to the copy destination (bounce destination). (By 1 Use “Track Select” to select the track.
default, “From” will be initially set to the “Track Select” 2 Select “Delete Measure” to access the dialog box.
track.)
4 To execute, press the [F8] (“OK”) key. To cancel without
executing, press the [F7] (“Cancel”) key.

Erase Measure
3 In “From Measure” select the first measure that you wish
This command erases the specified type(s) of musical data
to delete, and in “To End of Measure” select the last mea-
from the specified range of measures. The Erase Measure
sure that you wish to delete. (By default, “From Mea-
command can also be used to remove only a specific type of
sure” and “To End of Measure” will be the range that you
data. Unlike the Delete Measure command, executing the
specified in the Track Edit page.)
Erase Measure command does not cause the subsequent
measures of musical data to be moved forward. 4 If you wish to delete musical data from all tracks includ-
ing the master track, check “All Tracks.”
1 Use “Track Select” to select a track.
If this is not checked, data will be deleted only from the
2 Select “Erase Measure” to access the dialog box. track that was selected by “Track Select.”
5 To execute the Delete Measure command, press the [F8]
(“OK”) key. To cancel, press the [F7] (“Cancel”) key.

Example: When measures 3–5 are deleted, measures 6–8 are moved forward.

3 In “From Measure” select the first measure to be erased, Before


1 2 3 4 5 6 7 8
Delete
and in “To End of Measure” select the last measure to be
erased. (By default, “From Measure” and “To End of
Measure” will be set to the range that you specified in the After
1 2 3 4 5
Delete
Track Edit page.)

76
If in 4 you uncheck “All Tracks” and execute this oper- ward by the number of measures that were inserted.
ation, the measures will not be deleted from the master However, the time signature and tempo will not move.
track. Time signature and tempo data will remain 7 To execute the Insert Measure command, press the [F8]
unchanged, and the time signature and tempo of the (“OK”) key. To cancel, press the [F7] (“Cancel”) key.
measures that were moved forward as a result of the
Delete operation will change.
Time signature = */*
Example: When measures 2 and 3 (3/4 time) of track 2 are deleted, the measures that were
Track 1 1 (4/4) 2 (4/4) 3 (3/4) 4 (5/4) 5 (2/4)
at 4 and 5 are moved forward, and their time signature will change to 3/4.
Before Insert
Track 1 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)
Before Delete

Track 2 1 (4/4) 2 (3/4) 3 (3/4) 4 (4/4) 5 (4/4) Insert two measures

Track 2 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 Insert
After Delete Track 1 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) Measures 4 and 5 will use the previously specified
time signature.

SEQ
Time signature = 7/8
If in 4 you check “All Tracks” and execute this opera-
tion, the specified measures of musical data will be Track 1 1 (4/4) 2 (4/4) 3 (3/4) 4 (5/4) 5 (2/4)
Before Insert
deleted from all tracks including the master track, and Track 2 1 (4/4) 2 (4/4) 3 (3/4) 4 (5/4) 5 (2/4)
the time signature and tempo will also move forward
by the number of measures that were deleted. Insert two measures

7.2 7.1 6.1 5.2 5.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.2 1.1
If control data extends across a line between measures
that were deleted and measures that were not deleted, Track 2 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 After Insert
Track 1 1 (4/4) 2 (7/8) 3 (7/8) 4 (5/4) 5 (2/4)
erased. However if note data extends across two or
Measures 2 and 3 will be 7/8, and measures 4 and 5
more measures, deleting any of the intervening mea-
will be the previously specified time signature.
sures will delete that note data from the following mea-
sures as well.
Repeat Measure
Insert Measure
This command repeatedly inserts the specified measures for
This command inserts the specified number of measures
the specified number of times. When you execute the Repeat
into the specified track. When you execute the Insert Mea-
Measure command, the measures will be inserted following
sure command, the musical data following the insert loca-
the measure specified by “To End of Measure,” and musical
tion will be moved backward.
data following the inserted data will be moved backward. It
If musical data is inserted into an area across which note
is convenient to use this command when you have a song
data has been tied, a note-off will be created immediately
that you playback with “Track Play Loop” (1.2–1(2)a) turned
before the inserted measure, and the subsequent portion of
on, and wish to expand it into musical data.
the note will be deleted.
1 Use “Track Select” to select the track whose measures
1 In “Track Select,” specify the track into which you wish
you wish to repeat.
to insert.
2 Select “Repeat Measure” to access the dialog box.
2 Select “Insert Measure” to access the dialog box.

3 In “From Measure” and “To End of Measure,” specify the


3 In “At Measure,” specify the measure location at which
range of measures that will be repeated. (By default,
the data will be inserted. (The measure you specified in
“From Measure” and “To End of Measure” will be set to
Track Edit page “Measure (From)” will be set as a
the range you specified in the Track Edit page.)
default.)
4 In “Times,” specify the number of repetitions. For exam-
4 In “Length,” specify the number of measures that will be
ple if you set “From Measure” to 001, “To End of Mea-
inserted.
sure” to 004, and “Times” to 2, the musical data of
5 In “Meter,” specify the time signature of the measures measures 1–4 will be inserted into measures 5–8. The
that will be inserted. result will be that measures 1–4 will be played twice.
If you want the inserted measures to match the existing
5 If you wish to repeat the musical data of all tracks includ-
time signature, specify */*. With any setting other than */*,
ing the master track, check “All Tracks.”
the time signature of the inserted measures will change,
and the specified time signature will apply to all tracks 6 To execute the Repeat Measure command, press the [F8]
for those measures. (“OK”) key. To cancel, press the [F7] (“Cancel”) key.
6 If you wish to insert measures into all tracks including If you execute the Repeat Measure operation on measures 1–4 with “Time” = 2,
the master track, check “All Tracks.” The musical data measures 1–4 will be inserted into measures 5–8.
Before
following the inserted measures will playback in the Repeat Track 1 1 2 3 4 5 6
Measure
same way it did before the measures were inserted.
If “All Tracks” is unchecked, the measures will be
inserted into the specified track. At this time, the musical After
Repeat
data following the inserted location will be moved back- Measure
Track 1 1 2 3 4 1 2 3 4 5 6

77
Copy Measure 5 To execute the Move Measure command, press the [F8]
This command copies measures of musical data from the (“OK”) key. To cancel, press the [F7] (“Cancel”) key.
copy source to the specified measure location.
Example:
When you execute the Copy Measure command, the track When you move the musical data of track 1 measures 2–4 to track 2 measure 3,
data at the copy destination will be rewritten. track 1 measures 2–4 will be inserted into track 2 measures 3–5.
The musical data of track 2 measures 3 and 4 will move back (to measures 6 and 7).
The musical data of track 1 measures 5–7 will move to measures 2–4.
1 Select the copy source song.
2 Select “Copy Measure” to access the dialog box. Track 1
1 5 6 7
(move
source)
2 3 4

Track 2
1 2 3 4 5 6 7
(move
destination)

3 In “From: Track,” select the copy source track. (By


default, this will be the track you selected in “Track
Select.”) Create/ Ers. Ctrl (Create/ Erase Control Data)
If you check “All Tracks,” the musical data of all tracks This command inserts (creates) or erases data such as con-
including the master track will be copied. trol changes, aftertouch, pitch bend, or tempo in the speci-
4 In “From Measure” and “To End of Measure,” specify the fied region.
range of copy source measures. (By default, “From Mea- Create Ctrl Data (Create Control Data)
sure” and “To End of Measure” will be the range that you Here’s how you can insert (create) various types of data in
specified in the Track Edit page.) the region you specify.
5 In “To: Song,” specify the copy destination song. In 1 In “Track Select,” specify the track in which you wish to
“Track” (when “All Tracks” is unchecked) specify the create control data. If you wish to create tempo data, set
copy destination track. In “Measure,” specify the first this to the Master Track. In this case, “Kind” in step 5
measure where the copied measures will be inserted. will be Tempo.
6 To execute the Copy Measure operation, press the [F8] 2 Select “Create/Ers. Ctrl” to access the dialog box.
(“OK”) key. To cancel, press the [F7] (“Cancel”) key.

Example: When you copy measures 5–7 of track 1 to the third measure of track 2,
measures 3–5 of track 2 will be rewritten.

Track 1
(source) 1 (4/4) 2 (4/4) 3 (4/4) 4 (3/4) 5 (3/4) 6 (3/4) 7 (4/4)

3 Specify the region in which the control data will be


Track 2
(destination)
1 (4/4) 2 (4/4) 3 (4/4) 4 (3/4) 5 (3/4) 6 (3/4) 7 (4/4) inserted. Use “From Measure” to “To Measure” to spec-
ify the range of measures, and “Beat. Tick” to specify the
beat and clock. (By default, “From Measure” and “To
Move Measure Measure” will be set to the region you specified in the
This command moves measures of musical data to a speci- Track Edit page.)
fied destination. When you execute the Move Measure com- 4 Set “Mode” to Create.
mand, musical data following the move source will be
moved forward according to the number of measures 5 “Kind” to the type of musical data (event) that you wish
moved, and musical data following the move destination to create.
will be moved backward correspondingly. Ctl.C: Control change data will be inserted. In this case,
use “#” to specify the control change number.
1 Select “Move Measure” to access the dialog box. AftT: Aftertouch data will be inserted.
BEND: Pitch bend data will be inserted.
6 Specify the start location value and end location value of
the data that will be inserted.
“Start” specifies the value at the start location, and “End”
specifies the value at the end location.
2 In “From: Track,” select the move source track. (By By default, the value at the start location will be set for
default, this will be the track you selected in “Track “Start.” If you want to create control data that changes
Select.”) smoothly from the value at the start location, you should
If you check “All Tracks,” musical data of all tracks leave the start location value unchanged, and set only the
including the master track will be moved. end location value.

3 In “From Measure” and “To End of Measure,” specify the


range of measures that will be moved. (By default, “From
Measure” and “To End of Measure” will be the range that
you specified in the Track Edit page.)
4 In “To: Track” (if “All Tracks” is unchecked), specify the
move destination track. In “Measure,” specify the first
measure of the move destination.

78
7 To execute the Create Control Data command, press the Quantize
[F8] (“OK”) key. To cancel without executing, press the This command corrects the timing of musical data that has
[F7] (“Cancel”) key. already been input.
When you execute the Quantize operation, the musical data
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 will be affected as follows.
changing from 3:48, and reach a value of 100 at 4:24.
• When you execute Quantize on note data, the timing of
Start location End location
After touch the note-on will be corrected, but the length (duration of
127
End Value
the note) will not be affected.
100
• If the Quantize resolution is set to Hi, the timing will be
adjusted to units of the base resolution (!/192), so note
data will not be affected. However, continuous
Previous data
Start Value
default value
controller data such as joystick or after touch which
occupies a large amount of memory will be processed so
0 Location
that two or more data events of an identical type existing
3:00 3:24 3:48 3:72 4:00 4:24 4:48
at a single interval of the timing resolution will be
combined into a single event, thus conserving memory.

SEQ
Executing the Create Control Data command will use Similarly, two or more data events of an identical type
up a substantial amount of sequencer memory. This existing at the identical timing will be combined into one,
means that if there is only a small amount of free mem- also conserving memory.
ory remaining, it may not be possible to create the data.
1 In “Track Select,” specify the track.
If this occurs, you should first use “Quantize” to quan-
tize the data, deleting unneeded control data. Alterna- 2 Select “Quantize” to access the dialog box.

7.2 7.1 6.1 5.2 5.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.2 1.1
tively, you can apply the Quantize function to the data
that was inserted by Create Control Data.
Ers. Ctrl Data (Erase Control Data)
Here’s how you can erase various types of data from the
region you specify.
1 In “Track Select,” specify the track from which you wish 3 Specify the range that will be quantized. In “From Mea-
to erase control data. If you wish to erase tempo data, set sure” and “To Measure,” specify the measures. In
this to the Master Track. In this case, “Kind” in step 5 “Beat.Tick” specify the beat and clock. (By default, “From
will be Tempo. Measure” and “To End of Measure” will be the range that
2 Select “Create/Ers. Ctrl” to access the dialog box. you specified in the Track Edit page.)
4 Use “Kind” to select the type of musical data (events)
that will be quantized.
All: All musical data will be quantized.
Note: Note data will be quantized. Use the “Range”
parameters “Btm (Bottom)” and “Top” to specify the
range of notes. This is useful when you wish to quantize
3 Specify the region from which the control data will be only specific notes (for example, just the snare sound of
erased. Use “From Measure” to “To Measure” to specify the drum track). “Btm (Bottom)” sets the lower limit of
the measures, and “Beat. Tick” to specify the beat and the notes. If you wish to quantize all notes, set this to C–
clock. (By default, “From Measure” and “To Measure” 1. “Top” sets the upper limit of the notes. If you wish to
will be set to the region you specified in the Track Edit quantize all notes, set this to G9. The note can also be set
page.) by holding down the [Enter] key and playing a key.
Ctl.C: Control changes will be quantized. To limit the
4 Set “Mode” to Erase.
type of control changes, use “#” to specify the number.
5 “Kind” to the type of musical data (event) that you wish AftT: Both channel pressure and poly key pressure data
to erase. will be quantized.
Ctl.C: Control change data will be erased. In this case, BEND: Pitch bend data will be quantized.
use “#” to specify the control change number. PROG: Program change data will be quantized.
AftT: Aftertouch data will be erased.
5 In “Resolution,” specify the timing resolution to which
BEND: Pitch bend data will be erased.
the data will be corrected.
6 To execute the Erase Control Data operation, press the By setting a lower resolution you can save more memory,
[F8] (“OK”) key. To cancel without executing, press the but the timing of the playback may not be acceptable.
[F7] (“Cancel”) key.
6 In “Offset,” specify the number of clock by which the
If you wish to erase all control changes from a certain data will be moved forward or backward relative to the
range of measures, it is also possible to do this by using standard timing. A setting of 96 will be " , and 48 will be
“Erase Measure” and selecting Ctl.C as the data to be # . Positive (+) settings will adjust the data forward, and
erased. However if you use the Erase Control Data negative (–) settings will adjust the data backward. This
described above, you can specify the range using “Beat. allows you to simulate “pushing” or “dragging” the beat.
Tick,” and erase only specific control change data. 7 In “Intensity,” specify the degree of sensitivity to which
the timing will be corrected; i.e., how close to the loca-
tions specified by 5 and 6 the data will be moved.
With a setting of 0, no correction will take place. With a
setting of 100, the data will be moved all the way to the
timing intervals specified by 5 and 6.

79
8 To execute the Quantize command, press the [F8] (“OK”) sure” and specifying Note. However if you use the oper-
key. To cancel, press the [F7] (“Cancel”) key. ation described here, you will be able to use “Beat. Tick”
By varying the Offset and Intensity settings you can cre- to specify the range, and erase only the specific notes you
ate quantize effects such as the following. wish.
6 To execute the Erase Note command, press the [F8]
! ! ! ! !
(“OK”) key. To cancel without executing, press the [F7]
Original
(“Cancel”) key.
100%
Quantize Resolution = !
100%
Modify Velocity
Offset = 0, Intensity = 100%
This command modifies the velocity values of notes in the
Quantize Resolution = !
50% 50% specified area so that they will change over time according
Offset = 0, Intensity = 50% to a selected curve.
100% 100% 100%
1 In “Track Select,” specify the track whose velocity will be
Quantize Resolution = !
Offset = +48, Intensity = 100% +48 +48 +48
modified.

75%
2 Select “Modify Velocity” to access the dialog box.
75% 75%
Quantize Resolution = !
Offset = +48, Intensity = 75% +48 +48 +48

Quantize Resolution = !
100% 100% 100%

Offset = –24, Intensity = 100%

–24 –24 –24

Shift/ Er. Note (Shift/ Erase Note) 3 Specify the range in which note velocity will be modified.
This command shifts (moves) or erases the specified note “From Measure” and “To Measure” specify the measure,
numbers in a specified track and range of measures. and “Beat.Tick” specify the beat and clock. (By default,
1 In “Track Select,” select the track on which you wish to “From Measure” and “To Measure” will be set to the
execute the Shift/Erase Note command. range that you specified in the Track Edit page.)

2 Select “Shift/Ers. Note” to access the dialog box. 4 Specify the range of notes that will be affected by the
Modify Velocity command. Note Range “Btm (Bottom)”
is the lower limit, and “Top” is the upper limit. If you
wish to edit all notes, set “Btm (Bottom)” to C–1 and
“Top” to G9. These settings can also be made by holding
down the [ENTER] key as you play a note on the key-
board.

3 Specify the range in which you wish to shift or erase note 5 In “Velocity Start” specify the value at which the velocity
numbers. In “From Measure” and “To Measure,” specify data will start, and in “Velocity End” specify the final
the measures. In “Beat.Tick,” specify the beat and clock. velocity value. These settings can also be made by hold-
(By default, “From Measure” and “To Measure” will be ing down the [ENTER] key as you play a note on the key-
the range that you specified in the Track Edit page.) board.

4 Specify the range of notes that you wish to shift or erase. 6 In “Intensity,” specify the degree to which the velocity
“Note Range: Btm (Bottom)” specifies the lower limit, data will be adjusted toward the curve you specify in 7.
and “Top” specifies the upper limit. If you wish to edit all With a setting of 0 [%], the velocity will not change. With
notes, set “Btm (Bottom)” to C–1 and “Top” to G9. These a setting of 100 [%], the velocity will be exactly as
settings can also be made by holding down the [ENTER] described by the curve.
key as you play a note. 7 “Curve”* lets you select from six types of curve to specify
To shift notes how the velocity will change over time.

5 For “Mode,” select “Shift (Replace)” or “Shift (Create),” 8 To execute the Modify Velocity operation, press the [F8]
and use the parameter at the right to specify the amount (“OK”) key. To cancel, press the [F7] (“Cancel”) key.
by which the notes will be shifted. The six curves are as follows.
The amount of shift can be adjusted in semitone steps,
For a Start Velocity of 1 and End Velocity of 127
over a range of –127 to +127. +1 raises the note by a semi- Curve 1 Curve 2 Curve 3
tone. 127 127 127

6 Use either “Shift (Replace)” to move the note numbers, or Velocity Velocity Velocity

“Shift (Create)” to add new note numbers.


1 1 1
For example if you have specified a drum program for Start End Start End Start End
Measure Measure Measure Measure Measure Measure
the track, you can use “Replace” to change the snare
sound into a different snare sound, or use “Create” to
Curve 4 Curve 5 Rndm
layer a sound effect on the snare sound. Or you could use 127 127 127
this on a guitar phrase to add a lower octave to the notes.
Velocity Velocity Velocity RANDOM
7 To execute the Shift Note command, press the [F8]
(“OK”) key. To cancel without executing, press the [F7] 1
Start End
1
Start End
1
Start End
(“Cancel”) key. Measure Measure Measure Measure Measure Measure

To erase notes
5 For “Mode,” select Erase.
If you wish to erase all note data from a certain range of
measures, this can also be done by using “Erase Mea-

80
Set Song Length
This command changes the length of the specified song. SEQ 6.1: Arp. (Arpeggiator)
When it is executed, the length of the master track will
change, and the number of measures played will change. Here you can specify how the arpeggiator will operate in
Sequencer mode. These settings can be made for each song.
1 Select “Set Song Length” to access the dialog box.
In Sequencer mode (as in Combination mode), you can run
the two arpeggiators simultaneously. This allows you to
apply different arpeggio patterns to different sounds that
have been split across the keyboard, or use velocity to
switch between two different arpeggio patterns, etc.
In Sequencer mode, the musical data generated by the
2 In “Length,” specify the length of the song. arpeggiator during song track or pattern realtime-recording
3 To execute the Set Song Length command, press the [F8] can be recorded. While you record, you can modify the
(“OK”) key. To cancel without executing, press the [F7] arpeggio pattern and parameters, and adjust the REALTIME
(“Cancel”) key. CONTROLS C-mode [ARP-GATE] knob and [ARP-VELOC-
ITY] knob etc.
Be aware that if you shorten the song, data will also be

SEQ
deleted from the tracks other than the master track. It is not possible to set the tempo of the arpeggiator and
the sequencer independently.
When “MIDI Clock” (GLOBAL 2.1–1a) is Internal, the
arpeggiator can be synchronized to the start timing of the
internal sequencer.

7.2 7.1 6.1 5.2 5.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.2 1.1
• When you turn on the arpeggiator and press the
[START/STOP] key, the arpeggiator will synchronize to
the timing of the sequencer.
• When you press the [START/STOP] key, the arpeggiator
and sequencer will both stop. If you wish to stop only
the arpeggiator, press the [ARP ON/OFF] key.
When the arpeggiator “Key Sync” is off, you can turn on the
[ARP ON/OFF] key and play the keyboard to start the
arpeggiator running during the pre-count before realtime
recording begins, so that the arpeggiator performance will
be recorded from the beginning of the pattern at the same
time that recording begins. (☞BG p.107)
When “MIDI Clock” is External, the MIDI realtime
clock messages transmitted from the external MIDI
device connected to MIDI IN connector can perform the
same type of control.
Even in this case, you can start/stop using the [START/
STOP] key of the TRITON Le’s sequencer.

6.1–1: Set..8 (Setup T01–08)


6.1–2: Set..16 (Setup T09–16)

6.1–1a

6.1–1b
1.1–1c

6.1–1c

6.1–1(2)a: Arpeggiator Run, (Tempo)


Arpeggiator Run A, B (Run A, B)
When the [ARP ON/OFF] key is on, the arpeggiator(s) that
are checked here will function for the track(s) to which they
are assigned by “Assign.” When the arpeggiator is on, A and
B can be turned on/off independently.

! (Tempo) [040...240, (EXT)]


Specify the tempo of the arpeggiator. Refer to “! (Tempo)”
(☞1.1–1a).

81
Example 2)
6.1–1(2)b: Assign For tracks 1, 2 and 3, set the “MIDI Channel” (3.1–1(2)a)
to 01, 02, and 03 respectively, and set “Status” (3.1–1(2)a)
Assign [Off, A, B]
to INT. Assign arpeggiator A to tracks 1 and 2, and
This assigns arpeggiator A or arpeggiator B to each track 1– arpeggiator B to track 3. Check the “Arpeggiator Run A,
8, 9–16. When the [ARP ON/OFF] key is turned on, the B” (6.1–1a) setting.
arpeggiator specified for each track will run, subject to the • In “Track Select,” choose Track01.
“Arpeggiator Run” settings and setting here. Playing the keyboard when the front panel [ARP ON/
Off: The arpeggiator will not operate. OFF] key is off will play the sound assigned to track 1.
A: Arpeggiator A will operate. Use the Arp. A page to select Playing the keyboard when the front panel [ARP ON/
the arpeggio pattern and set the parameters. OFF] key is on will cause arpeggiator A to operate for
B: Arpeggiator B will operate. Use the Arp. B page to select tracks 1 and 2, and produce sound for both tracks.
the arpeggio pattern and set the parameters. • In “Track Select,” choose Track02.
Playing the keyboard when the front panel [ARP ON/
For tracks that you wish to realtime-record, select either
OFF] key is off will play the sound assigned to track 2.
arpeggiator A or B. If you specify an arpeggiator for two or
Playing the keyboard when the front panel [ARP ON/
more tracks, the arpeggiator will play each of the tracks you
OFF] key is on will cause arpeggiator A to operate for
specify.
tracks 1 and 2, and produce sound for both tracks.
You can set A and B to two different MIDI channels, and
• In “Track Select,” choose Track03.
control one from the keyboard and the other from an exter-
Playing the keyboard when the front panel [ARP ON/
nal MIDI device connected to MIDI IN. You can also use
OFF] key is off will play the sound assigned to track 3.
multi-track recording (MultiREC) to simultaneously record
Playing the keyboard when the front panel [ARP ON/
the note data that is generated from the two arpeggiators.
OFF] key is on will cause arpeggiator B to operate for
The arpeggiator cannot be triggered by the notes track 3, and play the sound assigned to track 3.
played by the sequencer. • Alternatively, you could choose Track01 in “Track
Select” to run arpeggiator A for tracks 1 and 2, and use
If the tracks 1–16 assigned to arpeggiators A and B have an external MIDI device connected to the TRITON Le’s
a “Status” (3.1–1(2)a) of INT or BTH, they will be MIDI IN to send note data to MIDI channel 3 to play
played by the note data generated by the arpeggiator. If arpeggiator B.
the “Status” is BTH, EXT, or EX2, MIDI note data will
be transmitted on the “MIDI Channel” of each track. Arpeggiator
Assign
Trigger Arpeggiator Pattern - A
In this case, arpeggiator A or B will be triggered by the = Ch1, Ch2 A
A Track1 MIDI Ch=1ch Status=INT Pattern - A

“MIDI Channel” of any track 1–16 to which the corre- A Track2 MIDI Ch=2ch Status=INT Pattern - A

Trigger Arpeggiator Pattern - B


sponding arpeggiator is assigned. = Ch3 B
B Track3 MIDI Ch=3ch Status=INT Pattern - B

If the (“Local Control On” GLOBAL 2.1–1a) is turned


OFF, the arpeggiator will not be triggered by note data
from the keyboard. It will be triggered by note data ■ 6.1–1(2)c: UTILITY
received at MIDI IN. If you wish to record just the trig-
ger notes on an external sequencer and run the ☞ “Memory Status,” “Rename Song,” “Delete Song,” “Copy
TRITON Le’s arpeggiator in this way, turn Local Con- From Song,” “Copy From Combi” (1.1–1d), “Copy Arpeg-
trol OFF. giator” (COMBI 6.1–1c), “FF/REW Speed ,” “Set Loca-
tion” (1.1–1d)
If you want the note data generated by the arpeggiator
to be recorded on the external sequencer, turn Local
Control ON, and turn off the echo back function of the
external sequencer.
You can control the arpeggiator from an external
sequencer, or record arpeggio note data on an external
sequencer. (☞p.237)
Example 1)
On tracks 1 and 2, set “MIDI Channel” (3.1–1(2)a) to 01
and “Status” (3.1–1(2)a) to INT. Assign arpeggiator A to
track 1 and arpeggiator B to track 2, and check “Arpeg-
giator Run A, B” (6.1–1a). In “Track Select” (1.1–1c)
choose Track01.
With the front panel [ARP ON/OFF] key OFF, play the
keyboard and tracks 1 and 2 will sound simultaneously.
When you turn on the front panel [ARP ON/OFF] key
and play the keyboard, arpeggiator A will operate for
track 1 and arpeggiator B will operate for track 2.

Arpeggiator
Assign
Trigger Arpeggiator Pattern - A Pattern - A
A Track1 MIDI Ch=1ch Status=INT
= Ch1 A

B Track2 MIDI Ch=1ch Status=INT Pattern - B

Trigger Arpeggiator
= Ch1 B Pattern - B

82
6.1–3: Arp. A (Arpeggiator A) 6.1–5: Zone (Scan Zone)
6.1–4: Arp. B (Arpeggiator B) Specifies the range of notes and velocities that will trigger
each arpeggiator A and B.
Indicates settings for arpeggiator A in the Arp. A page, and
for arpeggiator B in the Arp. B page.
You can use the “Copy Arpeggiator” utility to copy set- 6.1–5a
tings from another mode such as Program mode.
6.1–3b

6.1–5b
6.1–3a

6.1–5a: Scan Zone A/ B


6.1–3c
Zone Map

SEQ
This shows the “Scan Zone” settings for arpeggiators A and
6.1–3(4)a: Arpeggiator–A(B) Setup B (☞COMBI 6.1–4a).

A: Key
Pattern [P000...P004, U000(INT)...U215(User)]
Btm (A-Bottom Key) [C–1...G9]
Octave [1, 2, 3, 4]

7.2 7.1 6.1 5.2 5.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.2 1.1
[ !" , ! , #" , # , $" , $ ]
Top (A-Top Key) [C–1...G9]
Reso (Resolution)
Specifies the range of notes (keys) that will trigger arpeggia-
Gate [000...100(%), Step]
tor A. “Top” is the upper limit, and “Btm” is the lower limit.
Velocity [001...127, Key, Step]
Swing [–100...+100(%)] A: Vel (Velocity)
Sort [Off, On] Btm (A-Bottom Velocity) [001...127]
Latch [Off, On] Top (A-Top Velocity) [001...127]
Specifies the range of velocities that will trigger arpeggiator
Key Sync. [Off, On]
A. “Top” is the upper limit, and “Btm” is the lower limit.
Keyboard [Off, On]
These are the arpeggiator parameters for the song. B: Key
(☞PROG 6.1: Ed–Arp.) Btm (B-Bottom Key) [C–1...G9]
Top (B-Top Key) [C–1...G9]
6.1–3(4)b: $ (Tempo) B: Vel (Velocity)
$ (Tempo) [040…240, EXT] Btm (B-Bottom Velocity) [001...127]
☞ 1.1–1a Top (B-Top Velocity) [001...127]
Specifies the range of notes (keys) and velocities that will
trigger arpeggiator B (☞“A: Key,” “A: Vel”).
■ 6.1–3(4)c: UTILITY
The value of these parameters can also be input by
☞ “Memory Status,” “Rename Song,” “Delete Song,” “Copy holding down the [ENTER] key and playing a note on
From Song,” “Copy From Combi” (1.1–1d), “Copy Arpeg- the keyboard.
giator” (COMBI 6.1–1c), “FF/REW Speed ,” “Set Loca-
tion” (1.1–1d)
■ 6.1–5b: UTILITY
☞ “Memory Status,” “Rename Song,” “Delete Song,” “Copy
From Song,” “Copy From Combi” (1.1–1d), “Copy Arpeg-
giator” (COMBI 6.1–1c), “FF/REW Speed ,” “Set Loca-
tion” (1.1–1d)

83
■ 7.1–1(2)b: UTILITY
SEQ 7.1: Insert FX
☞ For details on insert effects, refer to p.155 “7. Effect
Guide.”.

7.1–1: BUS..8 (BUS T01...08) ☞ “Memory Status,” “Solo Selected Track” (1.1–1d), “DKit
IFX Patch” (COMBI 7.1–1b), “FF/REW Speed,” “Set Loca-
7.1–2: BUS..16 (BUS T09...16) tion” (1.1–1d)
Specifies the bus to which the program oscillator(s) of each
For details on how to select the desired utility function, refer
track 1–8, 9–16 will be sent. You can also set the amount of
to “PROG 1.1–1c: UTILITY.”
signal that will be sent to the master effects.
Copy Insert Effect
☞PROG 7.1–1c
However, the MIDI control channel specified in “Control
7.1–1a
Channel” of the 7.1: Insert FX, Setup page will not be copied.
1.1–1c

7.1–1b
7.1–3: Setup
Here you can select the type of the insert effects, turn them
on/off etc.
7.1–1(2)a: BUS Select, Send1(MFX1), Send2(MFX2)
7.1–3b
BUS Select [DKit, L/ R, IFX, 1, 2, 1/ 2, Off]
7.1–3a
Specifies the output bus for the program oscillators of tracks
1–8 and 9–16.
7.1–3c
The state of the settings can be viewed in the Setup page.
(☞COMBI 7.1–1a)

S1 (Send1(MFX1)) [000...127] 7.1–3d

S2 (Send2(MFX2)) [000...127]
Here you can adjust the send levels from tracks 1–8, 9–16 to 7.1–3a: Insert FX Setup
master effects 1 and 2. This is valid when “BUS Select” is set
either to L/R or Off. If IFX is selected, the send level to the IFX On/ Off [Off, ON]
master effects 1 and 2 is set by the (“S1 (Send1(MFX1))” and Insert Effect [00...89: name]
“S2 (Send2(MFX2))” parameters located in the Setup page,
after the signal passes through IFX. Pan(CC#8) [L000...C064...R127]
These settings have no effect if “BUS Select” is set to 1, 2 or BUS Select [L/ R, 1, 2, 1/ 2, Off]
1/2. S1 (Send1(MFX1)) [000...127]
The send 1 and 2 settings you make here will be used when
the song is played or recorded from the beginning. If you S2 (Send2(MFX2)) [000...127]
change the settings while recording, the change will be These parameters are the same as in Program mode.
recorded as part of the musical data, and the send amount (☞PROG 7.1–2)
will change when the data is played back. You can also However, this differs from Program mode in that insert
change these settings during playback. However if send 1 effect dynamic modulation (Dmod) and the “Pan (CC#8),”
and 2 data has been recorded, the settings will change “Send1(MFX1),” and “Send2(MFX2)” which follow the
accordingly. insert effect are controlled on the MIDI channel specified by
“Control Channel” (7.1–1b). The control changes used are
If “Status” (3.1–1(2)a) is either INT or BTH, CC#93 and the same as in Program mode.
#91 can be received to control send 1 and 2 respectively The pan (CC#8) and Send 1 and 2 that you specify here are
and change their settings. When you switch songs or used when playing or recording from the beginning of the
return to the beginning of a song, tracks whose “Status” song. If you change these settings while recording, the set-
is EXT, EX2 or BTH will transmit these settings via tings will be recorded as musical data, and during playback,
MIDI. This data will be transmitted on the MIDI chan- the settings will change accordingly. You can also change
nel of each track as set by “MIDI Channel” (3.1–1(2)a). these settings during playback. However if Pan (CC#8) and
The actual send level is determined by summing the Send 1/2 data has already been recorded, the settings will
value of these parameters with the send level settings of change according to the recorded data.
the oscillator(s) of the program used by the track (“S1
(Send1(MFX1))” and “S2 (Send2(MFX2))” PROG 7.1– If the “Status” (3.1–1(2)a) is INT or BTH, receiving
2a). CC#8, #93, or #91 will cause the post- insert effect pan
and send 1/2 to be controlled, changing the settings.
When you change songs or return to the beginning of
the song, tracks whose “Status” is BTH, EXT, or EX2
will transmit these settings on the MIDI channel speci-
fied by “Control Channel.”

84
7.1–3b: Control Channel 7.1–4: IFX (Insert Effect)
Sets the parameters for the effects selected for IFX in the
Control Channel [Ch01...16, All Rt.] Setup page (☞p.164–).
Indicates the MIDI channel that will control effect
dynamic modulation (Dmod), pan following the insert
effect “Pan (CC#8),” “Send1(MFX1),” and
“Send2(MFX2).”
An asterisk “*” will be displayed at the right of the channel
number Ch01–16 for tracks that are routed to an IFX. If mul-
tiple tracks with differing MIDI channel settings are routed, 7.1–4a
these channels specify the channel that will be used to con-
trol the effect.
All Rt. (All Routed): Control can be performed from any of ■ 7.1–4a: UTILITY
the MIDI channels of the tracks that are routed.

SEQ
If “BUS Select” (7.1–1(2)a) is set to DKit for a track in
which a drum program is selected, the MIDI channel of
that track will be valid only if this is set to All Rt.,
regardless of the drum kit “BUS (BUS Select)” (GLO-
BAL 5.1–3a) setting or the utility setting “DrumKit IFX
Patch.” ☞ “Memory Status” (1.1–1d)

7.2 7.1 6.1 5.2 5.1 4.4 4.3 4.2 4.1 3.4 3.3 3.2 3.1 2.2 2.1 1.2 1.1
7.1–3c: Routing Map, BUS Select
This displays the settings of the insert effect. The routing, SEQ 7.2: Master FX
specified effect name, and on/off status of the insert effect
are displayed. ☞ For details on the master effects, refer to p.155 “7. Effect
Guide.”
T01...16: BUS Sel [DKit, L/ R, IFX, 1, 2, 1/ 2, Off]
While viewing the map, you can specify the bus where the
program oscillators for each track 1–16 will be sent.
Use the cursor keys to select the track, and use the [INC]/ 7.2–1: Setup
[DEC] keys or the [VALUE] dial to set “BUS Select” (7.1–
Here you can select the type of master effects, turn them on/
1(2)a).
off, and make chain and master EQ settings.
This setting can also be made in “BUS Select” (7.1–3a).
This is the same as Program mode with the exception of
“MFX1 Control Ch,” “MFX2 Control Ch,” and “MEQ Con-
■ 7.1–3d: UTILITY trol Ch.” (☞PROG 7.2: Ed-MasterFX)

7.2–1a

7.2–1b
7.2–1c

☞ “Memory Status,” “Solo Selected Track” (1.1–1d), “Copy


7.2–1d 7.2–1e
Insert Effect,” (PROG 7.1–1c, 7.1–1b/2b), “DKit IFX
Patch” (COMBI 7.1–1b), “FF/REW Speed,” “Set Location”
(1.1–1d), “Select by Category” (PROG 7.1–2c)
7.2–1a: Master FX Setup
MFX1 On/ Off, MFX2 On/ Off [Off, ON]
Master Effect 1, 2 [00...89: name]
Rtn 1, 2 (Return 1, 2) [000...127]
This is the same as in Program mode. Refer to “PROG 7.2–1:
Setup.” However, unlike Program mode, the master effects
will be controlled by the MIDI channel specified by “MFX 1,
2 Control Ch.” The control changes used are the same as in
Program mode.

MFX1, 2 Control Ch [Ch01...16, G ch]


Specifies the MIDI channel that will control dynamic
modulation (Dmod) for the master effects.
G ch: The effect will be controlled on the global MIDI chan-
nel “MIDI Channel” (GLOBAL 2.1–1a).

85
7.2–1b: Master FX Chain 7.2–2: MFX1 (Master Effect1)
MFX Chain [Off, On] 7.2–3: MFX2 (Master Effect2)
Direction (Chain Direction) Here you can set the parameters of the “Master Effect1” and
[MFX1→MFX2, MFX2→MFX1] “Master Effect2” effects that were selected in the Setup page
(☞p.164–).
Signal (Chain Signal) [LR Mix, L Only, R Only]
Level (Chain Level) [000...127]
This is the same as in Program mode. Refer to “PROG 7.2–1:
Setup.”

7.2–1c: MEQ Ctrl


7.2–2a
MEQ Ctrl (MEQ Control Ch) [Ch01...16, G ch]
Specifies the MIDI channel that will control dynamic
modulation (Dmod) for the master EQ. ■ 7.2–2(3)a: UTILITY
G ch: The effect will be controlled on the global MIDI chan-
nel “MIDI Channel” (GLOBAL 2.1–1a).

7.2–1d: Master EQ Gain [dB]


Low [–18.0...+18.0] ☞ “Memory Status” (1.1–1d)
Mid [–18.0...+18.0]
High [–18.0...+18.0]
This is the same as in Program mode. (☞PROG 7.2–1: Setup) 7.2–4: MEQ (Master EQ)
The master EQ is a three-band stereo EQ. It is used to per-
■ 7.2–1e: UTILITY form overall equalizing (tonal adjustment) on the sound
from the L/R bus immediately before it is output to AUDIO
OUTPUT (MAIN OUT) L/MONO and R (☞p.209).

☞ “Memory Status,” “Solo Selected Track,” “FF/REW


Speed,” “Set Location” (1.1–1d), “Select by Category”
(PROG 7.2–1d) 7.2–4a

For details on how to select the desired utility function, refer


to “PROG 1.1–1c: UTILITY.”
■ 7.2–4a: UTILITY
Copy Master Effect
☞p.28 PROG 7.2–1d ☞ “Memory Status” (1.1–1d)
Note, the MIDI control channel specified in “Control Chan-
nel” of the MFX 1 and 2 pages will not be copied.

Swap Master Effect


☞p.29 PROG 7.2–1d
Note, the MIDI control channel specified in “Control Chan-
nel” of the MFX 1 and 2 pages will not be swapped.

86
4. Sampling mode
If the EXB-SMPL option (sold separately) is installed in the When you turn off the power, all multisample and sam-
TRITON Le, you will be able to use Sampling mode to ple data in Sampling mode will be lost. Before you turn
record 48 kHz stereo 16-bit samples. (☞For details on install- off the power, any data you want to keep must be saved
ing an option board, refer to p.253.) on Smart Media or an external SCSI device (if the EXB-
SMPL option is installed) (☞p.149). Immediately after
If the EXB-SMPL option is not installed, pressing the
the power is turned on, internal memory will not con-
[SAMPLING] key will display a message of “No Sam-
tain sample data, so you will need to load the previ-
pling Upgrade Installed.”
ously-saved data in order to play or edit it.
“Sampling” refers to the process of digitally converting an
There is no Compare function that allows you to restore
analog signal from a mic or audio device connected to the
edited data to the state before it was edited. If you wish
AUDIO INPUT jack, and recording it into internal memory.
to preserve the unedited state of the data, use “Copy
You can also apply the insert effect to the analog audio sig-
MS” or “Copy SMPL” (1.1–3f) etc. to make a copy of the
nal while it is being sampled.
multisample or sample before you begin editing.
If the sample data RAM (16 Mbyte SIMM memory) included For some of the utility menu commands in 2.1: Sample
with the EXB-SMPL is installed, you will be able to sample Edit or 3.1: Loop Edit, executing the command without
approximately 2 minutes 54 seconds in monaural, or checking “Overwrite” in the dialog box allows you to
approximately 1 minute 27 seconds in stereo. By installing save the unedited sample data while you edit. (☞2.1–
additional 72-pin SIMM boards you can expand the memory 2e: UTILITY “About Overwrite”)
to a maximum of 64 Mbytes (two 32 Mbyte SIMM units). In
this case, you will be able to record up to four samples that When executing a sample edit operation or when you
are each approximately 2 minutes 54 seconds long for mon- finish recording a stereo sample, you may hear a slight
noise. This does not affect the audio data that has been

SMPL
aural (or approximately 1 minute 17 seconds for stereo), for
a total of approximately 11 minutes 39 seconds of sampling edited or sampled.
(total of approximately 5 minutes 49 seconds for stereo). Cautions regarding sample data
(☞For details on installing compatible 72-pin SIMM boards, • The sample data memory areas Bank 1–4 each contain
refer to p.253.) 16 MB. Of this 16 MB (8,388,608 samples), sixteen
In Sampling mode, samples that have been sampled or samples (the first and last eight samples) are used as

7.1 5.2 5.1 4.1 3.1 2.1 1.1


loaded from storage media can be assigned to an index internal work area.
(zone) to create a multisample. One multisample can contain • The first and last samples of each sample are used as
many indexes. internal work area. These two samples are added
A multisample can easily be converted into a program automatically when a sample is recorded or when an
(☞“Conv. To Prog” 1.1–3f). Once the multisample is con- .AIFF or .WAVE file is loaded. This means that if you
verted it can be played and programmed like any other pro- record a sample of one second, this will result in 48,000
gram sound. This program can also be used in Combination samples of data, but four samples will be added to this,
or Sequencer mode. so that sampling memory will actually contain 48,004
samples of data.
Samples can also be used as drum samples in a drum kit.
How the [AUDITION] key and [START/ STOP] key will
Multisample function in Sampling mode
Index001 Index002 Index003 Index004
Top Key Top Key Top Key Top Key [START/ STOP] key
• Sampling (sample recording) can be performed in any
page 1.1–7.1 of Sampling mode by using the [REC/
WRITE] and [START/STOP] keys (For the sampling
procedure, refer to BG p.34).
Recording settings such as the input level can be made in
Index 001 Index 002 Index 003 Index 004
SMPL 1.1–3: Recording Input/Pref page, and these set-
0000: 0001: 0002: 0003: tings are also valid in the other pages.
Sample A Sample B Sample C Sample D
• In the 2.1: Sample Edit2 page, pressing the [START/
STOP] key will play the sample of the selected “Index”
Multisample Program OSC (Single/Double) from “S (Edit Range Start)” to “E (Edit Range End)” in
one-shot mode. At this time, the sample will sound at
Sample Drum Kit Program OSC (Drums)
the pitch of the base key.
[AUDITION] key
In any page, the selected multisample or sample will • The sample of the currently selected “Index” will be
sound when you play the keyboard, letting you hear played at the pitch of the currently selected key (the key
the results of your editing in that page. displayed in gray in “Keyboard & Index”: 1.1–1a) as
long as you hold down the [AUDITION] key.
• In the Slice Sample dialog box of Utility “Time Slice”
(3.1–2e) and in the Stretch Sample dialog box of Utility
“Time Stretch” (3.1–2e), the sample of the currently
selected “Index” will be played at the original key as
long as you hold down the [AUDITION] key.

87
SMPL PAGE MENU SMPL 1.1: Recording
For details on selecting pages in Sampling mode, refer to Here you can set the input level and make other basic set-
p.1. tings for sampling (sample recording), and make basic set-
tings for multisamples and samples. Normally you will
record samples in this page.

1.1–1: Sample
Select the multisample and index sample for sampling, and
Rec 1.1: Recording Record samples. Select the sample or mul- make basic settings.
tisample to record, and make various
recording settings and AUDIO INPUT set-
tings. (☞p.88)
Smpl 2.1: Sample Edit Perform waveform editing and other editing 1.1–1a
on recorded samples or samples that were
loaded into internal memory in Media
1.1–1b
mode. (☞p.98)
Loop 3.1: Loop Edit Set sample playback parameters. Set start,
loop start, end address, and turn loop or 1.1–1c 1.1–1d
reverse playback on/off. (☞p.106)
MS 4.1: Multisample Edit multisamples. Set and edit sample
assign, zone, and original key etc.
(☞p.116) 1.1–1a: MS (Multisample Select), Index, Keyboard &
Mem 5.1: Memory View the remaining memory available for Index
multisamples and samples. (☞p.118)
Ctrl 5.2: Controller Controller settings. (☞p.118) MS (Multisample Select) [000...999]
IFX 7.1: Insert Effect Select the insert effects used for sampling, Selects the multisample.
and make settings for them. (☞p.119) Each multisample consists of the samples for one or more
indexes (an “index” is a range or zone of keys).
This parameter can also be set from 2.1: Sample Edit–4.1:
Multisample.
Here’s how to create a new multisample.
1 Use numeric keys [0]–[9] to specify the new multisample
number, and press the [ENTER] key to open the “Create
New Multisample” dialog box.

2 If you wish to create a stereo multisample, check “Ste-


reo.”
3 To create the multisample, press the [F8] (“OK”) key. To
cancel, press the [F7] (“Cancel”) key.
A multisample will be created as follows (example).
Mono 001: NewMS_ _ _ _ _ _001
Stereo 001: NewMS_ _ _ _ _ _001-L
002: NewMS_ _ _ _ _ _001-R

Index [xxx (001...128)/ yyy (001...128)]


Select s the index that you wish to sample, or to which you
wish to assign a sample.
Each zone within a multisample is called an “index.” For
example on the 61-note keyboard, if a multisample is
divided into zones of one octave (12 notes), there will be six
zones. Each of these zones is called an index, and you can
assign a sample to each index.
xxx: The selected index. Choose the desired index.
yyy: The total number of indexes in the multisample.
To select an index, hold down the [ENTER] key and
play a note on the keyboard. The index that includes
the note you played will be selected. The specified key
will be the base key, and will be displayed in gray in
“Keyboard & Index” (☞“Keyboard & Index”).

88
This parameter can also be set in 2.1: Sample Edit–4.1: Multi- Keyboard & Index
sample. The sampling and editing that you perform in these Original Key (currently selected Original Key is reversed)
pages will apply to the index you select here. Index zone (currently selected Index is reversed)

When first entering the sample page, this value will be 001/ Index01 Index02 Index03 Index04 Index05
001. This indicates that only one index exists. To increase the
number of indexes, use “CREATE” in this page. When you
press the [F6] (“CREATE”) key, indexes will automatically
be added from the left-most zone, as 002/002, 003/003, ... The C4 key
Lowest note of the Highest note of the
position, zone width, and original key location of the index displayed keyboard displayed keyboard
that is created when you press the [F6] (“CREATE”) key can By holding down the [ENTER] key and play a note on the keyboard, you
be set in “Create(Create Zone Preference)” (1.1–3b, 4.1–3a). can select the corresponding index, and the specified key will be the base
key and will be shown in gray.
You are also free to modify the zone width and original key
location later. This shows the zones and original key locations of the cur-
rently selected multisample. The white triangle indicates the
Stereo C4 key. The note numbers at left and right are the range of
A “Stereo” indication will appear at the top right of LCD notes displayed.
display if you have selected a stereo multisample or sample,
The key displayed in gray is called the base key, and
or if you recorded a sample with “Mode (Sample Mode)”
functions as follows.
(1.1–2a) set to Stereo.
About stereo multisamples and stereo samples • In the 2.1: Sample Edit2 page, pressing the [START/
Stereo multisamples: Under the following conditions, two STOP] key will play the sample of the selected “Index”
multisamples will be handled as a stereo multisample. from “S (Edit Range Start)” to “E (Edit Range End)” in
• If you checked “Stereo” when creating a new one-shot mode. At this time, the sample will sound at
multisample (i.e., selected a new multisample in “MS” the pitch of the base key. In pages other than the 2.1:

SMPL
1.1–1a) Sample Edit2 page, the sample of the currently selected
• If you executed the Utility “MS To Stereo” (1.1–3f) “Index” will continue playing at the pitch of the base key
• If you sampled with “Mode (Sample Mode)” (1.1–2a) set as long as you hold down the [AUDITION] key.
to Stereo • The grid display in 2.1: Sample Edit and the 3.1: Loop
In these cases, a stereo multisample that meets the following Edit Edit2 page is displayed relative to the playback
conditions will be created automatically. pitch at the base key and the specified tempo BPM/

7.1 5.2 5.1 4.1 3.1 2.1 1.1


resolution (set in the “Grid” utility).
1. The last two characters of the two multisample names
• The Utility “Pitch BPM Adj.” (4.1–3b) function is relative
will be -L and -R respectively, and the earlier portion of
to the playback pitch of the base key.
the names are identical.
2. The two multisamples will have the same number of You can use Utility “Keyboard Disp.” (1.1–3f) to change the
indexes, and their zone settings are identical. displayed range of the keyboard.
Stereo samples: Under the following condition, two sam-
ples will be handled as a stereo sample. 1.1–1b: SMPL, Orig.K, TopK
• When the samples were recorded with a “Mode (Sample
Mode)” (1.1–2a) setting of Stereo. Here you can set the sample, original key, and range of the
• If you executed the Utility “SMPL To Stereo” (1.1–3f) selected index.
In this case, a stereo sample that meets the following condi-
tions will be created automatically. SMPL (Sample Select)
1. The last two characters of the sample name will be -L and [----: ---No Assign----, 0000...3999]
-R respectively, and the earlier portion of the names are Select a sample that you either sampled or that you loaded
identical. in Media mode, and play a note within the index range to
2. Two samples that satisfy condition 1. for stereo multi- play that sample.
samples are selected. This parameter can also be set in 2.1: Sample Edit–4.1: Multi-
sample. The sampling and editing operations that you per-
Stereo multisamples and samples are distinguished form in these pages will affect the sample you select here.
internally by their multisample name or sample name.
If you use Utility “Rename MS” or “Rename SMPL” ----: ---No Assign----: No sample is assigned to the index.
(1.1–3f) etc. to modify the multisample name or sample There will be no sound when you play the keyboard.
name, please pay attention to the above conditions. To record a sample, select a vacant sample such as 0000:.
When you record a sample, data will be loaded into the
As a condition of a stereo sample, the sampling rates selected sample.
must be identical. You can verify the sampling rate of a The sample name (such as NewSample_0000) will be shown
sample by using the Utility “Rate Convert” (2.1–2e). Be beside the number. This sample name can be modified using
aware that if you use Utility “Rate Convert” to convert the Utility “Rename SMPL” (1.1–3f).
the -L and -R samples to differing sampling rates, they You can also record a sample even when ----:---No Assign---
will not be handled as a stereo sample. -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 number, and
the newly recorded sample will replace the previous sample
in the index. If you wish to delete a sample, execute the Util-
ity “Delete SMPL” (1.1–3f).

89
Orig.K (Original Key) [C–1...G9] ■ 1.1–1d: UTILITY
Specifies the key that will play the sample at its original
pitch (i.e., the pitch at which it was recorded). The pitch will ☞ “Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename
change in semitone steps relative to the original key. SMPL,” “SMPL To Stereo,” “Delete MS,” “Copy MS,”
For example, suppose that you recorded a sample with “Move MS,” “Rename MS,” “MS To Stereo/MS To
“Orig.K” of F2. When the zone of the index is C2–B2, press- Mono,” “Conv. To Prog,” “Keyboard Disp.” (1.1–3f)
ing the F2 key would playback the sample at its original
pitch. Pressing F#2 would playback the sample a semitone
higher. Pressing E2 would playback the sample a semitone 1.1–2: Rec. (Recording)
lower. The pitch of this sampled sound will change in semi-
tone steps between C2 and B2, centered at F2.
The original key location can also be viewed in “Keyboard & 1.1–2a
Index.”
1.1–2b
If “Constant Pitch” (4.1–2a) is checked, the sample will
be sounded at its original pitch by all notes in the zone.

TopK (Top Key) [C–1...G9] 1.1–2c 1.1–2d

Specifies the highest key in the zone of the index. The zone
is defined by this “TopK.”
For example, suppose that you set a “TopK” of B2 for index 1.1–2a: Sample Setup
001/002, and a “TopK” of B3 for index 002/002. This means
Here you can select the memory bank into which you will
that the zone of index 001 will be B2 and lower, and the zone
sample, specify the sampling time, and select either mono or
of index 002 will be C3–B3.
stereo sampling.

■ 1.1–1c: CREATE Time (Sample Time)


Specifies the time that you wish to sample. This can be set in
Here you can create an index. Use this when you wish to 0.001 second increments. Immediately after the power is
add a sample to a multisample. turned on, this will show the remaining memory (available
When you press the [F6] (“CREATE”) key, a new index will sampling time) of the selected memory bank. If you record a
be created according to the settings of the Create (Create sample in this condition (“REC”→“START”→“STOP”), the
Zone Preference) (1.1–3b, 4.1–3a) parameters “Pstn (Posi- change in time will be displayed automatically.
tion),” “Range (Zone Range),” and “Orig.K (Origiral Key If the installed sample data RAM has enough free space, it is
Position).” a good idea to set “Time (Sample Time)” to a larger setting
If you wish to delete an existing index or to exchange indi- than necessary, and then after sampling, use the “Truncate”
ces, use 4.1: Multisample. utility (2.1–2a, 3.1–2e) to delete unneeded regions so that the
sample does not occupy any more memory than necessary.
“CREATE” will be displayed if the 1.1: Recording, Sam- You can also press the [START/STOP] key to stop recording
ple page or the 4.1: Multisample, Edit1, Edit2 pages are after you have recorded the desired material (☞ For details
selected. on the sampling procedure, refer to BG p.34).
If when you execute “CREATE” (1.1–1c, 4.1–1c) or The remaining amount of memory will depend on the fol-
“INSERT” (4.1–1c) it is not possible to create a new lowing conditions.
index according to your Create (Create Zone Prefer- 1. The amount of memory that is installed.
ence) settings, one of the following dialog boxes will
2. Whether the sample is stereo or mono. When the “Mode
appear. If you wish to create a new index, perform the
(Sample Mode)” (1.1–2a) is set to Stereo, the memory
following procedure.
capacity will be halved.
• Set Top Key: Select “Index” 001, set “Pstn (Position)” 3. The time specified for “Pre Trigger” (1.1–2b: a function
(1.1–3b, 4.1–3a) to L (Left), and execute “CREATE” or that automatically samples the sound even before you
“INSERT” to open the dialog box. So that a new index begin sampling) will be subtracted from the amount of
can be created at the left of index 001, reset the “Top memory that actually remains.
Key” setting, and press the [F8] (“OK”) key.
Bank (RAM Bank) [1...4]
This selects the memory bank that will be used for sampling.
The sample data RAM is divided into four 16 Mbyte banks.
You can expand the sample data RAM to a maximum of 64
Mbytes (two 32 Mbyte SIMM modules). (☞p.256)
• Set Zone Range: If you execute “CREATE” when it is The banks that can be selected will depend on the sample
not possible to create a new index according to the data RAM that is installed, as follows.
Create (Create Zone Preference) settings, the following
dialog box will appear. This dialog box will also Installed SIMM boards and available banks
appear if you execute “INSERT” when it is not possible SIMM Slot No. SIMM Bank (RAM Bank)
to create a new index with the contents of the “CUT”
Slot1 16 Mbyte 1
or “COPY” (4.1–1c). Reset the “Range (Zone Range)”
(1.1–3b, 4.1–3a), and press the [F8] (“OK”) key. 32Mbyte 1, 2
Slot2 16Mbyte 3
32Mbyte 3, 4

90
For example if the 16 Mbyte SIMM (sample data RAM) Example 4:
included with the EXB-SMPL option (sold separately) is A stereo source connected to AUDIO INPUT 1 and 2, routed
installed in slot 1 and you install 32 Mbytes in slot 2, through internal insertion effect IFX 08: St.Graphic 7EQ, and
you will be able to select “Bank (RAM Bank)” 1 (16 sampled in stereo
Mbyte), 3 (16 Mbyte), and 4 (16 Mbyte). Each bank is a Input1 “Lvl (Level)” (1.1–3a) 127
16 Mbyte unit. (If you install a 32 Mbyte SIMM in slot 1
Input1 “Pan” (1.1–3a) L000
and slot 2, all banks can be selected, and the total capac-
Input1 “BUS (1.1–3a) IFX
ity will be 64 Mbytes.)
(BUS(IFX)Select)”
Mode (Sample Mode) [L-Mono, R-Mono, Stereo] Input2 “Lvl (Level)” (1.1–3a) 127
Select s the channel(s) to be sampled, to specify whether a Input2 “Pan” (1.1–3a) R127
mono or a stereo sample will be recorded. Input2 “BUS (1.1–3a) IFX
Depending on the “Input1, Input2” (1.1–3a) settings, the (BUS(IFX)Select)”
external source from the AUDIO INPUT 1 and 2 jacks will be IFX select (7.1) 08: St.Graphic
sent, either as direct sound without being routed through an 7EQ and make settings
effect, or as effect-processed sound routed through an inser- “Recording Level” (1.1–2c, 1.1–3e)as appropriate
tion effect, to the L/R bus and sampled from the internal L “Mode (Sample Mode)” (1.1–2a) Stereo
and R channels.
When you finish recording a stereo sample, you may
L-Mono: The sound of the internal L channel will be sam-
hear a slight noise. This does not affect the audio data
pled in mono.
that has been sampled.
R-Mono: The sound of the internal R channel will be sam-
pled in mono.
Stereo: The sound of the internal L and R channels will be 1.1–2b: REC Setup
sampled in stereo. When you sample in stereo, a stereo mul-

SMPL
tisample or sample will be created. Mode (REC Mode) [Manual, Auto]
Example 1: Select s the method by which sampling will be started.
Sampling a monaural source connected to AUDIO INPUT 1 Manual: Sampling will start when you press the [START/
without applying internal effects STOP] key from the sampling standby condition.
Input1 “Lvl (Level)” (1.1–3a) 127 1 Press the [REC/WRITE] key to enter sampling standby

7.1 5.2 5.1 4.1 3.1 2.1 1.1


Input1 “Pan” (1.1–3a) L000 mode.
Input1 “BUS (1.1–3a) L/R
2 Use the “Recording Level” (1.1–2c, 1.1–3e) slider to
(BUS(IFX)Select)”
adjust the sampling level.
“Recording Level” (1.1–2c, 1.1–3e)as appropriate
“Mode (Sample Mode)” (1.1–2a) L-Mono Be careful of changes in the monitoring volume level
(☞“Recording Level”).
Example 2:
A monaural source connected to AUDIO INPUT 1 routed 3 Sampling will begin when you press the [START/STOP]
through the internal insertion effect IFX 52: Rev Hall, and key. If you use the “Count Down” function, pressing the
sampled in stereo [START/STOP] key will cause sampling to begin after
the metronome sounds a count-down.
Input1 “Lvl (Level)” (1.1–3a) 127
Input1 “Pan” (1.1–3a) C064 4 To stop sampling, press the [START/STOP] key once
Input1 “BUS (1.1–3a) IFX again. Sampling will end automatically if you continue
(BUS(IFX)Select)” sampling to the end of the “Time (Sample Time)” (1.1–
2a).
IFX select (7.1) 52: Reverb Hall
and make settings Auto: Sampling will begin automatically when the input
“Recording Level” (1.1–2c, 1.1–3e)as appropriate level exceeds the “Threshold” setting.
“Mode (Sample Mode)” (1.1–2a) Stereo 1 Perform steps 1 and 2 described above.

Example 3: 2 Adjust the “Threshold” setting. The black triangles at


A stereo source connected to AUDIO INPUT 1 and 2, and both sides of the “Recording Level” level bar display will
sampling without applying internal effects indicate the “Threshold” level. Normally, this should be
set as low as possible without allowing noise to trigger
Input1 “Lvl (Level)” (1.1–3a) 127
sampling.
Input1 “Pan” (1.1–3a) L000
Input1 “BUS (1.1–3a) L/R 3 Press the [START/STOP] key.
(BUS(IFX)Select)” Sampling will automatically begin when the input level
exceeds the “Threshold” setting.
Input2 “Lvl (Level)” (1.1–3a) 127
Input2 “Pan” (1.1–3a) R127 4 When you are finished sampling, perform step 4 of the
Input2 “BUS (1.1–3a) L/R Manual procedure.
(BUS(IFX)Select)”
Threshold [–63dB...0dB]
“Recording Level” (1.1–2c, 1.1–3e)as appropriate
When performing auto sampling (“Mode (REC Mode)”
“Mode (Sample Mode)” (1.1–2a) Stereo
Auto), this sets the level at which sampling will begin
(☞“Mode (REC Mode)” Auto, step 2).
This will not be displayed if “Mode (REC Mode)” is set
to Manual.

91
Count Down (Count Down REC) [Off, 4, 8, 3, 6] 1.1–2c: Recording Level
When you begin sampling with “Mode (REC Mode)” set to
Manual, this parameter specifies whether there will be a Recording Level [–inf, –72.0... 0.0...+18.0dB]
count-down before sampling begins. Adjust the final level of the signal that will be sampled.
Off: When you press the [START/STOP] key from sampling
This can also be set in the Input/Pref page.
standby mode, sampling will begin immediately.
4, 8, 3, 6: When you press the [START/STOP] key from sam- When you press the [REC/WRITE] key you will enter sam-
pling standby mode, sampling will begin after a count- pling standby mode, and you will be able to adjust the sig-
down of the specified length, based on the tempo of “! nal level.
(Tempo).” If you specify 4, the count will be 4-3-2-1-0, and Initially you should set this to 0.0, and make adjustments so
sampling will begin on the count of 0. that the level of the bar is as high as possible without
exceeding 0 dB. If 0 dB is exceeded, “CLIP!” will be dis-
This will not be displayed if “Mode” is set to Auto.
played. This indicates that the sampling signal level is exces-
! (Tempo) [040...240] sive. Adjust the level so that “CLIP!” does not appear.
This sets the tempo of the count-down when “Count Down” In order to sample with the maximum dynamic range,
is used. use the [LEVEL] knob to adjust the level as high as pos-
The tempo specified here will also be used when the LFO or sible without making “ADC OVER!” appear. Then set
delay time of the insert effect is controlled by the BPM/ “Lvl” (Input/Pref page) to 127, and adjust “Recording
MIDI SYNC function during sampling (☞p.219). This can Level” (Recording page, Input/Pref page) as high as
also be set by the REALTIME CONTROLS C-mode possible without making the “CLIP!” indication appear.
[TEMPO] knob.
In the sampling standby mode after you press the [REC/
Pre Trigger (Pre Trigger REC) [000...500ms] WRITE] key, the sound that is output from the AUDIO
When sampling the sound that occurs before sampling is OUTPUT L/MONO, R and from the headphones will be
actually triggered, this setting specifies the time length that adjusted by the “Recording Level,” but when you cancel
will be “pre-sampled.” sampling standby or cancel sampling, the sound will be
When sampling in auto mode (“Mode (REC Mode)” Auto), output at the 0 dB level. If you have lowered the
sampling will begin when the input signal exceeds the spec- “Recording Level” below 0 dB, please be careful of sud-
ified threshold level “Threshold.” However depending on den changes in volume.
the “Threshold” settings, the early portion of the attack If the sound is still distorted even if you lower the
sound may be lost, and in such cases you can use “Pre Trig- “Recording Level,” it is possible that distortion is
ger.” occurring in the input stage of the AUDIO INPUT, or
Also, when sampling manually (“Mode (REC Mode)” Man- that distortion is being caused by the settings of the
ual) and using “Count Down,” you may intend to play your internal effect.
instrument etc. at precisely the downbeat but actually be
slightly ahead of the beat. In such cases, you can use Pre Excessive signal levels in the input stage of the AUDIO
Trigger REC to sample without loosing the beginning of the INPUT can be verified in the Recording page, Input/
note. Pref page. If an indication of “ADC OVER!” appears
above the “Recording Level” bar display, the distortion
If you increase this value, you will always be sampling is due to excessive levels in the input stage of the
more than you need. Normally you should leave this AUDIO INPUT. Adjust the [LEVEL] knob until the
set at 000ms, and set it to a minimal value only when “ADC OVER!” display no longer appears.
necessary. (see diagram below)
If there is still distortion even after [LEVEL] has been
lowered, it is possible that the distortion is being caused
by the settings of the internal effect. Lower the Input 1,
2 “Lvl” (Input/Pref page), or adjust the effect settings.
(see diagram below)
If you have sampled at a low input level, you can exe-
cute Normalize in Utility “Norm./Level Adj.” (2.1–2e)
to amplify the level to the maximum possible without
clipping.

ADC OVER! CLIP!


Insert
Analog to Digital Effect
Converter
AUDIO INPUT ADC L-Mono
Stereo
[LEVEL] "Lvl" (1.1–3a) R-Mono
(MIN...MAX) [127=0dB]
"Pan" (1.1–3a) "Recording Level" (1.1–2c) "Mode" (1.1–2a)
[–inf ... 0.0dB ... +18.0dB]

92
■ 1.1–2d: UTILITY Pstn (Position) [R, L]
Specifies whether the new index will be created at the right
☞ “Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename or left of the selected index.
SMPL,” “SMPL To Stereo,” “Delete MS,” “Copy MS,” R (Right): The new index will be created at the right of the
“Move MS,” “Rename MS,” “MS To Stereo/MS To currently selected index.
Mono,” “Conv. To Prog,” “Keyboard Disp.” (1.1–3f) L (Left): The new index will be created at the left of the cur-
rently selected index.

Range (Zone Range) [001...127]


1.1–3: In/ Pref (Input/ Preference)
Specifies the key range of the zone of the newly created
Specify the input level from the rear panel AUDIO INPUT 1, index.
2, and set pan and bus. You can also set other setup parame-
001: A single note of the keyboard will be the index. The
ters.
sample of the index will sound at its original key when you
play that note. This setting can be used similarly to pad
(keyboard) type samplers.
1.1–3a
002...127: The sample will change pitch in semitone steps
1.1–3b across the specified number of keys, centered on the original
1.1–3c key “Orig.K” (1.1–1b, 4.1–1b). If “Constant Pitch” (4.1–2a) is
checked, the pitch will not change.
1.1–3d 1.1–3e 1.1–3f
Orig.K (Original Key Position) [Btm, Cntr, Top]
Specifies where the original key will be located in the zone
(specified by “Zone Range”) for a newly created index.
1.1–3a: Input1, Input2

SMPL
Btm (Bottom): The lowest key in the zone will be the origi-
Here you can make adjustments for the input stage of the nal key.
audio signal received at AUDIO INPUT 1 and 2. Cntr (Center): The middle key in the zone will be the origi-
nal key.
These settings are valid only in Sampling mode. These
Top: The top key in the zone will be the original key.
settings will also be valid when you move from Sam-

7.1 5.2 5.1 4.1 3.1 2.1 1.1


pling mode to Global mode.
In modes other than Sampling mode, settings for Audio
1.1–3c: Auto Loop
Input 1 and 2 are made in “Audio In (Setup for COMBI,
Auto Loop (Auto Loop On) [Off, On]
PROG, SEQ)” (GLOBAL 1.1: System, Audio In).
On (checked): The recorded sample will automatically be
Lvl (Level) [000...127] played with looping turned on (☞“3.1: Loop Edit”).
Specifies the level of the signal immediately after the analog
audio signal from AUDIO INPUT 1 and 2 is converted into a 1.1–3d: Metro (Count Down REC Metronome)
digital signal. Normally you will set this to 127.
If you hear distortion even after lowering this level, it is pos- BUS (Metronome BUS) [L/ R, 1, 2]
sible that the distortion is occurring before the A/D con-
Specifies the output destination of the metronome sound
verter. Adjust the [LEVEL] knob or the output level of your
played by “Count Down” (1.1–2b).
external sound source so that the “ADC OVER!” indication
above the “Recording Level” display does not appear. L/R: The metronome will be output from OUTPUT (MAIN)
L/MONO, R, and the headphones.
Pan [L000...C064...R127] 1, 2: The metronome will be output from OUTPUT (INDI-
Sets the panning of the analog audio signal from AUDIO VIDUAL) 1 or 2 respectively.
INPUT 1 and 2. Normally you will set Input 1 to L000 and
Input 2 to R127. This allows you to sample a stereo audio Lvl (Metronome Level) [000...127]
source in stereo (☞For example settings, p.91, BG p.85). Specifies the level of the metronome sound played by
“Count Down.”
BUS (BUS(IFX) Select) [L/ R, IFX, Off]
Select s the bus.
1.1–3e: Recording Level
L/R: Select this when you wish to sample the incoming ana- [–inf, –72.0... 0.0...+18.0]
log audio signal without applying an insert effect. Normally
you will select L/R. Adjusts the signal level at the final stage of sampling (☞1.1–
IFX: Select this when you want to apply the insert effect to 2c).
the analog audio input signal while it is being sampled.
(☞p.158)
Off: The analog audio signal will not be input. ■ 1.1–3f: UTILITY

1.1–3b: Create (Create Zone Preference)


These settings determine the initial state of the indexes that
are created when you press the [F6] (“CREATE”) key (1.1–
1c, 4.1–1c). Each new index will be created according to the
For details on how to select the desired utility function, refer
settings you make here, but you are free to modify the set-
to “PROG 1.1–1c: UTILITY.”
tings later.

93
Delete SMPL (Delete Sample) edit the sample data, the results will affect all samples
This command deletes the currently selected sample, or that share this sample data.
samples that are not mapped to (i.e., used by) any multisam-
Sample Memory
ple or drum kit, or all samples.
0000: NewSample_0000 Sample Data
1 Select “Delete SMPL” to open the following dialog box. "Copy SMPL"
with Sample Data
0001: NewSample_0001 Sample Data

2 Use the [INC], [DEC] keys or the [VALUE] dial to select Sample Memory

the sample(s) that you wish to delete. 0000: NewSample_0000 Sample Data
"Copy SMPL"
Selected: The currently selected sample will be deleted.
0001: NewSample_0001
The sample assignment for “Index” (1.1–1a) will change
to ---No Assign---.
Unmapped Samples: Delete all samples that are not
mapped to (used by) any multisample or drum kit.
All Samples: All samples in memory will be deleted.
5 To execute the Copy Sample command, press the [F8]
The sample assignments of all multisamples will change
(“OK”) key. To cancel, press the [F7] (“Cancel”) key.
to ---No Assign---.
3 To execute the Delete Sample command, press the [F8] Move SMPL (Move Sample)
(“OK”) key. To cancel, press the [F7] (“Cancel”) key. This command lets you move the currently selected sample
to the specified number (i.e., to change the sample number),
If the sample data (waveform data) of the sample you
or to rearrange the sample numbers so that they start from
delete is being used by another sample, the sample data
0000 after samples have become discontinuous as a result of
itself will not be deleted. Only the sample will be
creating or editing. (☞Following illustration)
deleted.
When you reassign the sample numbers, the sample num-
Copy SMPL (Copy Sample) bers within the multisamples and drum kits that use these
This command copies the currently selected sample to sample will also be automatically reassigned. (This means
another sample. that the samples of the multisamples and drum kits need not
be reassigned following this operation.)
The sample number of the copy destination will auto-
matically be added to the sample name. If necessary,
use “Rename SMPL” (1.1–3f) to rename it. At this time,
be careful that the name is not identical to any other
sample. (The sample name is used to distinguish stereo
samples. ☞p.89)
1 Use “SMPL” (1.1–1b) to select the copy source sample.
2 Select “Copy SMPL” to open the following dialog box.

1 Use “SMPL” (1.1–1b) to select the copy source sample.


2 Select “Move SMPL” to open the following dialog box.

3 Use “To: Sample No.” to specify the copy destination


sample number.
When copying a stereo sample, specify both the L
and R channels for the copy destination sample number.
3 Use “To” to specify the move destination sample number.
4 If you check “with Sample Data”: Executing the copy When moving a stereo sample, you must move
will simultaneously copy the sample data (waveform the samples individually.
data) as well. The copy source and copy destination sam- If you wish to reassign (pack) all sample numbers start-
ples will exist as completely independent samples. For ing at 0000, check “Optimize Empty Sample No.”
example, you would use this when you wish to start with
the same sample data, and edit it separately in 2.1: Sam- 4 If “Adjust Sample Assign in Drum Kit” is checked, and
ple Edit to create two or more different types of sample. if the samples being moved are mapped to (used by) a
If you do not check “With Sample Data”: Executing the drum kit, those sample numbers will also be automati-
copy will not copy the sample data (waveform data). The cally modified. Normally you will leave this checked.
newly created sample will share the sample data of the Samples mapped to (used by) multisamples will be auto-
copy source sample. For example, you would use this matically changed to the new sample numbers regardless
when you wish to use 3.1: Loop Edit to create two or of this setting.
more versions of the same sample data with different
5 To execute the Move Sample operation, press the [F8]
loop addresses. Sample memory area will not be con-
(“OK”) key. To cancel without executing, press the [F7]
sumed by this type of copy. If you use 2.1: Sample Edit to
(“Cancel”) key.

94
Example) Also, if the selected multisample is mono, it will change
If data already exists at the move destination sample to stereo.
number, the sample will not be overwritten; instead, all • The last two characters of the multisample name will be
subsequent samples will be renumbered upward. overwritten as “–L”.
• A new multisample will be created with the same name,
but whose last two characters are “–R”.
• The stereo sample that was created will be assigned
automatically.

Delete MS (Delete Multisample)


Move 0003 to 0001 This command deletes the currently selected multisample or
all multisamples.
Example) 1 Use “MS” (1.1–1a) to select the multisample that you
If there is no empty sample number and forward move- wish to delete.
ment is not possible, samples will be renumbered down-
2 Select “Delete MS” to open the following dialog box.
ward.

Move 3996 to 3999 3 All Multisamples: Check this if you wish to delete all
multisamples.
Rename SMPL (Rename Sample)

SMPL
4 Delete Samples too?: Check this if you wish to simulta-
This command renames the currently selected sample. neously delete the samples that are included in the multi-
1 Use “SMPL” (1.1–1b) to select the sample whose name sample being deleted. However, samples that are
you wish to change. mapped to (used by) other multisamples or drum kits
will not be deleted.
2 Select “Rename SMPL” to open the following dialog box.
5 To execute the Delete Multisample command, press the

7.1 5.2 5.1 4.1 3.1 2.1 1.1


[F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.
Even if you also choose to delete the samples that are
included in the deleted multisample(s), any sample
data (waveform data) used by these samples that is
3 Press the [F5] (“Name”) key to move to the text dialog
shared with other samples will not be deleted. Only the
box, and input the sample name (maximum of sixteen
sample itself will be deleted.
characters).
If the multisample is stereo and a stereo sample is Copy MS (Copy Multisample)
selected, you can input up to fourteen characters for the This command copies the selected multisample to another
sample name. This is because the last two characters are multisample.
reserved for -L and -R. If you rename up to fourteen char-
acters of the sample of either the L or the R channel, the The copy destination multisample number will auto-
other sample will automatically be renamed. matically be included in the multisample name of the
copy destination. If necessary, use “Rename MS” (1.1–
4 To execute the Rename Sample command, press the [F8]
3f) to rename it. When doing so, make sure that the
(“OK”) key. To cancel, press the [F7] (“Cancel”) key.
name is not identical to any other multisample name.
SMPL To Stereo (Change Sample Type) (The multisample name is used to distinguish stereo
multisamples. ☞p.89)
This command changes a mono sample into a stereo sample.
This can be executed only if the selected sample is mono. 1 Use “MS” (1.1–1a) to select the copy source multisample.
1 Use “SMPL” (1.1–1b) to select the sample that you wish 2 Select “Copy MS” to open the following dialog box.
to convert to stereo.
2 Select “SMPL To Stereo” to open the following dialog
box.

3 Use “To: Multisample No.” to specify the copy destina-


tion multisample number.
3 To execute the Change Sample Type command, press the When copying a stereo multisample, copy both
[F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key. the L and R channels of the copy destination multisample
When you execute this command, the sample type will number.
change as follows.
• The selected sample will become a stereo sample. “–L”
will be overwritten into the last two characters of the
sample name.
• An identically named sample will be created with “–R”
as the last two characters of the sample name.

95
4 To execute the Copy Multisample command, press the Example)
[F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key. If there is no empty multisample number and forward
When a multisample is copied, the samples assigned to movement is not possible, multisamples will be renum-
the multisample will also be copied at the same time. At bered downward.
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.)

Move MS
This command lets you move the currently selected multi- Move 996 to 999
sample to the specified number (i.e., to change the multi-
sample number), or to rearrange the multisample numbers
so that they start from 000 after multisamples have become Rename MS (Rename Multisample)
discontinuous as a result of creating or editing. (☞Following This command modifies the name of the currently selected
illustration) multisample.
When you reassign the multisample numbers, the multisam- 1 Use “MS” (1.1–1a) to select the multisample that you
ple numbers within the programs that use these multisam- wish to rename.
ples will also be automatically reassigned. (This means that
2 Select “Rename MS” to open the following dialog box.
you do not need to reselect the multisamples in Program
mode following this operation.)

3 Press the [F5] (“Name”) key to move to the text dialog


box, and input the multisample name (up to sixteen char-
acters).
If the selected multisample is stereo, up to four-
teen characters can be input as the multisample name.
This is because the last two characters are reserved for -L
1 Use “MS” (1.1–1a) to select the multisample that you
and -R. If you rename up to fourteen characters of the
wish to move.
multisample of either the L or the R channel, the other
2 Select “Move MS” to open the following dialog box. multisample name will automatically be renamed.
4 To execute the Rename Multisample command, press the
[F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.

MS To Stereo/ MS To Mono (Change Multisample Type)


This command converts a mono multisample to stereo, or a
3 In “To,” specify the move destination multisample num- stereo multisample to mono. If the selected multisample is
ber. mono, the dialog box will allow you to execute “MS To Ste-
reo.” If the selected multisample is stereo, the dialog box
When moving a stereo multisample, you will
will allow you to execute “MS To Mono.”
need to move each part separately.
If you wish to rearrange all multisamples consecutively, 1 Use “MS” (1.1–1a) to select the multisample that you
check “Optimize Empty Multisample No.” wish to change to stereo or mono.
4 If “Adjust Multisample Assign in Program” is checked 2 Select either “MS To Stereo” or “MS To Mono” to open
and if the multisamples being moved are used in pro- the dialog box.
grams, the multisample numbers of the programs will
also be reassigned automatically. Normally you will
leave this checked.
5 To execute the Move Multisample command, click the
[F8] (“OK”) key. If you decide not to execute, click the 3 To execute the Change Multisample Type command,
[F7] (“Cancel”) key. press the [F8] (“OK”) key. To cancel, press the [F7] (“Can-
Example) cel”) key.
If data already exists at the move destination multisam- When you execute this command, the multisample type
ple number, the multisample will not be overwritten; and sample assignment will change as follows.
instead, all subsequent multisamples will be renumbered
upward.

Move 003 to 001

96
MS To Stereo If you check “Use Destination Program Parameters,” be
• The selected multisample will be converted to stereo. aware of the following points.
The last two characters of the multisample name will
• If the selected multisample is mono, the “Mode
be overwritten as -L.
(Oscillator Mode)” of the convert destination program
• An identical multisample will be newly created, but
must be Single. Conversely, if the selected
with the last two characters of the multisample name
multisample is stereo, the “Mode (Oscillator Mode)” of
overwritten as -R.
the convert destination program must be Double. If
• Mono samples assigned to the original multisample
you attempt to execute this command when these
will be assigned to both -L and -R multisamples.
conditions are not satisfied, a message will indicate
• If samples assigned to the original multisample are
“Oscillator Mode conflicts.” You will need to change
part of a stereo pair of samples, the -L and -R samples
the “Mode (Oscillator Mode)” setting of the convert
will be assigned to the -L and -R multisamples.
destination program.
: MS To Mono
• The selected multisample will be converted to mono. • If the selected multisample is stereo and the
The -L or -R at the end of the multisample name will program pan setting “Pan (Amp1 Pan)” is L000 and
be deleted. “Pan (Amp2 Pan)” is R127 (PROG 5.1–1b and 5.2–1),
• Multisamples that are stereo pairs of the selected the stereo position of the multisample in Sampling
multisample will be deleted. mode will be reproduced by the program.
5 Use “To” to select the convert destination program. You
Conv. To Prog (Convert Multisample To Program) can use the [BANK] keys, numeric keys [0]–[9], [VALUE]
This command converts the selected multisample into a pro- dial, and [INC], [DEC] keys to make your selection.
gram.
If you have recorded a sample or created a multisample and We recommend that you use bank D064–D127 as the
would like to play it in Program mode, Combination mode, program bank/numbers for Sampling mode programs.

SMPL
or Sequencer mode, you must create a program that uses Although it is possible to specify any bank A–D as the
that multisample for its oscillator. conversion destination program, the factory-set pre-
It is possible to set the Program mode OSC1 and OSC2 loaded programs are located in bank A000–D063.
parameters “High, Low” (PROG 2.1–2b) to select a RAM 6 To execute the Convert Multisample To Program com-
bank, so that a multisample that you created in Sampling mand, press the [F8] (“OK”) key. To cancel, press the [F7]
mode can be used in the program, and then to make pro- (“Cancel”) key.

7.1 5.2 5.1 4.1 3.1 2.1 1.1


gram settings to specify how the multisample will be
sounded. Keyboard Disp. (Keyboard Display)
However by executing this “Conv. To Prog” command, you This command selects the range of the keyboard display.
can quickly and easily convert the Sampling mode settings Normally you will select 88Key Normal (A0–C8).
into the desired program, without having to make Program
mode settings as described above. 1 Select “Keyboard Disp.” to access the dialog box.

1 Use “MS” (1.1–1a) to select the multisample that you


wish to convert to a program.
2 Choose “Conv. To Prog” to open the dialog box.

2 Use the [INC], [DEC] key to select the displayed range.


3 To execute the Keyboard Display command, press the
[F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.

3 Press the [F5] (“Name”) key to move to the text dialog


box, and input the program name (up to sixteen charac-
ters). By default, the multisample name will be specified.
4 If “Use Destination Program Parameters” is unchecked:
Executing the command will replace the multisample of
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
in Sampling mode will be accurately reproduced by the
program.
A monaural multisample will be converted into a pro-
gram with an “Mode (Oscillator Mode)” (PROG 2.1–1a)
of Single, and a stereo multisample will be converted
into a Double program.
If “Use Destination Program Parameters” is checked:
Executing this command will replace the multisample of
the convert destination program with the multisample
that is selected here, and will not initialize the settings of
the remaining program parameters. Use this setting if
you wish to use the parameter settings of a preloard pro-
gram, etc.

97
2.1–2: Edit2
SMPL 2.1: Sample Edit
Here you can edit the sample data (waveform data) that you
sampled or loaded in Media mode. 2.1–2a
Editing operations such as deleting unwanted portions of
the waveform, reversing the waveform, or lowering the 2.1–2b

sampling frequency can be performed in detail while view-


ing the “sample waveform display.” 2.1–2c 2.1–2d 2.1–2e

2.1–1: Edit1 2.1–2a: Sample waveform display


Sample waveform display
This displays the waveform of the selected sample. The hor-
izontal axis is the sample address (time axis), and the verti-
2.1–1a
cal axis is the sample level.
The bold line in the display indicates the portion of the
entire sample waveform that is currently shown in the
2.1–1b screen. As you zoom-in on the time axis, you will see that a
smaller proportion of the waveform is shown in the screen.

2.1–1a: MS, Index, Keyboard & Index, SMPL 2.1–2b: Edit (Audition Plays), Zero, (Grid Tempo)
MS (Multisample Select) [000...999] S (Edit Range Start) [0000000...]
Select s the multisample that contains the sample you wish
E (Edit Range End) [0000000...]
to edit (☞1.1–1a).
This specifies the range (start address and end address) of
Index [xxx (001...128)/ yyy (001...128)] the sample that will be edited by UTILITY menu commands.
Selects the index of the sample you wish to edit. Your edit- (This is shown in sample address units.)
ing will affect the sample of the index that you select here, The range you specify here will be highlighted in the “sam-
and the waveform will appear in the “sample waveform dis- ple waveform display.”
play”(2.1–2a) (☞1.1–1a). To hear the sound of the specified range, press the
To select an index, hold down the [ENTER] key and [START/STOP] key. The sample will sound from the “S
play a note on the keyboard. The index that includes (Edit Range Start)” to the “E (Edit Range End)” points,
the note you played will be selected. The specified key at the pitch of the base key (displayed in gray). (☞”Key-
will be the base key, and will be displayed in gray in board & Index” 1.1–1a)
“Keyboard & Index” (☞“Keyboard & Index” 1.1–1a).
Zero (Use Zero) [Off, On]
Keyboard & Index On (checked): When setting “S (Edit Range Start)” and “E
(☞1.1–1a) (Edit Range End),” it will be possible to select these only to
locations where the waveform level is ±0 (i.e., where the
SMPL (Sample Select) waveform crosses the center line of the “sample waveform
[----: ---No Assign----, 0000...3999] display”). You can use the [VALUE] dial, and [INC], [DEC]
Selects the sample for the selected index. When you change keys to automatically search for zero-cross addresses. By
“SMPL,” the selected sample will be assigned to the speci- using the numeric keys [0]–[9] you can search for the zero-
fied index. (☞1.1–1b) cross address nearest to the value that you input.
Off (unchecked): “S (Edit Range Start)” and “E (Edit Range
End)” can be set in increments of one. This is the normal set-
■ 2.1–1b: UTILITY ting.

☞ “Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename ! (Grid Tempo) [040...480(BPM)]
SMPL,” “SMPL To Stereo,” “Delete MS,” “Copy MS,” (☞3.1–2b)
“Move MS,” “Rename MS,” “MS To Stereo/MS To
Mono,” “Conv. To Prog,” “Keyboard Disp.” (1.1–3f)
■ 2.1–2c: L/ R
This is valid only if a stereo sample is selected.
This switches the display between the L channel and R
channel of a stereo sample.
Each time you press the [F3] (“L/R”) key, the display will
alternate between the L channel and the R channel.
The currently-displayed channel of the sample is shown in
the upper right of the screen ([L] for the L channel, [R] for
the R channel).

98
ever, be aware that once a sample has been mixed to
■ 2.1–2d: ZOOM mono, it is no longer possible to return it to a stereo
These buttons let you zoom-in and zoom-out the “sample sample.
waveform display” in the horizontal axis (sample addresses) The playback “S (Start)” (start address), “LpS (Loop
or vertical axis (sample level). Start)” (loop start address), and “E (End)” (end address)
: Press the [F4] key to zoom-in vertically. of the sample waveform data are specified in 3.1: Loop
: Press the [F5] key to zoom-out vertically. Edit, Edit2. If the above parameters are within the
: Press the [F6] key to zoom-out horizontally. range of sample addresses deleted or moved by the
: Press the [F7] key to zoom-in horizontally. editing command, their addresses will automatically be
moved.
If you continue holding each key, zoom-in/out will occur
repeatedly. *1
: About “Overwrite”
By zooming-in on the horizontal direction, you can move When “Overwrite” is unchecked: When the command is
from the overall display where the waveform is shown as a executed, the edited sample will be saved in a different sam-
solid line (1x magnification) to 2x or 4x magnification. (With ple number. The unedited sample will remain without
1x magnification, the display resolution of the LCD will be change.
the same as the resolution of the sample addresses. For When “Overwrite” is checked: When the command is exe-
example if you change the sample address by one, the verti- cuted, the edited sample will be overwritten onto the origi-
cal line in the LCD that indicates the sample address will nal sample (number). The original sample will be modified.
move in steps of one pixel.) In the vertical axis, you can Normally, you will leave “Save to No.” at its default
zoom-in from 1x (full-range display) to 512x. setting, and execute without checking “Overwrite.”
Zoom-In/zoom-out will occur starting at the “S (Edit Range When you execute, both the data before and after edit-
Start)” or “E (Edit Range End)” points you specify. (If a dif- ing will be preserved, and the sample number of the
ferent parameter is selected when you zoom-in or -out, the edited data will be assigned as the sample of that index.

SMPL
zoom-in/out will be based on the last-selected point. If you
re-select the “S (Edit Range Start)” or “E (Edit Range End)” “LpS (Loop Start)” and “E (End)” (3.1–2b) must be
points when the display is zoomed in or out, the display located at least eight addresses apart. If as a result of
range will be adjusted so as to show the selected point.) executing the Utility “Truncate,” “Cut,” or “Rate Con-
vert” (2.1–2e), the “LpS (Loop Start)” and “E (End)”
If the zoom ratio is low (1x or less), the “sample wave- would be separated by less than eight addresses, the

7.1 5.2 5.1 4.1 3.1 2.1 1.1


form display” may differ slightly from the displayed display will indicate “Sample length is shorter than
waveform before and after waveform editing, but this minimum.” Please set the “S (Edit Range Start)” and “E
does not affect the playback sound. If this occurs, rais- (Edit Range End)” appropriately.
ing the zoom ratio will make the display accurate.

■ 2.1–2e: UTILITY
Before using the utility commands “Truncate”–”Volume
Ramp” to edit sample waveform data, you must set “S (Edit
Range Start”) and “E (Edit Range End)” to specify the range
to be edited. Then select the desired utility menu command
and execute it.
The various utilities in this page can be selected from the
Edit2 page “UTILITY.” (They cannot be selected in the Edit1
page.) For the procedure of selecting a utility command,
refer to PROG 1.1–1c: UTILITY.
There is no compare function that lets you return the
edited result to the state before editing. If you wish to
preserve the unedited sample, uncheck the “Over-
write”*1 item in the dialog box of each UITLITY menu
command before you execute.
For stereo samples, the L channel and R channel sam-
ples are edited simultaneously. If you wish to edit only
the L channel or R channel, select a mono multisample,
and select either the L channel or R channel sample for
editing.
If you “Copy” a mono sample into the buffer, and then
“Insert,” “Mix,” or “Paste” it to a stereo sample, the
data will be inserted, mixed, or pasted into both the L
and R sides. (The result will be that a stereo sample will
be created.)
If you “Copy” a stereo sample into the buffer, and then
“Insert,” “Mix,” or “Paste” it to a mono sample, the L-
and R-side data in the buffer will be mixed to mono,
and then inserted, mixed, or pasted. (The result will be
that a mono sample will be created.)
You can also use these commands if you wish to mono-
mix a stereo sample and use it as a mono sample. How-

99
Truncate 1 Use “SMPL” (2.1–1a) to select the sample that you wish
This command deletes unwanted data that lies beyond the to edit, and use “S (Edit Range Start)” and “E (Edit Range
“S (Edit Range Start)” and “E (Edit Range End).” Use this End)” (2.1–2b) to specify the editing range.
command when you wish to delete silence at the beginning You can press the [START/STOP] key to hear the por-
or end of the waveform data. tion that will be deleted by the “Cut” command.
If you wish to delete unneeded (unplayed) sample data 2 Select “Cut” to open the following dialog box.
after setting the start address, loop start address, and
end address, use the Utility “Truncate” found in 3.1:
Loop Edit, Edit2 page.

3 The range to be edited is shown by Range “Start” and


“End.”
4 In “Save to No.,” specify the save destination sample
1 Use “SMPL” (2.1–1a) to select the sample that you wish number. By default, an unused sample number will be
to edit, and use “S (Edit Range Start)” and “E (Edit Range selected. If you have checked “Overwrite,” this cannot be
End)” (2.1–2b) to specify the editing range. set.
For a stereo sample, “Save to No.(L)” and “(R)”
You can press the [START/STOP] key to hear the por-
will be displayed. Specify the save destination sample
tion that will be left by the “Truncate” command.
number for the L channel and R channel respectively.
2 Select “Truncate” to open the following dialog box. 5 If you wish to delete the original sample data and over-
write it with the edited sample data, check “Overwrite”.
Normally, you will leave “Save to No.” at its default set-
ting, and execute without checking “Overwrite.” (☞p.99
“*”: About “Overwrite”)
6 To execute the Cut command, press the [F8] (“OK”) key.
3 The editing range will be shown in Range “Start” and To cancel, press the [F7] (“Cancel”) key.
“End.”
Clear
4 Use “Truncate” to select the portion that will be deleted.
This command converts the data between “S (Edit Range
Front & End: The sample data that lies before the “S (Edit
Start)” and “E (Edit Range End)” to zero values. Sample
Range Start)” and after the “E (Edit Range End)” will be
data before and after the edited range will not move.
deleted.
Front: The sample data that lies before the “S (Edit Range
Start)” will be deleted.
End: The sample data that lies after the “E (Edit Range
End)” will be deleted.
5 In “Save to No.,” specify the save destination sample
number. By default, an unused sample number will be 1 Use “SMPL” (2.1–1a) to select the sample that you wish
selected. If you have checked “Overwrite,” this cannot be to edit, and use “S (Edit Range Start)” and “E (Edit Range
set. End)” (2.1–2b) to specify the editing range.
For a stereo sample, “Save to No.(L)” and “(R)” You can press the [START/STOP] key to hear the por-
will be displayed. Specify the save destination sample tion that will be changed to zero-level by the “Clear”
number for the L channel and R channel respectively. command.
6 If you wish to delete the original sample data and over-
2 Select “Clear” to open the following dialog box.
write it with the edited sample data, check “Overwrite”.
Normally, you will leave “Save to No.” at its default set-
ting, and execute without checking “Overwrite.” (☞p.99
“*”: About “Overwrite”)
7 To execute the Truncate command, press the [F8] (“OK”)
key. To cancel, press the [F7] (“Cancel”) key.
3 The range to be edited is shown by Range “Start” and
Cut “End.”
This command deletes the data between the “S (Edit Range
4 In “Save to No.,” specify the save destination sample
Start)” and “E (Edit Range End).” Sample data located after
number. By default, an unused sample number will be
the deleted portion will be moved forward.
selected. If you have checked “Overwrite,” 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-
write it with the edited sample data, check “Overwrite”.
Normally, you will leave “Save to No.” at its default set-
ting, and execute without checking “Overwrite.” (☞p.99
“*”: About “Overwrite”)

100
6 To execute the Clear command, press the [F8] (“OK”) 5 If you wish to delete the original sample data and over-
key. To cancel, press the [F7] (“Cancel”) key. write it with the edited sample data, check “Overwrite”.
Normally, you will leave “Save to No.” at its default set-
Copy ting, and execute without checking “Overwrite.” (☞p.99
This command copies the sample data from the area “*”: About “Overwrite”)
between “S (Edit Range Start)” and “E (Edit Range End)” 6 To execute the “Insert” command, press the [F8] (“OK”)
into the sample data buffer. This data can then be used by key. To cancel, press the [F7] (“Cancel”) key.
the “Insert,” “Mix” or “Paste” commands.
If the buffer into which data was placed by the “Copy”
When “Copy” is executed, the data that is loaded into
command contains no data, the display will indicate
the buffer simply references the data of the original
“Source sample is empty.”
sample. After using “Copy,” do not delete the copy
source sample until you “Insert,” “Mix” or “Paste” the Mix
copied data. When you execute the “Mix” command, the sample that was
loaded into the buffer by the “Copy” command will be
mixed with the selected sample data. The data will be mixed
starting at the “S (Edit Range Start)” address.
From the
buffer

1 Use “SMPL” (2.1–1a) to select the sample that you wish


to edit, and use “S (Edit Range Start)” and “E (Edit Range
End)” (2.1–2b) to specify the editing range.
1 Use “SMPL” (2.1–1a) to select the sample that you wish
You can press the [START/STOP] key to hear the por- to edit, and set “S (Edit Range Start)” (2.1–2b) to specify

SMPL
tion that will be copied by the “Copy” command. the starting address. The “E (Edit Range End)” setting is
2 Select “Copy” to open the following dialog box. ignored.
2 Select “Mix” to open the following dialog box.

7.1 5.2 5.1 4.1 3.1 2.1 1.1


3 The range to be copied is shown by Range “Start” and
“End.”
4 To execute the Copy command, press the [F8] (“OK”) 3 To “Start” will indicate the starting address at which the
key. To cancel, press the [F7] (“Cancel”) key. data will be mixed.
4 In “Save to No.,” specify the save destination sample
Insert
number. By default, an unused sample number will be
When you execute the “Insert” command, the sample data selected. If you have checked “Overwrite,” this cannot be
that was loaded into the buffer by the “Copy” command set.
will be inserted starting at the “S (Edit Range Start)”
For a stereo sample, “Save to No.(L)” and “(R)”
address. The data that had been at that location will be
will be displayed. Specify the save destination sample
moved backward.
number for the L channel and R channel respectively.
From the
buffer
5 If you wish to delete the original sample data and over-
write it with the edited sample data, check “Overwrite”.
Normally, you will leave “Save to No.” at its default set-
ting, and execute without checking “Overwrite.” (☞p.99
“*”: About “Overwrite”)
1 Use “SMPL” (2.1–1a) to select the sample that you wish 6 To execute the “Mix” command, press the [F8] (“OK”)
to edit, and set “S (Edit Range Start)” to specify the start- key. To cancel, press the [F7] (“Cancel”) key.
ing address. The “E (Edit Range End)” (2.1–2b) setting is
ignored. If the buffer into which data was placed by the “Copy”
command contains no data, the display will indicate
2 Select “Insert” to open the following dialog box.
“Source sample is empty.”

3 To “Start” will indicate the starting address at which the


data will be inserted.
4 In “Save to No.,” specify the save destination sample
number. By default, an unused sample number will be
selected. If you have checked “Overwrite,” this cannot be
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.

101
Paste If the sample data loaded into the buffer by
Beginning at the “S (Edit Range Start)” address, this com- “Copy” is stereo, the display will indicate “Save to
mand places the sample data that was loaded into the buffer No.(L)” and “(R).” Specify the save destination sample
by “Copy” command. The original data will be deleted, and number for the L channel and the R channel.
overwritten by the sample data from the buffer. You can also 4 To execute the “Paste” command, press the [F8] (“OK”)
place sample data into a blank sample. This is convenient key. To cancel without executing, press the [F7] (“Can-
when you wish to “Copy” part of a sample and create a new cel”) key.
sample based on it.
Pasting to a sample that contains sample data Insert Zero
From the This command inserts zero-level sample data (silence),
buffer
beginning at the “S (Edit Range Start)” address. The data
that previously occupied that location will be moved back-
ward.
Size

1 Use “SMPL” (2.1–1a) to select the sample that you wish


to edit, and set “S (Edit Range Start)” (2.1–2b) to specify
the starting address. The “E (Edit Range End)”setting is
ignored.
1 Use “SMPL” (2.1–1a) to select the sample that you wish
2 Select “Paste” to open the following dialog box. to edit, and set “S (Edit Range Start)” (2.1–2b) to specify
the starting address. The “E (Edit Range End)” setting is
ignored.
2 Select “Insert Zero” to open the following dialog box.

3 To “Start” will indicate the starting address at which the


data will be pasted.
4 In “Save to No.,” specify the save destination sample
number. By default, an unused sample number will be 3 To “Start” will indicate the starting address at which the
selected. If you have checked “Overwrite,” this cannot be data will be inserted.
set.
4 In “Size,” specify the length of the data that will be
For a stereo sample, “Save to No.(L)” and “(R)” inserted.
will be displayed. Specify the save destination sample
number for the L channel and R channel respectively. 5 In “Save to No.,” specify the save destination sample
number. By default, an unused sample number will be
5 If you wish to delete the original sample data and over- selected. If you have checked “Overwrite,” this cannot be
write it with the edited sample data, check “Overwrite”. set.
Normally, you will leave “Save to No.” at its default set-
For a stereo sample, “Save to No.(L)” and “(R)”
ting, and execute without checking “Overwrite.” (☞p.99
will be displayed. Specify the save destination sample
“*1: About “Overwrite””)
number for the L channel and R channel respectively.
6 To execute the “Paste” command, press the [F8] (“OK”)
6 If you wish to delete the original sample data and over-
key. To cancel, press the [F7] (“Cancel”) key.
write it with the edited sample data, check “Overwrite”.
If the buffer into which data was placed by the “Copy” Normally, you will leave “Save to No.” at its default set-
command contains no data, the display will indicate ting, and execute without checking “Overwrite.” (☞p.99
“Source sample is empty.” “*1: About “Overwrite””)

Pasting to a sample that contains no sample data 7 To execute the “Insert Zero” command, press the [F8]
(“OK”) key. To cancel, press the [F7] (“Cancel”) key.
1 Use “SMPL” (2.1–1a) to select the vacant sample number
that you wish to paste.
If you select ----:---No Assign---- for “SMPL” and then
access the dialog box for this command, a vacant sample
number will be selected automatically.
The “S (Edit Range Start)” and “E (Edit Range End)”
(2.1–2b) settings will be ignored, and will have no
effect. The beginning of the sample will be placed at
address 0.
2 Select “Paste” to open the following dialog box.

3 In “Save to No.,” specify the save destination sample


number. If you wish to change it, re-specify the desired
number.

102
Norm./ Level Adj. (Normalize/ Level Adjust) 6 If you wish to delete the original sample data and over-
This command uniformly modifies the data values (volume) write it with the edited sample data, check “Overwrite”.
of the data between the “S (Edit Range Start)” and “E (Edit Normally, you will leave “Save to No.” at its default set-
Range End).” “Normalize” will amplify the level of the sam- ting, and execute without checking “Overwrite.” (☞p.99
ple data as far as possible without allowing it to clip (dis- “*1: About “Overwrite””)
tort). If the level of the sampled data is too low, you can 7 To execute the Normalize/Level Adjust command, press
execute this command to increase the dynamic range. the [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”)
“Level” allows you to raise or lower the level as desired. key.
Normalize Be aware that if sample data of an extremely low level
is normalized, any noise included in the sample will
also be amplified.

Volume Ramp
Level Adjust –6dB This command modifies the data values (volume) between
the “S (Edit Range Start)” and “E (Edit Range End).” You
can make the volume gradually increase (Fade In) or
decrease (Fade Out) from the “S (Edit Range Start)” to the “E
(Edit Range End).”
Fade In
1 Use “SMPL” (2.1–1a) to select the sample that you wish
to edit, and use “S (Edit Range Start)” and “E (Edit Range
End)” (2.1–2b) to specify the editing range.
You can press the [START/STOP] key to hear the por-

SMPL
tion that will be normalized or level-adjusted. Fade Out

2 Select “Norm./Level Adj.” to open the following dialog


box.

7.1 5.2 5.1 4.1 3.1 2.1 1.1


1 Use “SMPL” (2.1–1a) to select the sample that you wish
to edit, and use “S (Edit Range Start)” and “E (Edit Range
End)” (2.1–2b) to specify the editing range.
3 The range to be edited is shown by Range “Start” and You can press the [START/STOP] key to hear the por-
“End.” tion on which “Volume Ramp” will be executed.
4 If you check “Normalize” and execute, the data will be 2 Select “Volume Ramp” to open the following dialog box.
normalized. In this case, the “Level” setting will be
ignored.
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 3 The range to be edited is shown by Range “Start” and
approximately 8X. Conversely, each decrease of –6 dB “End.”
will halve the level, so that –6 dB will be 1/2X and –12 4 Use “Fade” to select the type of volume ramp.
dB will be approximately 1/4X. Executing the “Level” In: The volume will be zero at Range “Start,” and will
command with positive (+) settings may cause the gradually increase toward the “End” volume.
sound to clip (i.e., distort at the point that amplification Out: The volume will gradually decrease from the Range
beyond the maximum level is impossible). Once the “Start” volume, and will reach zero at the “End” volume.
sample data has been boosted beyond the clipping
5 In “Curve,” specify the way in which the volume will
point, re-executing this command with negative (–) set-
change.
tings of “Level” will simply lower the overall level of
Linear: The volume will change linearly. For normal
the clipped signal –the waveform will remain distorted.
fade-in or fade-out, select Linear.
Also, if executing “Level” with negative (–) settings Power: The volume will change non-linearly. When you
causes any portion of the sample data to reach a zero use “Mix” (2.1–2e) to combine a faded-in waveform with
level, the zero data will not return to its original state a different faded-out waveform (i.e., crossfade), using a
even if you re-execute “Level” with positive (+) set- Linear fade-in/out may produce an impression that the
tings. volume has dropped in the middle of the curve. In such
cases, use Power to perform the fade-in/out.
5 In “Save to No.,” specify the save destination sample
number. By default, an unused sample number will be 6 In “Save to No.,” specify the save destination sample
selected. If you have checked “Overwrite,” this cannot be number. By default, an unused sample number will be
set. selected. If you have checked “Overwrite,” this cannot be
set.
For a stereo sample, “Save to No.(L)” and “(R)”
will be displayed. Specify the save destination sample For a stereo sample, “Save to No.(L)” and “(R)”
number for the L channel and R channel respectively. will be displayed. Specify the save destination sample
number for the L channel and R channel respectively.

103
7 If you wish to delete the original sample data and over- Reverse
write it with the edited sample data, check “Overwrite”. This command reverses the sample data (i.e., exchanges the
Normally, you will leave “Save to No.” at its default set- beginning and end).
ting, and execute without checking “Overwrite.” (☞p.99 The “Reverse” command is always executed on all wave-
“*1: About “Overwrite””) form data of the selected sample, regardless of the “S (Edit
8 To execute the Volume Ramp command, press the [F8] Range Start)” and “E (Edit Range End)” (2.1–2b) settings.
(“OK”) key. To cancel, press the [F7] (“Cancel”) key.

Rate Convert
This command lowers the sampling rate (frequency) of the
sampled data by 2/3, 1/2, 1/3, 1/4, or 1/6. The sampling
frequency of input is fixed at 48 kHz, but you can use this
command to create “down-sampling” effects. The sample 1 Use “SMPL” (2.1–1a) to select the sample that you wish
data is thinned to convert it into sample data of a lower sam- to edit.
pling frequency.
2 In the Edit2 page “UTILITY,” choose “Reverse” to open
The “Rate Convert” command is always executed on all
the following dialog box.
waveform data of the selected sample, regardless of the “S
(Edit Range Start)” and “E (Edit Range End)” (2.1–2b) set-
tings.
1 Use “SMPL” (2.1–1a) to select the sample that you wish
to edit.
2 In the Edit2 page “UTILITY,” choose “Rate Convert” to
open the following dialog box. 3 In “Save to No.,” specify the save destination sample
number. By default, an unused sample number will be
selected. If you have checked “Overwrite,” this cannot be
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.
3 The sampling rate of the selected sample is shown at the 4 If you wish to delete the original sample data and over-
right of “Rate.” At the right of the “->” you can select the write it with the edited sample data, check “Overwrite”.
desired amount of the sampling rate conversion: 2/3, 1/2, Normally, you will leave “Save to No.” at its default set-
1/3, 1/4, 1/6. The sampling rate following conversion will ting, and execute without checking “Overwrite.” (☞p.99
be displayed. “*1: About “Overwrite””)
4 In “Save to No.,” specify the save destination sample 5 To execute the Reverse command, press the [F8] (“OK”)
number. By default, an unused sample number will be key. To cancel, press the [F7] (“Cancel”) key.
selected. If you have checked “Overwrite,” this cannot be
set. When you execute this command, the entire sample
For a stereo sample, “Save to No.(L)” and “(R)” data will be rewritten backward. By using 3.1: Loop
will be displayed. Specify the save destination sample Edit “Rev (Reverse)” (3.1–1b), you can reverse the play-
number for the L channel and R channel respectively. back direction without affecting the sample data itself.

5 If you wish to delete the original sample data and over- Link
write it with the edited sample data, check “Overwrite”. This command connects the currently selected sample with
Normally, you will leave “Save to No.” at its default set- another sample.
ting, and execute without checking “Overwrite.” (☞p.99
“*1: About “Overwrite””) SOUND A SOUND B

6 To execute the Insert Zero command, press the [F8]


(“OK”) key. To cancel, press the [F7] (“Cancel”) key.
This command cannot be executed on a sample whose LINK

sampling rate is less than 11.025 kHz.


Stereo samples must have the same sampling rate. SOUND A SOUND B

Although it is possible to select mono multisamples for


-L and -R and convert their sampling rate separately,
they can no longer be handled as a stereo sample in this
case.

104
The volume of the two samples can be changed gradually at If the rear sample is short, the “Crossfade Length” can-
the transition to gradually mix the samples with each other. not be set any longer than the length of the “Rear ”sam-
This is called crossfade, and can be used to produce a natu- ple. In this case, it will not be possible to specify a value
ral-sounding transition between the two sounds. up to 100%.
SOUND A SOUND B If you set “Crossfade Length” to other than 0, “F XF®”
and “R XF®” will be displayed. By holding down one of
these buttons, you can play back just the crossfaded por-
tion of the front or rear sample. Playback will stop after
CROSSFADE LINK the length specified by “Crossfade Length.” If you do not
wish to crossfade, set this to 0.
Volume

SOUND A SOUND B

Time
Crossfaded portion
(Sound A gradually diminishes,
and sound B gradually increases)

After selecting a sample in step 1, you can set “S (Edit


Range Start)” and specify the beginning of the crossfade
while viewing the waveform. Set “E (Edit Range End)” to
the end of the sample. If you specify these, “Crossfade
Length” will indicate the length determined by “S (Edit
Crossfaded portion Range Start)” and “E (Edit Range End).”

SMPL
(This is called the “Crossfade
Length”)
6 In “Curve,” specify how you want the volume to change
in the crossfaded portion.
“Link” will be executed for all of the selected sample data,
Linear: The volume will change linearly.
regardless of the “S (Edit Range Start)” and “E (Edit Range
Power: The volume will change non-linearly. In some
End)” (2.1–2b) settings.
cases, “Linear” may sound as though the volume dimin-
1 Use “SMPL” (2.1–1a) to select the sample that will be ishes in the middle of the curve. If this occurs, use

7.1 5.2 5.1 4.1 3.1 2.1 1.1


placed in front by the Link command. “Power.”
2 In the Edit2 page “UTILITY,” choose “Link” to open the 7 In “Save to No.,” specify the save destination sample
following dialog box. number. An unused sample number will be selected by
default. If “Overwrite” is checked, this cannot be set.
In the case of a stereo sample, “Save to No.(L)”
and “(R)” will be displayed. You must specify the save
destination sample for both the L channel and R channel.
8 If you wish to delete the original sample data and over-
3 The sample number selected for “Sample No. (Front)” - write it with the edited sample data, check “Overwrite”.
Sound A in the above example - will be displayed. When Normally, you will leave “Save to No.” at its default set-
the command is executed, this sample will be placed in ting, and execute without checking “Overwrite.” (☞p.99
front. “*1: About “Overwrite””)
While you hold down the [F3] (“F®”) key, the entire 9 To execute the Link command, press the [F8] (“OK”) key.
sample will play back. After the entire sample has played To cancel without executing, press the [F7] (“Cancel”)
back, it will stop. key.
If you select one side of a stereo sample, it will
If you link samples of different sampling rates (such as
automatically be detected as a stereo sample, and the
created by “Rate Convert” ☞2.1–2e), the newly created
other side of the sample will also be processed by the
sample will have the sampling rate of the “Front” sam-
Link command.
ple.
If the “Front” Sample is mono and the Rear Sample is ste-
reo, the L and R of the “Rear” Sample will be mixed to One vacant sample is used in order to execute Link. Be
mono before linking. aware that if there are no vacant samples, an error will
If the “Front” Sample is stereo and the “Rear” Sample is occur.
mono, the identical sample will be placed in L and R of
the “Rear” Sample before linking. Grid
4 Use “Sample No. (Rear)”- Sound B in the above example This command displays a grid in the “sample waveform dis-
- to select the sample number that will be linked. When play.”If you check “Grid” and execute, vertical dotted lines
the command is executed, this sample will be placed in will appear in the “sample waveform display,” according to
back. the resolution and tempo specified by “Resolution” and “!
While you hold down the [F5] (“R®”) key, the entire (Grid Tempo)” (2.1–2b). You can use this when cutting or
sample will play back. After the entire sample has played editing sample data according to BPM values or beats. The
back, it will stop. vertical dotted lines are displayed starting at the address
specified by the “S (Start)” (when Loop Off) or “LpS (Loop
5 In “Crossfade Length,” specify the length over which the Start)” (when Loop On) settings of the 3.1: Loop Edit, Edit2
crossfade will occur. If you specify a % value, the propor- page, and show the timing when the currently selected key
tion in relation to the entire “Front” Sample will be calcu- (displayed in gray) is played. (☞“Keyboard & Index” 1.1–
lated automatically. If you specify 50%, the last half of the 1a)
“Front” Sample will crossfaded.

105
3.1–1b: SMPL, Lp, Tune, Rev
SMPL (Sample Select)
[----: ---No Assign----, 0000...3999]
1 Use “SMPL” (2.1–1a) to select a sample.
This shows the sample number and name, and the range of
2 In the Edit2 page “UTILITY,” choose “Grid” to open the the selected index. If you change “SMPL,” the sample you
following dialog box. specify will be assigned to this index. The sample you select
here will appear in the “sample waveform display” (☞1.1–
1a).

Lp (Loop) [Off, On]


Specify whether the sample will be looped.
3 Check “Grid” to turn on the grid display. On (checked): The sample will play back repeatedly from
4 Set “Resolution” to the desired grid interval ! – " . The “LpS (Loop Start)” to “E (End)”; i.e., “S (Start)” → “E (End)”
spacing of the grid will be determined by this setting and → “LpS (Loop Start)” → “E (End)” → “LpS (Loop Start)” →
by “# (Grid Tempo)” (2.1–2b). ... (☞3.1–2b)
Off (unchecked): The sample will playback once (“one-
5 To execute the setting, press the [F8] (“OK”) key. To can-
shot”) from “S (Start)” → “E (End).”
cel without executing, press the [F7] (“Cancel”) key.
This will be checked automatically if “Auto Loop” (1.1–3c)
was checked when you sampled.

SMPL 3.1: Loop Edit


Here you can specify the portion of the sample that will be "One" "Two"
played back, set sample parameters for playback loop etc.,
Start Loop Start End
and edit the sample. Sample parameters that were loaded
into internal sampling memory in Media mode can also be
edited in the same way. You can make detailed edits in sin- "One" - "Two" - "Two" - "Two" - ...
gle-sample steps while watching the sample waveform dis- "One" - "Two"
play.

3.1–1: Edit1
"One" "Two"
Start End
3.1–1a Loop Start
"One" - "Two" - "One" - "Two" - "One" - "Two" - ...
3.1–1b
"One" - "Two"
3.1–1c

3.1–1a: MS, Index, Keyboard&Index


"One" "Two"
MS (Multisample Select) [000...999] Loop Start Start End
Selects the multisample whose loop and other sample
parameters you wish to edit (☞1.1–1a).
"Two" - "One" - "Two" - "One" - "Two" - "One" -...
Index [xxx (001...128)/ yyy (001...128)] "Two"
Selects the index whose loop and other sample parameters
you wish to edit. Your edits will apply to the sample
assigned to this index , and the waveform will appear in the
Tune (Loop Tune) [–99...+99]
“sample waveform display” (☞1.1–1a). When looping is on (“Lp” is checked), you can adjust the
To select an index, hold down the [ENTER] key and play a playback pitch of the loop from “S (Start)” to “E (End)” over
note on the keyboard. The index that includes the note you a range of ±99 cents. When you loop data that was sampled
played will be selected. The specified key will be the base from a musical instrument etc., the pitch of the looped por-
key, and will be displayed in gray in “Keyboard & Index.” tion may sometimes be incorrect. Use this parameter to com-
pensate for such cases.
Keyboard & Index
(☞1.1–1a)
Rev (Reverse) [Off, On]
On (checked): The sample will be played backward, from
“E (End)” (end address) to “LpS (Loop Start)” (loop start
address).

106
■ 3.1–1c: UTILITY ! (Grid Tempo) [040...480(BPM)]
This displays vertical dotted lines in the “sample waveform
☞ “Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename display” to indicate the resolution and tempo. Use this when
SMPL,” “SMPL To Stereo,” “Delete MS,” “Copy MS,” you wish to cut or edit the sample data based on a BPM
“Move MS,” “Rename MS,” “MS To Stereo/MS To value or beat.
Mono,” “Conv. To Prog,” “Keyboard Disp.” (1.1–3f) The grid will be displayed if you check and execute the
“Grid” (2.1–2e/3.1–2e) utility command. The spacing of the
grid is determined by the “Resolution” setting of the “Grid”
page menu command, relative to the playback pitch of the
3.1–2: Edit2 base key (the key displayed in gray in “Keyboard & Index”
1.1–1a) at the tempo value you specify here. The grid will
begin at the “S (Start)” address (when looping is off) or at
the “LpS (Loop Start)” address (when looping is on). This
3.1–2a
parameter can also be set from the 2.1: Sample Edit, Edit2
3.1–2b page.
This is not related to the setting of the REALTIME
3.1–2c 3.1–2d 3.1–2e CONTROLS C-mode [TEMPO] knob.

■ 3.1–2c: L/ R
3.1–2a: Sample waveform display
This option is valid only if a stereo sample is selected.
Sample waveform display It switches the display between the L channel and R channel
The waveform of the “SMPL (Sample)” is displayed here of a stereo sample. (☞2.1–2c)

SMPL
(☞2.1–2a).

■ 3.1–2d: ZOOM
3.1–2b: Sample Address, Zero, LpL, (Grid Tempo)
These buttons let you zoom-in and zoom-out the “sample
S (Start) [0000000...] waveform display” in the horizontal axis (sample addresses)
or vertical axis (sample level). (☞2.1–2d)

7.1 5.2 5.1 4.1 3.1 2.1 1.1


Specifies the starting address for sample playback. This
value is in units of a sample address.

LpS (Loop Start) [0000000...] ■ 3.1–2e: UTILITY


Specifies the loop start address for sample playback. This is
valid when Loop is On. This value is in units of a sample
address, (☞“S.Ofs” PROG 2.1–2b).

E (End) [0000000...]
Specifies the ending address for sample playback. This value
For details on how to select the desired utility function, refer
is in units of a sample address.
to “2.1–2e: UTILITY.”
Loop Start Address and End Address must be located at ☞ “Grid” (2.1–2e)
least eight addresses apart. This setting will be applied
automatically when you set the addresses. Truncate
This command deletes unwanted data that lies outside of
Zero (Use Zero) [Off, On]
the “S (Start),” “LpS (Loop Start ),” and “E (End )” (3.1–2b).
On (checked): “S (Start),” “E (End),” and “LpS (Loop After setting the start address, loop start address, and end
Start)” parameters can be set only at “zero-cross” addresses address of the sample, use this command to delete
where the waveform level crosses ±0 (the center line of the unwanted sample data.
waveform display). (☞2.1–2b)
Off (unchecked): “S,” “E,” and “LpS” can be set in steps of
1. This is the normal setting.

LpL (Loop Lock) [Off, On]


This fixes the length of the loop being edited. 1 Use “SMPL” (3.1–1b) to select the sample that you wish
On (checked): When the “LpS (Loop Start)” or “End” to edit, and use “S (Start)” or “LpS (Loop Start)” and “E
address is edited, the “E (End)” or “LpS” will be automati- (End)” (3.1–2b) to specify the editing range.
cally adjusted so that the distance between “LpS” and “E
You can press the [AUDITION] key to hear the portion
(End)” (i.e., the loop length) does not change. This is conve-
that will be left by the “Truncate” command.
nient when you are creating a rhythm loop to match a spe-
cific tempo. 2 In the Edit2 page “UTILITY,” choose “Truncate” to open
the following dialog box.

107
3 Range “Start” and “End” will show the range of data that
will be edited. Original rhythm sample: Sample0

4 Use “Truncate” to select the portion that will be deleted. 120BPM

Front & End: The sample data that lies before the “Start”
and after the “End” will be deleted.
Front: The sample data that lies before the “Start” (start Kick Snare Kick Kick Snare
address) will be deleted.
End: The sample data that lies after the “End” (end
address) will be deleted. Execute the Time Slice command

5 In “Save to No.,” specify the save destination sample


number. By default, an unused sample number will be
selected.
For a stereo sample, “Save to No.(L), (R)” will be
displayed. Specify the save destination sample number Sample1 Sample2 Sample3 Sample4 Sample5
for the L channel and R channel respectively.
6 If you wish to delete the original sample data and over-
write it with the edited sample data, check “Overwrite”.
Normally, you will leave “Save to No.” at its default set-
ting, and execute without checking “Overwrite.” (☞p.99
“*1: About “Overwrite””) A multisample and program will be
created automatically
7 To execute the Truncate command, press the [F8] (“OK”)
key. To cancel, press the [F7] (“Cancel”) key. C2

Time Slice Play in Sequencer mode


Time Slice detects the attacks (e.g., kick and snare) within a 120BPM

rhythm loop sample (a sample that loops a drum pattern,


etc.), and automatically divides the sample into individual
percussion instrument notes. The divided percussion instru-
ment notes will be created as individual samples, and auto-
matically assigned as a multisample and program. Song 150BPM

performance data corresponding to the divided samples will


also be created, so that in Sequencer mode you can adjust
the tempo of the song to change only the tempo of the Played closer together,
rhythm loop without affecting the pitch. The performance 90BPM but pitch is unchanged
data that is created will use notes D2 and above, corre-
sponding to the newly created samples of individual percus-
sion instruments.
In addition to changing only the tempo of the rhythm loop
without affecting the pitch, this makes it possible for you to
exchange note numbers, to change the timing, or to edit the
sequence data to freely recreate the original rhythm loop. Played further apart, but pitch is unchanged

Time Slice also allows you to change the pitch of the track * You can also use the Time Stretch command to control the compression of
without affecting the tempo for new creative possibilities. each sample to optimize the “spacing” to match the tempo. ☞9

This command can also be executed on a stereo sample.


As an alternative to Utility “Time Slice,” the Utility
“Time Stretch” (3.1–2e) command can also be used to
change the tempo without affecting the pitch of a
rhythm loop sample etc. “Time Stretch” is suitable
when you do not need to divide the sample or to create Edit the performance data
multi playback data for the divided sample.

108
1 Use “SMPL” (3.1–1b) to select the sample that you wish Index
to Time Slice. [Source(C2), xxx: 001...090(zzz: D2...G9)/ yyy: 001...090]:
2 From the Edit2 page “UTILITY,” choose “Time Slice” to Select the sample index.
open the following dialog box. If this is set to Source, the original waveform before time
slicing will be selected.
By selecting xxx(zzz)/yyy you can specify individual
samples that were sliced. xxx indicates the selected sam-
ple, and yyy indicates the total number of samples that
were sliced. zzz indicates the number of notes that are
3 Specify the number of quarter-note beats and tempo of assigned to the selected index. A maximum of 90 samples
the currently selected sample. If you know the BPM of can be assigned to the keyboard. If more than 90 samples
the original waveform, set “Source BPM.” If you do not were sliced, this will display 90.
know the BPM, specify “Beat” and the BPM will be calcu- Sample waveform display: This displays a dotted verti-
lated automatically. The setting you make here will be cal line at the locations where the sample was sliced, and
used as the reference value when detecting the attack, a solid vertical line at the “S (Start),” “LpS (Loop Start),”
when performing Time Stretch in step 9b, and when and “E (End)” locations. When “Index” is xxx(zzz)/yyy,
saving the sequence data in step 0. the sample of the selected index will be highlighted.
Beat: Specify the number of quarter-note beats. When In the case of a stereo sample, you can press the
you specify “Beat,” the “Source BPM” will indicate the [F3] (“L/R”) key to switch the display between the L
playback BPM at the original key. This BPM value will channel and R channel of the sample data. (☞2.1–2c)
automatically be calculated from the start address to the ZOOM: When you press the [F8] (“Zoom”) button the
end address (if loop is off) or from the loop start address zoom buttons will appear, allowing you to zoom-in or
to the end address (if loop is on) of the selected sample. If zoom-out vertically or horizontally on the sample wave-
you know the BPM and it is different than the displayed

SMPL
form display (☞2.1–2d). Press the [F8] (“Zoom”) key
value, change “Source BPM” to the correct value. once again to return to the previous display.
For example in the case of a 120 BPM sample of one mea-
sure of 4/4 time, set “Beat” to 4. The “Source BPM” will 6 If the slice locations are not appropriate, you can adjust
be calculated automatically. If the “Source BPM” is not “Sensitivity” to change the sensitivity at which the
set to 120, due to inaccuracies in the start address (or loop attacks are detected, in order to change the slice loca-
start address) and end address, change the “Source tions.

7.1 5.2 5.1 4.1 3.1 2.1 1.1


BPM” to 120. Sensitivity [00...30]:
Source BPM: Specifies the tempo at the original key of Adjusts the sensitivity at which the attacks are detected.
the source waveform. By increasing this value, you can detect attacks at even
4 To execute Time Slice, press the [F8] (“OK”) key. To can- lower levels, to create more finite slices.
cel without executing, press the [F7] (“Cancel”) key. The “level” in this case does not necessarily correspond
When you press the [F8] (“OK”) key, the attacks will be to the “waveform level.”
detected, the sample will automatically be sliced, and a
dialog box will appear. Depending on the sample, the desired slicing may not
In the case of a stereo sample in which L and R occur even if you increase the “Sensitivity.” If the attack
have different lengths, silent data will automatically be portion of the following sample has overlapped into the
added to the end of the shorter sample so that the two end of the sample, or if the sample contains two sounds,
samples will be the same length. make adjustments in step 7.
7 Make adjustments where the automatic attack detection
If you want to reset “Beat” and “Source BPM” after
did not occur correctly. Change “Index” to select the sam-
pressing the [F8] (“OK”) key, you can do so in step 9a.
ple that you wish to adjust. Make adjustments by chang-
ing “S (Start)” and “E (End),” and by executing “Divide”
or “Link” to adjust the slice location.
S (Start): Specifies the start address for the sample of the
currently selected “Index.” At the same time, the end
address of the sample for the preceding “Index” will also
be adjusted.
E (End): Specifies the end address for the sample of the
5 Listen to the samples that were divided by detecting
currently selected “Index.” At the same time, the start
their attacks. The sample before slicing is assigned to the
address of the sample for the next “Index” will also be
C2 note of the keyboard, and the sliced samples are
adjusted.
assigned to notes D2 and above. When you change the
“Index,” the corresponding display will be highlighted, If “Index” is set to Source, the address of the original
allowing you to view the sliced waveforms. waveform will be modified. If you change the start
address, the loop start address will also be changed at
To select an index, hold down the [ENTER] key and
the same time.
play a note on the keyboard. The index that includes
the note you played will be selected. When adjusting the “S (Start)” and “E (End)” addresses
of the divided samples, use “ZOOM” to increase the
To hear the sliced sounds, you can either press the cor-
magnification (×1 or more) so that the sample wave-
responding note on the keyboard, or change the index
form is displayed accurately when you make adjust-
to select the desired sample and then press the [AUDI-
ments. (☞2.1–2d)
TION] key. When you press the [AUDITION] key, the
sample in the range between the specified “S (Start)” Zero (Use Zero): (☞2.1–2b)
and “E (End)” will be played at the original key.

109
If you wish to adjust the “S (Start)” or “E (End)” end of the kick sample is as inconspicuous as possible,
address of a divided sample, it is best to first check and also that the hi-hat attack is heard cleanly.
“Use Zero.” In general, using zero-cross points to spec- Pay attention to these points as you adjust “Sensitivity.”
ify sample addresses will make it less likely that clicks If necessary, use the methods described above to edit
or pops will occur, particularly at the end address. each sample.
Divide: This splits the sample of the currently selected The noise occurring at the end of the sample in “C.” will
“Index” into two. Use this when you wish to add another be automatically reduced when you execute steps 8 and
location to slice the sample. Modify “E (End)” or “S following. You should adjust “Sensitivity” while paying
(Start)” to adjust the divided sample. particular attention to sections “A” and “B,” and then
execute step 9. If the noise is still obtrusive, then you can
adjust the end address.
8 Save the sliced samples to the multisample to which they
have been assigned. When you press the [F6] (“Save”)
key, the “Save Smpl/MS” dialog box will appear.
Link: This joins the sample of the currently selected
“Index” to the sample of the next “Index.” Use this when
you wish to merge together two sliced locations.

9 Use “Stretch” to adjust the length of the sliced samples.


When you press the [F5] (“Strch”) key, Time Stretch (a
function that expands or shrinks the length of a sample
without affecting its pitch) will be applied to the sliced
Be aware that if you change the “Sensitivity” after sample.
adjusting the slice location, the attacks will be re-
If you wish to save the sliced sample as it is, proceed to
detected and the sample will automatically be sliced
step 0 without executing Time Stretch.
again.
Sometimes when a sliced sample is played in Sequencer
When you use Time Slice on a rhythm loop sample, the mode and the tempo is slowed down, the silent portion
quality of the playback in Sequencer mode will depend between samples may become obvious or noise may be
largely on the “cutoff” of each percussion instrument more apparent, producing an unnatural-sounding result.
sound that was sliced. To avoid this, you can use Time Stretch to adjust the
What kind of slices will produce the best result? length of the individual samples. The length of the sam-
ples will automatically be optimized according to the
A. Divide the separate percussion instrument notes as “Ratio” and “New BPM” settings.
finely as possible
For example in the case of a sample where the decay of
the kick is overlapped by the hi-hat, the attack sound of Time Stretch Time Stretch

the kick and the attack sound of the hi-hat should be


sliced to create two samples. If these sounds are left as
one sample (containing both kick and hi-hat), their
rhythm may become incorrect when the sample is played
at a different tempo. Noise
Silent
Kick + Hi-hat Kick/Hi-hat

Not stretched Stretched with Ra- Not stretched Stretched with


tio 150% Ratio 50%

If you execute Time Stretch at 100%, the sample length


If the sample is not sliced appropriately even after you will not change but the end of the sample will be faded
adjust the “Sensitivity,” use “Divide” to divide the sam- out, reducing the noise.
ple into halves, and adjust “E (End)” and “S (Start)” as a) Set “Beat” and “Src BPM (Source BPM).” The method is
needed. the same as in step 3. If you wish to change the value
B. Make sure that each divided sample has a clear you set in step 3, you can change it here.
attack b) Specify the length of the sample that will be created by
The attack portion is vital for percussion sounds. Slice the Time Stretch.
sample at a point where the attack will be sounded
crisply. • To specify the length as a ratio
Set “Ratio.” The available range is 50.00–200.00%. If you
C. Avoid the noise that can occur toward the end of specify 50.00%, the sample length will be halved. (The
each divided sample tempo will double.) If you specify 200.00%, the sample
For example as shown in the above right illustration length will double. (The tempo will be halved.)
noise can be present at the end of the kick sample. Adjust
the end address of the kick sample so that the noise is not • To match an existing BPM tempo value
obtrusive. Use “New BPM” to specify the BPM value of the sample
In this case, adjusting the end address will also affect the you wish to create. The “Ratio” will automatically be cal-
start address of the hi-hat sample. While listening to the culated from the “Src BPM (Source BPM)” and the “New
two samples, make adjustments so that the noise at the BPM” values.

110
It is not possible to make settings that would cause “Src Normally you will leave both checked.
BPM (Source BPM)” or “New BPM” to exceed the range A If you wish to save, press the [F8] (“Save”) key. If you
of 40–480. decide not to save, press the [F7] (“Cancel”) key. When
It is not possible to make settings that would cause you save, the samples and multisample will automati-
“Ratio” to exceed the range of 50.00–200.00. cally be saved to vacant samples and multisamples.
Press the [F5] (“Strch”) key to execute Time Stretch. In the case of stereo samples, the samples and
When you execute, the time-stretched samples will auto- multisample will be saved in stereo.
matically be assigned to keys D2 and above, so that you
B By repeating steps 6–A you can create as many samples
can audition them by playing the keyboard or by chang-
and multisamples as desired.
ing “Index” and pressing the [AUDITION] key. You can
also keep trying various settings for “Ratio” and “New C Press the [F7] (“Exit”) key to exit the Time Slice com-
BPM.” mand.
Index: Selects the index of the sample that will be Be aware that the created samples and multisample will
sounded by the [AUDITION] key. After Time Stretch is be lost if you exit Time Slice without saving the samples
executed, the time-stretched samples will sound. How- or multisample (“Save” in the Save dialog box).
ever, it will not be possible to select Source (C2).
Before executing Time Slice on a long sample, you
When you audition the time-stretched samples, the should first divide the sample into measures. In some
sound you hear is the sound of each divided sample as cases, it may not be possible to assign the sample to the
it will be played in Sequencer mode. If there is obtru- keyboard or create sequence data.
sive noise or if the attack is not sound cleanly, return to Time Slices requires vacant samples, multisamples, and
step 7 and adjust the “S (Start)” and “E (End)” relative parameters in order to execute. Be sure that
addresses, etc. there is sufficient free area before you execute. If there is
0 When you execute Save, use “With” to specify the data insufficient free area, an error will occur.

SMPL
that will be created simultaneously. If you open the Time Slice dialog box on the same sam-
Program: If this check box is checked, the multisample ple, it will be sliced in the same way as previously.
will be converted to a program when you save it. Specify These slice locations will also be used if you execute
the destination program number. Slice in “Time Stretch” (☞3.1–2e), so that you can exe-
In the case of a stereo sample, the program pan cute Time Stretch without having to make the settings

7.1 5.2 5.1 4.1 3.1 2.1 1.1


will automatically be set. This allows the stereo position again.
in Sampling mode to be reproduced by the program. If you wish to detect the attacks again or to re-do the
operation, change the “Sensitivity” after you open the
Seq.Event: If this check box is checked, sequence data to dialog box.
play the sliced samples will be created when you save.
Set “Song,” “Track,” and “Meter” to specify the song Time Stretch
number, track number, and time signature that will be Time Stretch is a function that modifies the tempo by length-
created. ening or shortening a sample without changing its pitch.
Events will be created from measure 1 of the specified This is convenient when you wish to change the tempo of a
track. rhythm loop (drums) or a melodic sample (e.g., vocal,
strings, winds) to match the tempo of another sample or of
If you specify a vacant song number for the song, the
the sequencer. The TRITON Le provides two ways in which
song will be created with the number of measures speci-
Time Stretch can be executed. This command also supports
fied by the Sequencer mode parameter “Set Length” (a
parameter in the dialog box that appears when you cre- stereo samples.
ate a new song ☞p.51). The default is 64 measures. Sustaining
This type is suitable for sustained sounds such as vocal or
If you executed Time Stretch, the Song parameter
instruments. Using it to change the tempo of phrases such as
“Tempo” (☞p.50, SEQ 1.1–1a) of the created song will be
the value specified by “New BPM.” If you did not exe- guitar or piano will also produce good results.
cute Time Stretch, it will be the value specified by Slice
“Source BPM.” If a tempo event exists only at the begin- This type is suitable for decay-type instruments such as
ning of the master track, the tempo of that event will also drums. Using it to change the tempo of drum or percussion
be set to the value specified for “New BPM” or “Source loops will produce good results with minimal effect on the
BPM.” attack.
If you save to a song that already contains data and the There is a way to change the pitch as well when chang-
time signature is different, the samples may not sound ing the tempo of a rhythm loop sample (“Pitch BPM
as they did originally. You will need to set the time sig- Adj.” 4.1–2b, “Detune BPM Adjust” COMBI 3.1–3b,
nature of the master track to match. SEQ 3.1–5(6)b). You can create unique effects by raising
or lowering the pitch of drums etc.
If both “Program” and “Seq.Event” are checked, the song
parameters “Program Select” (☞p.54) and “Track Play To use Time Stretch (Sustaining)
Loop” (☞p.57) will also be set automatically. 1 Use “SMPL” (3.1–1b) to select the sample that you wish
For “Track Play Loop,” “Loop On” will be turned on and to time stretch as Sustaining.
“Play Intro” will be turned off. “Loop Start Meas (Loop
Start Measure)” will be set to 000, and “Loop End Meas 2 From the Edit2 page “UTILITY,” choose “Time Stretch”
(Loop End Measure)” will be calculated according to to open the following dialog box.
“Meter” and “Src BPM (Source BPM)” and set accord-
ingly.
You can hear the results immediately by selecting and
playing the song in Sequencer mode.

111
3 Select “Sustaining” as the time stretch method. When you press the [F8] (“OK”) key, the Time Stretch
Press the [F8] (“OK”) key to execute Time Stretch, or dialog box will appear.
press the [F7] (“Cancel”) key to cancel without executing.
If the L and R of a stereo sample are different in
length, blank data will automatically be added to the end
of the shorter sample so that it matches the longer side.
4 A dialog box for executing Time Stretch will appear.

8 Audition the sample that was created by Time Stretch.


The sample before being time-stretched is assigned to the
note number C2 of the keyboard, and the sample that
was time-stretched is assigned to note number C#2. You
can change the “Index” to check the waveform.
5 Set “Quality” to specify the desired audio quality of the
sample produce by Time Stretch. The range is 0–7. Index [Source(C2), Result(C#2)]:
Although it will depend on the sample, higher settings Select the index for the sample whose waveform you
will produce better results. However, be aware that wish to display.
higher settings will also require a longer time to execute. If you select Source, the original waveform before time-
Since you can try this as many times as you like, you stretching will be selected.
should normally start with about 4, and raise or lower If you select Result, the time-stretched sample will be
the setting gradually. selected.

6 Set the proportional length of the sample that will be cre- To select an index, hold down the [ENTER] key and
ated by Time Stretch. play a note on the keyboard. The index that includes
the note you played will be selected.
• To specify the length as a ratio
Set “Ratio.” The available range is 50.00%–200.00%. If Sample waveform display: This shows the waveform of
you specify 50.00%, the sample length will be halved. the selected sample. As in 3-1: Loop Edit, Edit2 page, “S
(The tempo will double.) If you specify 200.00%, the sam- (Start), “LpS (Loop Start),” and “E (End)” addresses are
ple length will double. (The tempo will be halved.) shown by a solid line.
• To match an existing BPM tempo value In the case of a stereo sample, you can press the
Set “Beat” as the number of quarter-note beats. When [F3] (“L/R”) key to switch the display between the L
you change “Beat,” the “Source BPM” value will be channel and R channel of the sample data. (☞2.1–2c)
changed automatically. S (Start):
“Source BPM” will indicate the playback BPM value at E (End):
the original key. This BPM value is automatically calcu- Specifies the start address and end address of the sample
lated according to the length from the start address to the for the currently selected index.
end address (if loop is off) or from the loop start address When you execute Time Stretch, the addresses will be
to the end address (if loop is on). If you already know the specified automatically, but the playback may be slightly
BPM value and the calculated value is incorrect, change skewed due to inaccuracies in the end address, etc. If this
it to the correct value. occurs, you can correct the addresses manually.
Use “New BPM” to specify the BPM value of the sample When you change the start address, the loop start
you wish to create. “Ratio” will automatically be calcu- address will also be changed simultaneously. If you
lated from the “Source BPM” and “New BPM” values. wish to independently adjust the start address and loop
For example if you have a one-measure 120 BPM sample start address, save the data in step 0, and then make
in 4/4 time, and would like to change it to 150 BPM, you settings in the 3.1: Loop Edit Edit2 page.
would set “Beat” to 4. The “Source BPM” will be calcu- To audition the sound in the specified range, play the
lated automatically. If the “Source BPM” is not calculated keyboard or press the [AUDITION] key. When you
as 120 due to inaccuracies in the start address (or loop press the [AUDITION] key, the sample in the range
start address) or end address, adjust “Source BPM” to the specified by “S (Start)” and “E (End)” will sound at the
correct value of 120. original key.
Next, set “New BPM” to 150. The “Ratio” will be calcu-
lated automatically. Zero (Use Zero): (☞2.1–2b)

It is not possible to make settings that would cause L/ R: (☞2.1–2c)


“Source BPM” or “New BPM” to exceed the range of ZOOM: When you press the [F8] (“Zoom”) button the
40–480. zoom buttons will appear, allowing you to zoom-in or
It is not possible to make settings that would cause zoom-out vertically or horizontally on the sample wave-
“Ratio” to exceed the range of 50.00–200.00. form display (☞2.1–2d). Press the [F8] (“Zoom”) key
once again to return to the previous display.
Depending on the sample, the length may not be
exactly as you specify, due to limitations in processing 9 If you press the [F5] (“Strch”) key, the Time Stretch dialog
accuracy. box will appear, and you can re-do the time stretch once
again. Execute Time Stretch as described in step 6.
7 To execute the Time Stretch operation, press the [F8]
(“OK”) key. To cancel without executing, press the [F7]
(“Cancel”) key.

112
0 Save the sample that you created. Press the [F6] (“Save”) 5 Specify the number of quarter note beats and tempo of
key, and the Save dialog box will appear. the currently selected sample. If you already know the
BPM value, set “Source BPM.” If you do not know the
BPM, setting “Beat” will cause the BPM to be calculated
automatically. The settings here are also used as the refer-
ence values when detecting the attacks at which the sam-
ple is divided.
In “Save to No.,” specify the save destination sample
number. By default, an unused sample number will be Beat: Specify the number of quarter note beats. When
selected. If “Overwrite” is checked, this cannot be you change “Beat,” the “Source BPM” will indicate the
selected. BPM value for playback at the original key. This BPM
If you wish to delete the original sample data and over- value is automatically calculated according to the length
write it with the edited sample data, check “Overwrite”. from the start address to the end address (if loop is off) or
Normally, you will leave “Save to No.” at its default set- from the loop start address to the end address (if loop is
ting, and execute without checking “Overwrite.” (☞p.99 on). If you already know the BPM value and the calcu-
“*1: About “Overwrite””) lated value is incorrect, change “Source BPM” to the cor-
rect value.
In the case of a stereo sample, the dialog box will
For example if you have a one-measure 120 BPM sample
indicate “To Sample No. (L)” and “To Sample No. (R).”
in 4/4 time, you would set “Beat” to 4. The “Source
Specify the save destination sample for the L channel and
BPM” will be calculated automatically. If the “Source
R channel.
BPM” is not calculated as 120 due to inaccuracies in the
To execute the Save operation, press the [F8] (“OK”) key. start address (or loop start address) or end address,
To cancel without saving press the [F7] (“Cancel”) key. adjust “Source BPM” to the correct value of 120.
A By repeating steps 9–0 you can create more samples as Source BPM: Specify the tempo at the original key of the
desired. original waveform.

SMPL
B Press the [F7] (“Exit”) key to exit the Time Stretch opera- “Source BPM” cannot be set or displayed outside the
tion. range of 40–480.
The index will specify the last-saved sample number.
6 Set the proportional length of the sample that will be cre-
If you wish to use the saved sample in Program mode ated by Time Stretch.
or Sequencer mode, you must either execute “Conv. To • To specify the length as a ratio

7.1 5.2 5.1 4.1 3.1 2.1 1.1


Prog” (☞p.97, 1.1–3f), or use Program mode “Multi- Set “Ratio.” The available range is 50.00%–200.00%. If
sample” (☞PROG 2.1–2b, 2.1–3) to select the multisam- you specify 50.00%, the sample playack time will be
ple and create a program. halved. (The tempo will double.) If you specify 200.00%,
Be aware that the created sample will be lost if you exit the sample playback time will double. (The tempo will be
Time Stretch without saving the sample in the Save dia- halved.)
log box. The tempo of the sample created by execution will be cal-
culated automatically from the “Ratio” and “Source
Time Stretch requires vacant samples, multisamples, BPM,” and displayed in “New BPM.”
and relative parameters in order to execute. Before you
• To match a desired BPM tempo value
execute, make sure that there is sufficient free space. If
Set “New BPM” to the desired BPM value of the sample
there is not, an error will occur.
that will be created. “Ratio” will automatically be calcu-
To use Time Stretch (Slice) lated from the “Source BPM” and “New BPM” values.
1 Use “SMPL” (3.1–1b) to select the sample that you wish It is not possible to set or display “New BPM” outside
to time stretch as Slice. the range of 40–480. It is not possible to set or display
2 From the Edit2 page “UTILITY,” choose “Time Stretch” “Ratio” outside the range of 50.00–200.00.
to open the following dialog box. 7 To execute Time Stretch, press the [F8] (“OK”) key. To
cancel without executing, press the [F7] (“Cancel”) key.
When you press the [F8] (“OK”) key, the attacks will be
detected and the sample will be divided automatically,
and time stretch will be performed.
The Time Stretch dialog box will appear.
3 Select “Slice” as the time stretch method.
Press the [F8] (“OK”) key to execute Time Stretch, or
press the [F7] (“Cancel”) key to cancel without executing.
If the L and R of a stereo sample are different in
length, blank data will automatically be added to the end
of the shorter sample so that it matches the longer side.
4 A dialog box for executing Time Stretch will appear.
8 Audition the results that were created by Time Stretch.
The original sample (before being time-stretched) is
assigned to the C2 note of the keyboard. The time-
stretched sample is assigned to C#2. Sliced (divided)
samples will be assigned consecutively upward, starting
from D2 on the keyboard.

113
Index [Source(C2), Result(C#2), In “Save To No.,” specify the save destination sample
xxx: 001...090(zzz: D2...G9)/ yyy: 001...090]: number. By default, an unused sample number will be
Select s the index for the sample whose waveform you selected. If “Overwrite” is checked, this cannot be set.
wish to display. If you wish to delete the original sample data and over-
If you select Source, the original waveform before time- write it with the edited sample data, check “Overwrite”.
stretching will be selected. Normally, you will leave “Save to No.” at its default set-
If you select Result, the time-stretched sample will be ting, and execute without checking “Overwrite.” (☞p.99
selected. “*1: About “Overwrite””)
If you set this to xxx(zzz)/yyy, an individually sliced sam-
ple will be selected. xxx is the selected index, and yyy If you execute this command with “Overwrite”
indicates the total number of sliced samples. zzz indi- checked, the original sample data will be deleted, and
cates the number of notes that are assigned to the overwritten by the edited sample data. Thus, in the
selected index. A maximum of 90 samples can be Time Stretch dialog box that appears after execution,
assigned to the keyboard. If the sample was sliced into the edited sample data will automatically have its
more than 90 samples, this will be displayed as 90. attacks detected and sliced, and displayed in “Index”
Source.
To select an index, hold down the [ENTER] key and
play a note on the keyboard. The index that includes In the case of a stereo sample, the display will
the note you played will be selected. show “To Sample No. (L)” and “To Sample No. (R).”
Specify the L channel and R channel save destination
When you execute Time Stretch, the addresses will be
sample numbers respectively.
specified automatically. However, playback may be
slightly offset due to inaccuracies in the end address, To execute the Save, press the [F8] (“OK”) key. To cancel
etc. If this occurs, set “Index” to Result, and use “S without executing, press the [F7] (“Cancel”) key.
(Start)” and “E (End)” to re-specify the addresses. B By repeating steps 0–A you can create more time
Sample waveform display: This displays the waveform stretched samples as desired.
of the selected sample. If the “Index” is other than C Press the [F7] (“Exit”) key to end the Time Stretch opera-
Result, the locations at which the sample is sliced will be tion.
indicated by a dotted line (vertical). If “Index” is set to The last-saved sample number will be set for the index.
xxx(zzz)/yyy, the sample of the selected index will be
highlighted. If “Index” is other than xxx(zzz)/yyy, the If you wish to use the saved sample in Program mode
Start, Loop Start, and End addresses will be indicated by or Sequencer mode, you must either execute “Conv. To
solid lines (vertical). Prog” (☞p.97, 1.1–3f), or use Program mode “Multi-
sample Select” (☞PROG 2.1–2b, 2.1–3) to select the
In the case of a stereo sample, you can press the multisample and create a program.
[F3] (“L/R”) key to switch the display between the L
channel and R channel of the sample data. (☞2.1–2c) Be aware that the created sample will be lost if you exit
Time Stretch without saving the sample in the Save dia-
ZOOM: When you press the [F8] (“Zoom”) button the
log box.
zoom buttons will appear, allowing you to zoom-in or
zoom-out vertically or horizontally on the sample wave- Before executing Time Stretch on a long sample, you
form display (☞2.1–2d). Press the [F8] (“Zoom”) key should first divide the sample into measures. In some
once again to return to the previous display. cases, it may not be possible to assign the sample to the
9 If the slice locations are not appropriate, use “Sensitivity” note number or edit the slice locations.
to modify the sensitivity at which the attacks are Time Stretch requires vacant samples, multisamples,
detected, thus changing the slice locations. and relative parameters in order to execute. Before you
execute, make sure that there is sufficient free space. If
Sensitivity [00...30]: there is not, an error will occur.
S (Start):
If you open the time slice (Slice) dialog box on the same
E (End): sample, it will be sliced in the same way as previously.
Zero (Use Zero): These slice locations will also be used if you execute
“Time Slice” (☞3.1–2e), so that you can execute time
Divide:
stretch without having to make the settings again.
Link: If you wish to detect the attacks again or to re-do the
Refer to “Time Slice” steps 6 and 7. operation, change the “Sensitivity” after you open the
0 When you press the [F5] (“Strch”) key, the Time Stretch dialog box.
dialog box will appear, and you can re-do the time
stretch. Execute Time Stretch using the same procedure
as in step 4–7. If the sample slice locations are not
appropriate, this will also affect the result of Time
Stretch. For details on setting the slice locations, refer to
“Time Slice,” steps 6 and 7.
A Save the sample you created. Press the [F6] (“Save”) key,
and the Save dialog box will appear.

114
Crossfade Loop Power: The volume will change non-linearly. Sometimes
When pitched instrumental samples such as strings or a setting of Linear will produce the impression that the
winds are looped to sustain a note, the sound will “jump” or volume has dropped in the middle of the curve. In such
“skip” repeatedly during playback if there is a significant cases, use Power.
difference between the waveforms at the loop start and loop 5 In “Save to No.,” specify the save destination sample
end locations. number. By default, an unused sample number will be
In order to solve such problems, Crossfade Loop causes the selected. If “Overwrite” is checked, this cannot be set.
sound to change gradually from the end to the beginning of In the case of a stereo sample, the display will
the loop. indicate “Save to No.(L)” and “Save to No.(R).” Specify
the save destination sample numbers for the L channel
Sound
and R channel respectively.
Playback Repeated playback
(first half of loop) (second half of loop) If you wish to delete the original sample data and over-
write it with the edited sample data, check “Overwrite”.
Normally, you will leave “Save to No.” at its default set-
Gradually changes to first half
ting, and execute without checking “Overwrite.” (☞p.99
In actuality, the sample data is created as follows. A specific “*1: About “Overwrite””)
length (the “Crossfade Length”) of the waveform immedi- 6 To execute Crossfade Loop, press the [F8] (“OK”) key. To
ately before the beginning of the loop is taken and mixed cancel without executing, press the [F7] (“Cancel”) key.
with the end portion.
At this time, the waveform level of the portion immediately
before the end (the length specified by “Crossfade Length”)
will gradually decrease, and the waveform level immedi-
ately before the beginning of the loop will gradually

SMPL
increase as the two are mixed.

Loop Loop Loop Loop


Start End Start End

7.1 5.2 5.1 4.1 3.1 2.1 1.1


Crossfade
Length

1 Use “SMPL” (3.1–1b) to select the sample that you wish


to crossfade.
2 From the Edit2 page “UTILITY,” choose “Crossfade
Loop” to open the following dialog box.

3 In “Crossfade Length,” specify the length of the sample


that you wish to crossfade.
If you set this as %, “Crossfade Length” will be calcu-
lated automatically. Specify the proportion of the “Cross-
fade Length” relative to the length between the loop start
and loop end. If you set this to 50%, crossfade will be per-
formed on the second half of the region between loop
start and loop end.
If the length from the beginning of the sample to the
loop start is shorter than the length from the loop start
to the loop end, “Crossfade Length” can be set only up
to the length from the beginning of the sample to the
loop start. In this case, a setting of 100% will not be pos-
sible.
4 Set “Curve” to specify how the volume will change in the
crossfaded region.
Linear: The volume will change linearly.

115
If you have not yet executed “CUT” or “COPY,” such as
SMPL 4.1: Multisample immediately after power-on, the new index will be cre-
ated according to the “Create (Create Zone Preference)”
Here you can make settings for multisamples. You can create settings (1.1–3b, 4.1–3a) “Position,” “Zone Range,” and
indexes for a multisample, and then assign a sample to each “Orig.K Position” as same as “CREATE.”
index. (These basic settings can also be performed in 1.1:
Recording page.) In addition, you can delete, copy, or insert CUT
an index, and perform detailed editing such as adjusting the When you press the [F4] (“CUT”) key, this deletes the
level and pitch of the sample for each index. selected index. At the same time, the contents of the deleted
index are copied to the “INSERT” buffer.

COPY
4.1–1: Edit1 When you press the [F5] (“COPY”) key, this copies the con-
tent of the selected index to the “INSERT” buffer.

CREATE
4.1–1a
This creates an index. When you press the [F6] (“CREATE”)
4.1–1b
key, a new index will be created according to the settings of
“Position,” “Zone Range,” and “Orig.K Position” (1.1–3b,
4.1–3a) (☞1.1–1c).
4.1–1c 4.1–1d

■ 4.1–1d: UTILITY
4.1–1a: MS, Index, Keyboard & Index ☞ “Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename
SMPL,” “SMPL To Stereo,” “Delete MS,” “Copy MS,”
MS (Multisample Select) [000...999]
“Move MS,” “Rename MS,” “MS To Stereo/MS To
Selects the multisample that you wish to edit (☞1.1–1a). Mono,” “Conv. To Prog,” “Keyboard Disp.” (1.1–3f),
“Pitch BPM Adj.” (4.1–2b)
Index [xxx (001...128)/ yyy (001...128)]
Select s the index that you wish to edit (☞1.1–1a).
To select an index, hold down the [ENTER] key and play a
note on the keyboard. The index that includes the note you 4.1–2: Edit2
played will be selected. The specified key will be the base
key, and will be displayed in gray in “Keyboard & Index.”

Keyboard & Index 4.1–2a


(☞1.1–1a)

4.1–1b: SMPL, Orig.K, TopK 4.1–2b

SMPL (Sample Select)


[----: ---No Assign----, 0000...3999]
4.1–2a: Level, Pitch, Constant Pitch
This shows the number and name of the sample that is
assigned to the selected index. You can also select a sample Level [–99...+99]
here (☞1.1–1b).
Adjusts the playback level of the sample. Use this when you
Orig.K (Original Key) [C–1...G9] need to adjust the level balance between samples within a
multisample.
Specifies the original key of the sample (☞1.1–1b).
0: Unity level
TopK (Top Key) [C–1...G9] –: The level will be lowered. At a setting of –99 there will be
Specifies the highest key in the zone of the index. The zone no sound.
is defined by this “Top Key” (☞1.1–1b). +: The level will be raised.
Since in Sampling mode the playback unity level will
■ 4.1–1c: INSERT, CUT, COPY, CREATE normally be the maximum level, adjustments in the +
direction will have no effect. If Volume (CC#07) or
INSERT Expression (CC#11) has been assigned to as the B-mode
This creates an index. When you press the [F3] (“INSERT” function of a REALTIME CONTROLS knob [1]–[4] and
key, a new index will be created according to the “Pstn (Posi- these controllers have been operated, or if these MIDI
tion)” setting (1.1–3b, 4.1–3a). At this time, the contents of messages have been received to lower the playback
the index that was cut or copied by “CUT” or “COPY” (i.e., unity level, then adjustments in the + direction will be
the “Zone Range,” “Orig.K Position,” “Level” and “Pitch”) valid (PROG 2.1–2e Sample Parameter: Level).
will be assigned at the same time. (The sample will automat-
ically be copied or assigned to a different number.)
If it is not possible to create a new index when you exe-
cute “CREATE” or “INSERT,” a dialog box will appear.
If this occurs, refer to “CREATE” (1.1–1c).

116
Pitch [–64.00...+63.00] 120. If “Beat” is set to 2, the display would indicate “Cur-
Adjusts the playback pitch of the sample in one-cent steps. rent BPM” as 60.

0: The sample will sound at the original pitch when the orig- It is not possible for this display to exceed the range of
inal key is played. 40–480.
–: The pitch will be lowered. At a setting of –12.00 the pitch
5 In “New BPM,” specify the BPM value that will result
will be one octave lower.
from the conversion of the “Current BPM” value.
+: The pitch will be raised. At a setting of +12.00 the pitch
will be one octave higher. 6 To execute the Pitch BPM Adjust command, press the
You can also use “Pitch” to make fine adjustments in the [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.
length of a rhythm loop. For example with a setting of When you execute this command, the “Pitch” (4.1–2a)
+12.00, the playback speed will be doubled, and the loop value will be set automatically. For example if you mod-
playback time will be 1/2. ify a quarter-note 120 BPM sample to 240 BPM, the
(☞PROG 2.1–2e Sample Parameter: Pitch) “Pitch” will be set to +12.00.

The “Pitch BPM Adj.” lets you set the playback time in This calculation is performed within the TRITON Le’s
terms of a BPM value (☞4.1–2b). limits of precision. Minor discrepancies may occur in
the final BPM caclulation.
Constant Pitch [Off, On]
On (checked): All notes in the zone of the index will sound
at the pitch of the original key. Use this setting when you
have sampled a drum sound or a rhythm loop, and want it
4.1–3: Pref. (Preference)
to always playback at the original pitch.
Off (unchecked): The pitch will change in semitone steps,
4.1–3a
based on the original key. Use this setting when you have

SMPL
sampled a musical instrument sound etc. and would like to
play it conventionally from the keyboard.

4.1–3b
■ 4.1–2b: UTILITY

7.1 5.2 5.1 4.1 3.1 2.1 1.1


4.1–3a: Create Zone Preference
Here you can specify the default settings for indices that are
created using “CREATE” (4.1–1c, 1.1–1c). New indexes will
be created according the settings you specify here. You are
☞ “Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename
free to modify the settings of an index later. Also, when you
SMPL,” “SMPL To Stereo,” “Delete MS,” “Copy MS,”
execute “INSERT” (4.1–1c), the “Position” setting specified
“Move MS,” “Rename MS,” “MS To Stereo/MS To
here will be used (☞1.1–3b).
Mono,” “Conv. To Prog,” “Keyboard Disp.” (1.1–3f)
For details on how to select the desired utility function, refer Position [Right, Left]
to “PROG 1.1–1c: UTILITY.” Range (Zone Range) [1key...127keys]
Pitch BPM Adj. (Pitch BPM Adjust) Orig.K Position (Original Key Position)
This command sets the “Pitch” (4.1–2a) of the selected index [Bottom, Center, Top]
on the basis of a BPM value. Raising the pitch of sample (☞ 1.1–3b: However, the parameter name and value name
playback will increase the playback speed. Lowering the are shown differently.)
pitch will slow down the playback speed. This can be used
to match the loop length etc. of the sample to a tempo of the
desired BPM value. ■ 4.1–3b: UTILITY
1 Use “SMPL” (4.1–1b) to select the sample that you wish ☞ “Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename
to edit. SMPL,” “SMPL To Stereo,” “Delete MS,” “Copy MS,”
2 From the Edit2 page “UTILITY,” choose “Pitch BPM “Move MS,” “Rename MS,” “MS To Stereo/MS To
Adj.” to open the following dialog box. Mono,” “Conv. To Prog,” “Keyboard Disp.” (1.1–3f),
“Pitch BPM Adj.” (4.1–2b)

3 Specify “Beat.” This is specified in quarter-note beats.


4 “Current BPM” will show the BPM value at the base key
(displayed in gray). This BPM value is calculated auto-
matically from the start address to the end address of the
sample (if looping is off) or from the loop start address to
the end address (if looping is on).
For example if the start and end address of the sample
are two seconds apart, the original key is specified as the
base key, and “Beat” is set to 4, “Current BPM” would be

117
SMPL 5.1: Memory SMPL 5.2: Controller

5.1–1: Memory (Free Memory) 5.2–1: Ctrls (Controls)


Specifies the functions that the [SW1], [SW2] key, and the B-
mode functions of the REALTIME CONTROLS knobs [1]–[4]
will have in Sampling mode.
5.1–1a
These controllers can be used to make realtime changes in
effect dynamic modulation functions etc. while you sample.

5.1–1b In Sampling mode, it is not possible to use AMS to con-


trol program parameters.

5.1–1a: Free Memory


5.2–1a
This shows the remaining amount of memory (the time
available for sampling, the size of the sample files that can
be loaded in Media mode, or the size available for editing)
in RAM banks 1–4. The amount is shown in seconds, bytes, 5.2–1b 5.2–1c
and a percentage (%). The display will depend on the
amount of memory that is installed (☞“Bank” 1.1–2a).
5.2–1a: Knob B Assign
■ 5.1–1b: UTILITY
Here you can assign the B-mode functions (mainly various
☞ “Delete SMPL,” “Delete MS” (1.1–3f) types of control change) for the front panel REALTIME
CONTROLS knobs [1]–[4] (☞p.221 “Realtime Control Knobs
B Assign List”). The functions you specify here will operate
when the front panel REALTIME CONTROLS knobs [1]–[4]
5.1–2: No. (Free Number) are operated in B-mode.

Knob1–B (Knob1–B Assign) [Off...MIDI CC#95]


Knob2–B (Knob2–B Assign) [Off...MIDI CC#95]
5.1–2a Knob3–B (Knob3–B Assign) [Off...MIDI CC#95]
Knob4–B (Knob4–B Assign) [Off...MIDI CC#95]
Example settings
5.1–2b
Here’s how you can assign knob [1] (B-mode) to control the
“Wet/Dry” balance of the 44: St/Cross Dly effect selected
for IFX, and use knob [2] (B-mode) to control the “Pan” after
5.1–2a: Free Number the IFX in realtime while you sample.
1 Set “BUS (IFX) Select” (1.1–3a) to IFX.
This shows the maximum number of samples available in
Sampling mode for multisamples and samples. The remain- 2 Select 44: St/Cross Dly for “IFX” (7.1–1).
ing number is also shown as a percentage (%) of the maxi- 3 Set “IFX On/Off” (7.1–1) to ON.
mum.
4 Set the IFX page “W/D” setting to Dry, “Src” to Kb1[+],
Multisample(MS) [0000...0999/ 1000 000...099%] and “Amt” to +50. ” (7.1–2)
Sample [0000...4000/ 4000 000...100%] 5 In Knobs B Assign, set “Knob 1–B” to Knob Mod.1
Sample in MS [0000...3999/ 4000 000...099%] (CC#17), and set “Knob 2–B” to IFX Pan (CC#08).
6 Press the [SELECT] key to make the “B” LED light.

■ 5.1–2b: UTILITY 7 Rotate knob [1], [2] and the panning of the external input
sound and the delay level will change. You can sample
☞ “Delete SMPL,” “Delete MS” (1.1–3f) the sound while you modify it.

5.2–1b: SW1/ 2 Assign


Here you canassign the functions of the [SW1] and [SW2]
keys (☞p.220 “SW1, SW2 Assign List”).

SW1 (SW1 Assign) [Off...AfterT Lock :N/ A]


SW1 Mode [Toggle, Momentary]
SW2 (SW2 Assign) [Off...AfterT Lock :N/ A]
SW2 Mode [Toggle, Momentary]
(☞PROG 2.2–1b)

118
■ 5.2–1c: UTILITY 7.1–2: IFX
Sets the effect parameters for the IFX effect that you selected
☞ “Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename
in the Setup page (☞p.164–).
SMPL,” “SMPL To Stereo,” “Delete MS,” “Copy MS,”
“Move MS,” “Rename MS,” “MS To Stereo/MS To Effect Dmod (dynamic modulation) is controlled by the
Mono,” “Conv. To Prog,” “Keyboard Disp.” (1.1–3f) global MIDI channel specified in “MIDI Channel”
(GLOBAL 2.1–1a).

SMPL 7.1: Insert Effect


Here you can make insert effect settings for use in Sampling
mode.
When you set “BUS” (1.1–3a) to IFX, the external input
sound from the rear panel AUDIO INPUT 1 and 2 jacks will
be sent to IFX (insert effect). By selecting insert effect and
making settings in this page, you can apply the insert effect
to the signal entering through the external input, and sam-
ple the result.
☞ For details on insert effect, refer to p.155 “7. Effect Guide.”

In Sampling mode, master effects 1 and 2 and the mas-


ter EQ cannot be used.

SMPL
Insertion effect settings in Sampling mode are not
backed up when the power is turned off. If you wish to
keep the insertion effect settings, you can use “Copy
Insert Effect” (7.1–1a).
For example, you can copy the insertion effect settings
of Sampling mode to a program or combination in

7.1 5.2 5.1 4.1 3.1 2.1 1.1


order save them. When you write the program or com-
bination, the settings will be saved in internal memory.
In Sampling mode, you can use “Copy Insert Effect”
(7.1–1a) to copy these effect settings from the program
or combination back into Sampling mode and use
them.

7.1–1: Setup
Here you can select insert effects, switch them on/off, make
chain settings, and specify the pan of the sound after pass-
ing through the insert effect.
These parameters are the same as in Program mode. ☞Pro-
gram mode “7.1–2: Setup”

7.1–1a

■ 7.1–1a: UTILITY
☞ “Copy Insert Effect” (PROG 7.1–1c), “Select by Category”
(PROG 7.1–2c)

119
120
5. Global mode

GLOBAL
In Global mode you can make settings that affect the entire
instrument, such as master tuning, MIDI, and memory pro- GLOBAL 1.1: System
tect. You can also edit user scales, drum kit setups, and user
arpeggio patterns.
If you want the settings you make in Global mode to be 1.1–1: Basic
backed up when the power is turned off, you must

6.1 5.1 4.1 3.1 2.1 1.1


write them into memory. To write your settings, use the
Utility “Write Global Setting,” “Write Drum Kits,” or
“Write Arpeggio Patterns.”
1.1–1a
By pressing the [REC/WRITE] key, you can access
“Update Global Setting,” “Update Drum Kits,” and
“Update Arpeggio Patterns.” These commands will
simultaneously write the edited content.. 1.1–1b 1.1–1c 1.1–1d

If the EXB-SMPL (sold separately) option is installed, the


1.1–4: AudioIn (Audio In) page will be added.

GLOBAL PAGE MENU


For details on selecting pages and parameters, refer to Pro-
gram mode “PROGRAM PAGE MENU” p.1.

1.1–1a: Basic
Master Tune (Master Tune [Cent])

GLOBAL
[–50cent (427.47Hz)…+50cent (452.89Hz)]
Sys. 1.1: System Basic settings for the entire TRITON Le, This adjusts the overall tuning of this instrument in one-cent
and controller settings such as the ped- units (semitone = 100 cents) over a range of ±50 cents. With a
als connected to the rear panel. AUDIO
INPUT settings used outside of Sam-
setting of 0, the frequency of A4 will be 440 Hz.
pling mode when the separately sold
EXB-SMPL option is installed.
The A4 pitch given here is when Equal Temperament is
(☞p.121) selected as the scale. If a different scale is selected, A4

6.1 5.1 4.1 3.1 2.1 1.1


MIDI 2.1: MIDI MIDI settings for this instrument. may not be 440 Hz.
(☞p.127)
U.Scl 3.1: User Scale Scale settings created by the user. You
Key Transpose [–12…+12]
can specify 16 types of octave scale, his adjusts the pitch in semitone steps over a ±1 octave
and one full-range scale. (☞p.130) range.
U.Cat 4.1: Category Name Edit category names for programs and This setting is applied at the location (PreMIDI or Post-
combinations. (☞p.131) MIDI) specified by “Convert Position” (2.1–1a).
DKit 5.1: DKit Edit drum kits. (☞p.132)
Arp 6.1: Arp.Pattern Edit user arpeggio patterns. (☞p.135) Note number transmitted
Transpose
–12 0 +12

24…84 36…96 48…108


Note number (C1…C6) (C2…C7) (C3…C8)

“Master Tune” can be controlled by the MIDI universal


system exclusive message Master Fine Tuning (F0, 7F,
nn, 04, 03, vv, mm, F7: nn=MIDI channel, vv/mm=
value).
“Key Transpose” can be controlled by the MIDI univer-
sal system exclusive message Master Coarse Tuning
(F0, 7F, nn, 04, 04, vv, mm, F7: nn=MIDI channel, vv/
mm=value).
These messages are received on the global MIDI chan-
nel specified by “MIDI Channel” (2.1–1a).
In Program, Combination and Sequencer modes, MIDI
RPN fine tuning messages can be received to adjust the
tuning of the program, the timbres (in Combination
mode), or the tracks (in Sequencer mode) relative to the
Global mode “Master Tune” setting.
In Program mode, MIDI RPN fine tune messages will
be received on the global MIDI channel that you speci-
fied for “MIDI Channel” (2.1–1a). In other modes, MIDI

121
RPN fine tune messages will be received on the MIDI AfterT Curve (AfterTouch Curve)
channel for each timbre (in Combination mode) or track This specifies the way in which the volume and/or tone will
(in Sequencer mode). (☞“Detune,” “Transpose”: change in response to variations in pressure (after touch)
COMBI 3.1–3a, SEQ 3.1–5(6)a.) applied to the keyboard while holding down a key.
Velocity Curve [1…8] When “Convert Position” (2.1–1a) is PreMIDI, variations in
This specifies the way in which the volume and/or tone will after touch pressure will affect the after touch effect and the
change in response to how hard the keyboard is struck transmitted after touch data as shown in the left-hand dia-
(velocity). gram below. Incoming data will automatically use the after
When “Convert Position” (2.1–1a) is PreMIDI, variations in touch curve number 3 shown in the right-hand diagram.
keyboard playing dynamics will affect the velocity effect With a setting of PostMIDI, variations in after touch pres-
and the transmitted velocity data as shown in the left-hand sure and in the value of incoming after touch data will create
diagram on the following page. Incoming data will automat- change as shown in the right-hand diagram. For the trans-
ically use the velocity curve number 4 shown in the right- mitted data, the after touch curve number 3 shown in the
hand diagram. left-hand diagram will automatically be selected.
With a setting of PostMIDI, variations in keyboard playing For a setting of PreMIDI For a setting of PostMIDI
dynamics and in the velocity of incoming data will create After Touch (KBD→MIDI Out) After Touch (MIDI In→TG)
127 MAX
change as shown in the right-hand diagram on the following
page. If you are playing this instrument’s tone generator
from an external keyboard or sequencer, and the overall 8:RANDOM 5
Aftertouch
sound is too bright or too dark, you can set the “Convert 5
effect 7
4
4 3
Position” parameter to PostMIDI and select the appropriate 3 6 2 8:RANDOM
7 2
velocity curve here. For the transmitted data, the velocity 6 1 1
0
curve number 4 shown in the left-hand diagram will auto- Soft Strong 0 127
matically be selected.
1, 2: These curves produce an effect for strongly-applied
For a setting of PreMIDI For a setting of PostMIDI pressure.
Velocity (KBD→MIDI Out) Velocity (MIDI In→TG) 3(Normal): This is the standard curve.
127 MAX 4, 5: This curve produces change even when light pressure is
applied
6
5
7 6, 7: Since these will change in 24 and 12 levels respectively,
7 8
8 Velocity they are suitable for use when you are recording aftertouch
4 effect 6
3 5 on a sequencer and want to limit memory consumption. (Set
2 4
1 3
2 “Convert Position”) to PreMIDI.) Curve number 7 allows
1
1 change over twelve steps, so when using after touch to mod-
Soft Strong 1 127
ify the pitch, you can set the range of modification to one
octave, and use after touch to vary the pitch in semitone
1...3: These curves produce an effect for strongly-played
steps.
notes.
8: This is a random curve. Use this when you wish to create
4(Normal): This is the standard curve.
special effects, or to use after touch to apply unpredictable
5, 6: An effect will be obtained even if you do not play very
modulation.
strongly
The default factory setting for this parameter is 3.
7: A certain amount of effect will be obtained even for softly-
played notes When “Convert Position” (2.1–1a) is PreMIDI, the set-
8: This curve produces the most regular effect. This setting is ting you make here will be applied immediately after
suitable when you do not need velocity sensitivity, or when the keyboard, meaning that it will affect the data trans-
you wish to make the notes more consistent. However with mitted via MIDI, but will not affect the received data.
this curve, control of softly-played notes will be more diffi-
cult, so use the curve that is most appropriate for your play- With a setting of PostMIDI, the setting you make here
ing strength and style, and the effect that you wish to will be applied immediately before this instrument’s
produce. internal tone generator, meaning that it will affect the
The default factory setting for this parameter is 4. data received via MIDI, but will not affect the transmit-
ted data.
When you use this instrument’s keyboard to play the
internal tone generator, the “Convert Position” setting
will make no difference.

1.1–1b: FX SW
IFX Off [Off, On]
On (checked): Insert effect IFX will be disabled.
Off (unchecked): The Setup page (PROG/COMBI 7.1–2,
SEQ 7.1–3, SMPL 7.1–1) “IFX On/Off” setting of Program,
Combination, Sequencer, and Sampling (if the EXB-SMPL
option is installed) modes will be valid.

122
MFX1 Off [Off, On] Load Preload/ Demo Data
On (checked): MFX1 will be disabled. This command loads the preloaded data and demo song

GLOBAL
Off (unchecked): The Master Effect Setup page (7.2–1) data into internal memory. (☞VNL)
“MFX1 On/Off” settings of Program, Combination, and
Before loading this data, you must uncheck the “Mem-
Sequencer mode will be valid.
ory Protect” (1.1–2b) setting for the data that you want
MFX2 Off [Off, On] to load. If the setting is still checked when you attempt
to load the data, a dialog box will indicate “Memory
On (checked): MFX2 will be disabled.
Protected,” and it will not be possible to load the data.
Off (unchecked): The Master Effect Setup page (7.2–1)

6.1 5.1 4.1 3.1 2.1 1.1


“MFX2 On/Off” settings of Program, Combination, and 1 Select “Load Preload/Demo Data,” and access the dialog
Sequencer modes will be valid. box.
When “IFX On/Off,” or “MFX1 On/Off,” “MFX2 On/
Off” settings are switched, control change messages
CC#92 (effect control 2), CC#94 (effect control 4), and
CC#95 (effect control 5) will be transmitted respectively.
The transmitted data will be 0 for off, and 127 for on.

2 In the “Kind” field, select the data that you want to load.
1.1–1c: Auto Arp. (Auto Arpeggiator)
Program (Auto Arp. Program) [Off, On] All (Preload PCG and All PCG (programs, combinations, drum
Demo Songs) kits, user arpeggio patterns, global set-
On (checked): When a different program is selected, the tings), and demo song data
arpeggiator settings stored in that program will automati-
All Preload PCG All PCG (programs, combinations, drum
cally take effect. kits, user arpeggio patterns, global set-
Off (unchecked): The arpeggiator settings will not change tings) data
when the program is switched. Use this setting when you All Demo Songs All demo song data
wish to keep the same arpeggiator pattern running while
Program All All program data
you select different program sounds.
Program Bank All program data of a bank
Combi (Auto Arp. Combi) [Off, On] Program Single Data for one selected program

GLOBAL
On (checked): When a different combination is selected, the Combination All All combination data
arpeggiator settings stored in that combination will auto- Combination Bank All combination data of a bank
matically take effect.
Combination Single Data for one selected combination
Off (unchecked): The arpeggiator settings will not change
when the combination is switched. Use this setting when DrumKit All All drum kit data
you wish to keep the same arpeggiator pattern running DrumKit Single Data for one selected drum kit
while you select different combination sounds. Arpeggio Pattern All All arpeggio pattern data

6.1 5.1 4.1 3.1 2.1 1.1


Arpeggio Pattern Single Data for one selected arpeggio pattern
■ 1.1–1d: UTILITY Global Setting Global setting data

If you selected Program or Combination, move the cur-


sor down and select All, Bank, or Single to specify the
range of data that will be loaded.
All: Data for all programs or combinations will be
loaded.
Bank: Data will be loaded in units of one bank. In this
For details on how to select the desired utility function, refer case, move the cursor down and select the bank whose
to “PROG 1.1–1c: UTILITY.” data you want to load.
Write Global Setting Single: Data for one program or combination will be
loaded. In this case, move the cursor down to select the
This command writes Global mode settings (except for data that you want to load.
Drum Kits and User Arpeggio Patterns). If you selected DrumKit or Arpeggio Pattern, move the
1 Select “Write Global Setting” to access the dialog box. cursor down and select either All or Single to specify the
range of data that will be loaded.
All: Data for all drum kits or arpeggio patterns will be
loaded.
Single: Data for one drum kit or arpeggio pattern will be
2 To write the data, press the [F8] (“OK”) key. To cancel loaded. In this case, move the cursor down to select the
without writing, press the [F7] (“Cancel”) key. data that you want to load.
You can also use the [REC/WRITE] key to write data in 3 If you are loading in units of Bank or Single, use the
the same way as the “Write Global Setting” command. “To” field to select the loading destination.
Press the [REC/WRITE] key to access the “Update Glo-
bal Setting” dialog box, and press the [F8] key to write 4 To load the data, press the [F8] (“OK”) key. To cancel
the data. without loading, press the [F7] (“Cancel”) key.

To write a drum kit or user arpeggio pattern, execute the


appropriate utility. (☞5.1–1d “Write Drum Kits,” 6.1–1d
“Write Arpeggio Patterns”)

123
If you turn on the power while holding down the 2 Press down a single key for which the aftertouch effect
[MENU] key and [EXIT] key, the “Load All (Preload depth does not correctly, and then release it.
PCG and Demo Songs)” operation will be executed 3 Press the F8 (“Done”) key. If the adjustment could not be
automatically (the LCD will display a message of “Now performed correctly, an error message will appear, so
Writing Internal Memory”), and all PCG data and please repeat the operation.
demo song data will be loaded.
The depth of the aftertouch effect may differ slightly
Change all bank references from key to key.
This command changes all program banks specified for tim-
bres in combinations or tracks of songs.
1 Select “Change all bank references” to access the dialog 1.1–2: Pref. (System Preference)
box.

1.1–2a

1.1–2b 1.1–2c
2 To execute this command for combinations, check
“Combi.” To execute this command for songs, check
“Song.” If you check “Song,” the program banks within
the event data of the multis will also be changed. 1.1–2a: System Preference
3 Specify the banks to be changed (“Program Bank”).
Bank Map [KORG, GM]
4 To execute the Change All Bank References command,
press the [F8] (“OK”) key. To cancel without executing, Specifies the mapping of programs and combinations rela-
press [F7] (“Cancel”) key. tive to Bank Select control change messages (CC#0 upper
byte and CC#32 lower byte).
If you change two or more different banks to the same The bank select messages shown in the following table can
bank, it will not be possible to use this function to be received (R) or transmitted (T), corresponding to Pro-
change them back to different banks. Be careful that the gram banks A...D, banks G, g(d) and Combination banks
change destination banks do not overlap. A...C.

Half Damper Calibration Bank Bank Map: KORG Bank Map: GM


If a damper pedal that supports half damper (the separately Bank A 00. 00 R/T 63. 00 R/T
sold DS–1H option) is connected to the rear panel DAMPER
Bank B 00. 01 R/T 63. 01 R/T
jack, here’s how you can adjust the sensitivity if the damper
effect is not applied appropriately. Bank C 00. 02 R/T 63. 02 R/T
Bank D 00. 03 R/T 63. 03 R/T
1 Connect the half damper pedal to the DAMPER jack.
Bank G 121. 00, 121. 01…09 R/T 121. 00, 121. 01…09 R/T
2 Select “Half Damper Calibration” to access the dialog
56. 00 R 56. 00 R
box.
00. 00, 00. 01...(XG) R
00. 00, 01. 00...(GS) R
Bank g (d) 120. 00 R/T 120. 00 R/T
62. 00 R 62. 00 R
63. 127 R (→Korg MUTE)
3 Press the half damper pedal, and then release the pedal. Value: decimal, R: Receive, T: Transmit
4 Press the F8 (“Done”) key.
If the adjustment could not be performed correctly, an Power On Mode [Reset, Memorize]
error message will appear. Please repeat the procedure. Specifies the condition at power-on.
Reset: This instrument will be in Combination mode
Since the operation of the half damper pedal is delicate, COMBI 1.1: Play, and Combination A000 will be selected.
please use the separately sold DS–1H option. If any Memorize: The location (mode and page) where you were
other pedal is used, the correct effect may not be when the power was last turned off, and the last-selected
obtained, or adjustment may not be possible. program or combination number will be selected.
After Touch Calibration The contents of any parameters that were being edited
If the aftertouch effect depth does not function appropri- are not saved by this function. Before turning the power
ately, you can adjust the sensitivity. Perform the following off, you must Write your edits, or after writing save
adjustment if the sensitivity of the aftertouch effect is not them in Media mode.
correct, such as when aftertouch fails to reach the maximum
value.
1 Select “After Touch Calibration” to access the dialog box.

124
LCD Contrast [0…62] Drum Kit [Off, On]
This sets the contrast of the LCD screen. This setting protects the internal drum kit memory.

GLOBAL
Higher values will increase the contrast. On (checked): Internal drum kit memory will be protected,
If because of the temperature or other reasons, the LCD and the following write operations cannot be performed.
screen is unreadable when the power is turned on, use • Writing a drum kit
the following procedure to adjust the contrast.
• Receiving drum kit data via MIDI data dump
1 Press the [EXIT] key three times, and then press the • Loading drum kit data from SmartMedia
[GLOBAL] key.

6.1 5.1 4.1 3.1 2.1 1.1


Off (unchecked): Data can be written to internal drum kit
2 Hold down the [EXIT] key, and press the [REC/WRITE] memory.
key.
3 Use the [VALUE] dial to adjust the setting. Arp. UsrPat (Arp. User Pattern) [Off, On]
This setting protects the internal user arpeggio pattern
memory.
1.1–2b: Memory Protect
On (checked): Internal user arpeggio pattern memory will
This setting also applies to Load Preload/Demo Data be protected, and the following write operations cannot be
(1.1–1d). Loading will not be possible if protect is speci- performed.
fied for even one of the types of data selected for load- • Writing an user arpeggio pattern
ing in “Kind” (☞p.123).
• Receiving user arpeggio pattern data via MIDI data
Program [Off, On] dump
This setting protects the internal program memory. • Loading user arpeggio pattern data from SmartMedia
On (checked): Internal program memory will be protected, Off (unchecked): Data can be written to internal user arpeg-
and the following write operations cannot be performed. gio pattern memory.
• Writing a program
• Receiving program data via MIDI data dump ■ 1.1–2c: UTILITY
• Loading program data from SmartMedia ☞ “Write Global Setting,” “Load Preload/Demo data,”

GLOBAL
Off (unchecked): Data can be written to internal program “Change all bank references,” “Half Damper Calibration,”
memory. “After Touch Calibration” (1.1–1d)

Combi (Combination) [Off, On]


This setting protects the internal combination memory.
1.1–3: Foot
On (checked): Internal combination memory will be pro-
tected, and the following write operations cannot be per- Specify the polarity and function of a switch or pedal con-

6.1 5.1 4.1 3.1 2.1 1.1


formed. nected to the rear panel.
• Writing a combination
• Receiving combination data via MIDI data dump 1.1–3a

• Loading combination data from SmartMedia


Off (unchecked): Data can be written to internal combina-
tion memory.
1.1–3b
Song [Off, On]
This setting protects the internal song memory.
However, when the power is turned off, the song data in 1.1–3a: Damper/ Assignable Foot Switch, Pedal
song memory will be lost regardless of this setting.
On (checked): Internal song memory will be protected, and Foot SW Assign [Off...Cue Repeat Control]
the following write operations cannot be performed. Select the function that will be controlled by a pedal switch
• Recording to the sequencer (PS-1 option [sold separately]) connected to the rear panel
ASSIGNABLE SWITCH jack (☞p.222 “Foot Switch Assign
• Receiving song data via MIDI data dump List”).
• Loading song data from SmartMedia
Foot Pedal Assign [Off...MFX Send 2(CC#91)]
• Saving template songs in Sequencer mode
Indicates the function that will be controlled by a foot vol-
Off (unchecked): Data can be written to internal song mem- ume pedal (XVP-10 or EXP-2 option [sold separately]) con-
ory. nected to the rear panel ASSIGNABLE PEDAL jack (☞p.223
“Foot Pedal Assign List”).

125
Damper Polarity [(–) KORG Standard, (+)] 1.1–4a: Input1
Set this to match the polarity of the damper pedal connected
to the rear panel DAMPER jack.
1.1–4b: Input2
If a Korg DS-1H (sold separately) damper pedal is con-
Level (Input Level) [0...127]
nected, the pedal switch polarity will be (↓), so select “(–)
KORG Standard” for this setting. If you have connected a The analog audio signal from AUDIO INPUT 1 and 2 is con-
damper pedal with a positive (↑) polarity, select “(+)” for verted by an AD converter from an analog signal to a digital
this setting. (↓ is open-type, ↑ is closed-type.) If the polarity signal. This parameter sets the signal level immediately after
does not match, operating the damper pedal will not pro- the sound has been converted into a digital signal. Normally
duce the correct result. If no damper pedal is connected, set you will set this to 127. If the sound is still distorted even
this to “(–) KORG Standard.” after this level is lowered significantly, it is possible that the
sound is distorting before the AD converter. Adjust the
Foot Switch Polarity [(–) KORG Standard, (+)] [LEVEL] knob or the output level of the external audio
Set this to match the polarity of the pedal switch connected source.
to the rear panel ASSIGNABLE SWITCH jack.
Pan (Input Pan) [L000...C064...R127]
If a Korg PS-1 (sold separately) pedal switch is connected,
the pedal switch polarity will be (↓), so select “(–) KORG Sets the panning of the signal from AUDIO INPUT 1 and 2.
Standard” for this setting. If you have connected a pedal When inputting a stereo audio signal, you will normally set
switch with a positive (↑) polarity, select “(+)” for this set- Input 1 to L000 and Input 2 to R127 (or, Input 1 to R127 and
ting. (↓ is open-type, ↑ is closed-type.) If the polarity does Input 2 to L000). When inputting a monaural audio signal,
not match, operating the pedal switch will not produce the normally set this to C064.
correct result. If no pedal switch is connected, set this to “(–)
BUS(IFX/ Indiv.) Select (Input BUS Select)
KORG Standard.”
[L/ R, IFX, 1, 2, 1/ 2, Off]
In the same way as for the oscillators of a program, this
■ 1.1–3b: UTILITY parameter specifies the bus to which the external input of
AUDIO INPUT 1 and 2 will be sent (☞7. Effect Guide, Insert
☞ “Write Global Setting,” “Load Preload/Demo data,” Effect “2–4. Audio Input”).
“Change all bank references,” “Half Damper Calibration,”
“After Touch Calibration” (1.1–1d) Send1(Input Send1), Send2(Input Send2) [000...127]
In the same way as for the oscillators of a program, this
parameter specifies the send levels from the external input
1.1–4: AudioIn (Audio In) of AUDIO INPUT 1 and 2 to the master effects. If “BUS
(IFX/Indiv.) Select” is set so that an insert effect is being
This page will be displayed (and will be operable) only if the applied to the external input, the send levels to the master
EXB-SMPL is installed. effects are set after the signal passes through IFX by “S1
If the EXB-SMPL option (sold separately) is installed, you (Send1(MFX1),” “S2 (Send2(MFX2)” (7.1–2). (☞7. Effect
can use Sampling mode to record an external analog audio Guide, Master Effect “2–4. Audio Input.”)
source while applying the insert effect to it. In other modes, When the “BUS (IFX/Indiv.) Select” setting is other
the insert effect, master effects, and master EQ can be than Off and the “Level” value is raised, the external
applied to the external analog audio signal, allowing you to input sound will be input to the TRITON Le. If audio
use the TRITON Le as a 2-in 4-out effect processor, or to use cables are connected to the rear panel AUDIO INPUT 1
external sounds in conjunction with internal sounds. and 2 jacks at this time, noise will be input (even if there
The settings here are valid for Combination, Program, and is no incoming audio signal) into the TRITON Le, and,
Sequencer modes, and will determine the input, level, pan, depending on your settings, in some cases may be out-
bus, and master effect send levels from rear panel AUDIO put from the AUDIO OUTPUT L/MONO, R, 1, 2 jacks.
INPUT 1 and 2. If you are not using an external audio input source, and
are only playing programs, combinations, or songs etc.
These settings will have no effect in Sampling mode. If that use the TRITON Le’s internal sounds, turn “BUS
you move from Sampling mode to Global mode, the (IFX/Indiv.) Select” Off, or set “Level” to 0.
“Audio Input” settings of Sampling mode will be main- If audio cables are not connected to the rear panel
tained, and it will not be possible to view settings. AUDIO INPUT 1 and 2 jacks, the input data that passes
Please move here from a mode in which external audio from the AD converter into the TRITON Le will be
signals can be input (Combination, Program, or forced to zero, so that no noise will be input.
Sequencer mode). In Sampling mode, the rear panel
AUDIO INPUT 1 and 2 settings can be made in the
same way as here, using the parameters in “Input1,” ■ 1.1–3c: UTILITY
“Input2” (SMPL 1.1–3). In Sampling mode, you can
record while applying insert effect to the external audio ☞ “Write Global Setting,” “Load Preload/Demo data,”
source that is input from AUDIO INPUT 1 and 2. (The “Change all bank references,” “Half Damper Calibration,”
master effects and master EQ cannot be used.) “After Touch Calibration” (1.1–1d)

1.1–4a

1.1–4b

1.1–4c

126
All: All note numbers will be received. Normally you will
GLOBAL 2.1: MIDI leave this set to All.
Even: Even-numbered notes (C, D, E, F#, G#, A#) will sound.

GLOBAL
Odd: Odd-numbered notes (C#, D#, F, G, A, B) will sound.

2.1–1: MIDI
MIDI OUT MIDI IN
Here you can make MIDI-related settings that affect this
instrument. Another TRITON Le
ODD EVEN

6.1 5.1 4.1 3.1 2.1 1.1


This setting has no effect on the MIDI data that is
2.1–1a received.

MIDI Clock [Internal, External]


2.1–1b 2.1–1c Set this parameter when you wish to synchronize an exter-
nal MIDI device (sequencer or rhythm machine etc.) with
the TRITON Le’s internal arpeggiator or sequencer.
2.1–1a: MIDI Setup Internal: The internal arpeggiator and sequencer will syn-
chronize to the TRITON Le’s own internal clock.
MIDI Channel [1…16]
Select the Internal setting when using the TRITON Le by
Sets the global MIDI channel. itself, or when you want the TRITON Le to be the master
The global MIDI channel is used in the following cases. (controlling device) so that another connected external MIDI
device will synchronize to the MIDI Clock messages trans-
• When transmitting and receiving performance data in
mitted from the TRITON Le.
Program mode (PROG 1.1: Play) and Sampling mode
External: The arpeggiator and sequencer of the TRITON Le
(if the EXB-SMPL option is installed).
will synchronize to MIDI Clock messages transmitted from
• When selecting combinations via MIDI in Combination an external MIDI device connected to the MIDI IN connec-
mode (COMBI 1.1: Play). tor.
• When controlling timbres or effects that have been set Use the External setting when you are using this instrument
to Gch in various modes as a slave (controlled device) that synchronizes to the MIDI

GLOBAL
Clock messages received from an external MIDI device. This
• When transmitting and receiving system exclusive instrument will respond to MIDI real-time messages (Start,
messages Stop, Continue, Song Select, Song Position Pointer) from an
About MIDI reception external sequencer.
In Program mode (PROG 1.1: Play) and Sampling mode (if
Audition playback will occur at the pre-specified
the EXB-SMPL option is installed), MIDI data is received on
tempo, regardless of the “MIDI Clock” setting.
the global MIDI channel, but in Combination mode (COMBI

6.1 5.1 4.1 3.1 2.1 1.1


1.1: Play) or Sequencer mode, MIDI data is received on the Convert Position [PreMIDI, PostMIDI]
MIDI channel specified for each timbre or track.
This setting specifies the location at which the Transpose,
In Combination mode (COMBI 1.1: Play), program changes
Velocity Curve, and After Touch Curve settings will be
received on the global MIDI channel will switch the combi-
applied. This setting will affect the MIDI data that is trans-
nation.
mitted and received, and the data that is recorded on the
Use the global MIDI channel to switch IFX , MFX1 and MFX2
internal sequencer.
on/off. To control the pan following IFX, sends 1/2, MFX 1/2
When using this instrument’s keyboard to play the internal
and MEQ, use the global MIDI channel in Program mode; in
tone generator, the Transpose, Velocity Curve, and After
Combination, or Sequencer mode, use the channel specified sep-
Touch Curve settings will always take effect regardless of
arately by “Control Channel” for IFX, MFX1, MFX2, and MEQ.
this setting.
By setting “Control Channel” to Gch, you can control these
parameters from the global MIDI channel. PreMIDI: Velocity Curve, After Touch Curve, and Trans-
pose will be applied to the data that is transmitted from this
MIDI transmission when this instrument’s controllers are
instrument’s keyboard.
operated
This means that the Velocity Curve, After Touch Curve, and
In Program mode and Sampling mode (if the EXB-SMPL
Transpose settings will affect the data that is transmitted
option is installed), this data will be transmitted on the glo-
from MIDI OUT when this instrument’s keyboard is played,
bal MIDI channel. In Combination mode, data will be trans-
and the data that is recorded on the internal sequencer. MIDI
mitted simultaneously on the global MIDI channel and on
data received from MIDI IN or the data played back by the
the MIDI channels of timbres whose “Status” (COMBI 3.1–1)
internal sequencer will not be affected.
is set to EXT or EX2.
In Sequencer mode, musical data will be transmitted on the Velocity MIDI IN

channel specified for the currently selected track (whose Curve


Play
Record
“Status” is BTH, EXT, or EX2). Sequencer
Aftertouch
Curve

Note Receive [All, Even, Odd]


Tone
This setting specifies which of the note messages played on Transpose Scale
generator

this instrument’s keyboard or received via MIDI will be Note number


change

sounded. If you connect another TRITON Le unit to this MIDI OUT

instrument in order to increase the total polyphony, set one


unit to Even and the other to Odd, and set both units to
sound.

127
PostMIDI: Velocity Curve, After Touch Curve, and Trans-
pose will be applied to data before it enters the tone genera-
2.1–1b: MIDI Filter
tor.
Enable Program Change [Off, On]
This means that the Velocity Curve, After Touch Curve, and
Transpose settings will affect the data that is sent to the On (checked): Program changes will be transmitted and
internal tone generator when you play this instrument’s received.
keyboard, when the internal sequencer is played back, or In Program mode (PROG 1.1: Play), the program will be
when data is received from MIDI IN. switched when a program change message is received on
This setting will not affect the data that is transmitted from the global MIDI channel specified by “MIDI Channel” (2.1–
MIDI OUT or recorded on the internal sequencer when you 1a). When you switch programs, a program change message
play this instrument’s keyboard or playback the sequencer. will be transmitted on the global MIDI channel.
In Combination mode (COMBI 1.1: Play), the combination
MIDI IN Velocity
Curve will be switched when a program change message is
Record
Sequencer
Play
received on the global MIDI channel. However, it is possible
Aftertouch
Curve to set the “Combi (Combi Change)” parameter so that the
combination is not switched. When a program change is
Scale Transpose
Tone
generator
received on the channel specified for each timbre by “MIDI
Pitch change Channel” (COMBI 3.1–1a), the program of that timbre will
MIDI OUT be switched. However, the program changes for each timbre
will be affected by the setting of the “Program Change”
parameter (COMBI 4.1–1a).
Local Control On [Off, On] When you switch combinations, a program change message
On (checked) Local Control On: The keyboard, joystick, will be transmitted on the global MIDI channel, and also
REALTIME CONTROLS knobs [1]–[4], [SW1], and [SW2] transmitted simultaneously on the channel of timbres whose
keys of this instrument will controls its internal tone genera- “Status” (COMBI 3.1–1a) is set to EXT or EX2.
tor. In Sequencer mode, incoming program change messages on
Off (unchecked) Local Control Off: The keyboard, joystick, a channel that corresponds to a track whose “Status” (SEQ
and REALTIME CONTROLS knobs [1]–[4] etc. of this instru- 3.1–1(2)a) is set to INT or BTH will switch programs on that
ment will be disconnected from the internal tone generator. track. When you select a song or playback song data will be
This means that operating this instrument (using the key- transmitted on the channels of tracks whose “Status” is set
board or joystick to perform, or playing the sequencer) will to BTH, EXT, or EX2.
not produce sound. Off (unchecked): Program changes will not be transmitted
Uncheck this setting if the echo-back from an external or received.
sequencer causes this instrument to sound in duplicate.
Bank (Bank Change) [Off, On]
Even if this is unchecked, MIDI transmission and recep-
tion will occur as usual. Note messages will be trans- On (checked): The Bank Select control change message will
mitted when you play the keyboard, and this be transmitted together with program change messages.
instrument’s tone generator will sound when note mes- This is valid when “Enable Program Change” is checked.
sages are received. Off (unchecked): Bank Select messages will not be transmit-
ted or received.
When recording on the internal sequencer, bank select
Sequencer Arpeggiator
messages will be recorded regardless of this setting.
Local However for playback, this setting will apply.
OFF Record Trigger
control Tone
ON generator
Combi (Combi Change) [Off, On]
MIDI IN
On (checked): When in COMBI 1.1: Play, an incoming pro-
MIDI OUT gram change message on the global MIDI channel set by
“MIDI Channel” (2.1–1a) will switch combinations. This is
valid when “Enable Program Change” is checked. An
incoming program change on a channel other than the glo-
bal MIDI channel will switch the program of any timbre that
matches that MIDI channel.
Off (unchecked): An incoming program change message on
the global MIDI channel will switch the program of any tim-
bre whose “MIDI Channel” (COMBI 3.1–1a) matches the
global MIDI channel. The combination will not be switched.
The program changes for each timbre will be affected by the
setting of the “Program Change” parameter (COMBI 4.1–
1a).

128
AfterT (After Touch) [Off, On] Dump Program Programs of all banks, programs of the
On (checked): MIDI after touch messages will be transmit- specified bank, one program

GLOBAL
ted and received. Dump Combination Combinations of all banks, combinations of
Off (unchecked): MIDI after touch messages will neither be the specified bank, one combination
transmitted nor received. Dump Drum Kit All drum kits, One drum kit
When recording sounds that do not require the use of after Dump Arpeggio Pattern All arpeggio patterns, One arpeggio pattern
touch, you can uncheck this parameter to save memory.
Dump Global Global settings (except for the Drum Kits
This setting has no effect when you use the internal and User Arpeggio Patterns of Global
sequencer to playback sequence data that was recorded with mode)

6.1 5.1 4.1 3.1 2.1 1.1


after touch data; i.e., after touch will be transmitted via MIDI. Dump Sequencer All sequences
This instrument’s keyboard transmits only channel after
Dump All All banks of programs + combinations +
touch; it does not transmit polyphonic after touch. However, drum kits + arpeggio patterns + global set-
since this instrument does support polyphonic after touch as tings + sequences
an Alternate Modulation Source (AMS), it can receive poly-
phonic after touch to control individual notes. Transmission
Ctrl Change (Control Change) [Off, On] Do not touch this instrument’s switches or turn off the
On (checked): Control change messages will be transmitted power while data is being transmitted.
and received. Data dump transmission procedure
Off (unchecked): Control change messages will neither be
transmitted nor received. 1 Connect this instrument to the device that will receive
This setting has no effect when you use the internal the data dump.
sequencer to playback sequence data that was recorded with If you are using a computer that is able to receive MIDI
control change data; i.e., control changes will be transmitted exclusive data, connect the computer’s MIDI interface
via MIDI. (connected to the computer) to the MIDI OUT connector
of this instrument. (☞p.229)
Exclusive [Off, On] If you are using a MIDI data filter etc., connect this
On (checked): System exclusive data will be transmitted instrument’s MIDI OUT connector to the MIDI IN con-
and received. Check this setting when you wish to use a nector of the MIDI data filter.
connected computer etc. to edit this instrument, or vice 2 Select 2.1: MIDI.
versa.

GLOBAL
3 In the Utility menu, select the data that you wish to
Off (unchecked): System exclusive data will neither be
dump.
transmitted nor received. Normally you will leave this
Shown below the “Dump Program” screen.
unchecked.
If you wish to dump all program data, set “Program” to
However, system exclusive data will be transmitted and
All.
received while the page menu commands (““Dump Pro-
If you wish to dump data for an individual bank, set
gram”–”Dump All”) of this page are displayed.
“Program” to Bank, and specify the bank number below

6.1 5.1 4.1 3.1 2.1 1.1


it. If you wish to dump data for an individual program,
■ 2.1–1c: UTILITY set “Program” to Single, and specify the program num-
ber below it.

☞ “Write Global Setting” (1.1–1d) 4 Press the [F8] (“OK”) key to transmit the data.
While the data is being transmitted, the display will indi-
Dump Program cate “Now transmitting data.”
Dump Combination The data size and the time required for transmission will
depend on the type of data.
Dump Drum Kit For the size and the time required to dump each type of
Dump Arpeggio Pattern data, refer to the table below.
Dump Global Setting Type of data dumped Data size (kByte) Time required
Dump Sequencer (Sec)
Program All 260.2 83.3
Dump All
Program Bank (A/B/C/D) 65.0 20.8
These commands allow this instrument’s data to be trans-
Program Single (A/B/C/D) 0.5 0.2
mitted to another connected TRITON Le, MIDI data filer, or
Combination All 154.5 49.5
computer in the form of system exclusive data.
Combination Bank (A/B/C) 51.5 16.5
Selects the data to be dumped from the Utility menu (see the
Combination Single (A/B/C) 0.4 0.2
table below) to access the dialog box.
Drum Kit All 112.8 36.1
As necessary, select the bank and number of the data to be
dumped, and press [F8] (“OK”) key. Drum Kit Single 4.7 1.6
Arpeggio Pattern All 79.0 25.3
Arpeggio Pattern Single 0.4 0.2
Global Setting 1.0 0.4
Sequencer Data 10.5–1371 3.4–438.8
All 617.6–1772.3 197.7–567.2

129
When you save data dumps from this instrument to a 2 Set the MIDI channel of the MIDI device to match the
MIDI data filer, do not save multiple data dumps global MIDI channel “MIDI Channel” (2.1–1a) of this
together. If this data is saved together, there will be instrument. If data that was previously transmitted to the
insufficient time for this instrument to write each MIDI device is now going to be received again by this
received portion into memory before the next portion of instrument, set the global MIDI channel of this instru-
data arrives, so that it will be impossible to receive all of ment to the same global MIDI channel setting that was
the data correctly. used when transmitting the data.
To set the MIDI channel of the transmitting device, refer
Reception to the owner’s manual for that device.
Do not touch this instrument’s switches or turn off the 3 Turn check the “Exclusive” setting (2.1–1b).
power while data is being received.
4 Transmit the data from the other device. For the proce-
Before receiving data, we recommend that you close the dure, refer to the owner’s manual for the device you are
various dialog boxes, page menus, or utility commands using. While the data is being received, the display will
(with the exception of the “Receive and Save MIDI indicate “Now received MIDI data.”
Exclusive Data” dialog box (MEDIA 1.1–2a: Save Exclu-
sive). It is not possible to receive dump data in the
Sequencer mode SEQ 2.1: CUE List page when you
have pressed the [F7] (“EDIT”) key and are editing the
cue list. In this case, you must press the [F7] (“DONE”)
GLOBAL 3.1: User Scale
key and exit cue list editing if you need to receive data.
Here you can create sixteen User Octave Scales and one User
After a data dump is received, this instrument will All Notes Scale. The user scales you create here can be
require up to 20 seconds to process the data and write it selected in the PROG 2.1–1, COMBI 3.2–1, SEQ 3.2–1(2).
into memory. During this time, the display will indicate
“Now writing into internal memory.” While this dis- If you wish to keep an edited user scale after the power
play is shown, you must under no circumstances turn is turned off, be sure to write (save) your settings.
off the power of this instrument. If the power is turned This data is written by the Utility “Write Global Set-
off during this time, this instrument may fail to operate ting.” Alternatively, you can press the [REC/WRITE]
correctly when the power is turned on again. If this key to access the Write Global Setting dialog box, and
occurs, hold down the [MENU] key and the [9] key press the [F8] (“OK”) key to write the edited data.
while you turn on the power. However when this is
done, the contents of memory will be initialized.
Transmission and reception of MIDI data is also impos- 3.1–1: Octave
sible during this time. When receiving multiple data
dumps in succession, you must allow an interval
between the transmission of each data dump. (☞refer to
the table below)
3.1–1a
Processing time for writing into memory
Type of data dumped Processing time for writing into memory
All Approximately 20 seconds 3.1–1b

All Programs Approximately 8 seconds


One Program Bank Approximately 2 seconds
All Combinations Approximately 3 seconds 3.1–1a: User Octave Scale
One Combination Bank Approximately 2 seconds
User Octave [00...15]
All Drum Kits Approximately 3 seconds
Select the user octave scale that you wish to edit.
All Arpeggio Patterns Approximately 2 seconds
Global Setting Approximately 1 seconds Tune [–99…+99]
Sequencer Approximately 1 second Specifies the scale for one octave of notes.
When you adjust the pitch of each note in the octave (C–B)
While this instrument is writing the data into memory, in one-cent steps, your settings will be applied to all octaves.
transmission of Active Sensing (FEh) messages from the This adjustment is relative to equal temperament.
MIDI OUT connector will stop. A setting of –99 lowers the pitch approximately a semitone
below normal pitch.
Data dump reception procedure
A setting of +99 raises the pitch approximately a semitone
1 Connect this instrument and the device that will receive above normal pitch.
the data dump.
If you are using a computer that is able to transmit MIDI The note can also be selected by holding down the
exclusive data, connect the computer’s MIDI interface [ENTER] key and playing a note on the keyboard.
(connected to the computer) to the MIDI IN connector of
this instrument. (☞p.229)
If you are using a MIDI data filer, connect the MIDI OUT
connector of the data filer to the MIDI IN connector of
this instrument.

130
■ 3.1–1b: UTILITY Key Select [C–1...G9]
This indicates the location of the key displayed in “Tune.”

GLOBAL
You can use the cursor keys [ ], [ ] to move in one-octave
steps.
“Tune”

Indicates that there Indicates that there


are keys to the left. are keys to the right.

☞ “Write Global Setting” (1.1–1d)

6.1 5.1 4.1 3.1 2.1 1.1


For details on how to select the desired utility function, refer Key Select
to “PROG 1.1–1c: UTILITY.”

Copy Scale ■ 3.1–2b: UTILITY


This command copies a preset scale or user scale to the user
scale that you wish to edit. For details on the preset scales, ☞ “Write Global Setting” (1.1–1d), “Copy Scale” (3.1–1b)
refer to “Type” (PROG 2.1–1c).
1 Select “Copy Scale” to access the dialog box.

GLOBAL 4.1: Category Name

2 Select the copy source scale (“From”).


If you select Pure Major or Pure Minor, you must also
4.1–1: P.0..7 (Prog.00...07)
specify the “Key” selection located at the right.
Stretch can be selected only if “To” is the User All Notes
4.1–2: P.8..15 (Prog.08...15)
Scale. 4.1–3: C.0..7 (Comb.00...07)
3 Select the copy destination scale (“To”).
4 To execute the Copy Scale command press the [F8]
4.1–4: C.8..15 (Comb.08...15)
(“OK”) key. To cancel without executing press the [F7] Here you can assign names to the program and combination

GLOBAL
(“Cancel”) key. categories.
Select the category whose name you wish to modify, press
the [F5] (“TEXT”) key to access the text dialog box, and
input the name.
3.1–2: All Notes A maximum of 16 characters can be input (☞BG p.43).
With the factory settings, these are classified by type of
instrument.

6.1 5.1 4.1 3.1 2.1 1.1


You can specify sixteen categories each for programs and
3.1–2a combinations.
The category names you edit here can be specified
when you write data in the “Write Program dialog box”
3.1–2b
(PROG 1.1–1c: UTILITY) or “Write Combination dialog
box” (COMBI 1.1–1c: UTILITY), and used in the respec-
tive “Select by Category” function to select programs or
3.1–2a: User All Notes Scale combinations by category.

Tune [–99…+99]
Here, you can make independent pitch settings for each of
4.1–1a
the 128 notes.
Adjust the pitch of each of the 128 notes (C–1 – G9) in one-
cent steps. This adjustment is relative to equal temperament.
A setting of –99 lowers the pitch approximately a semitone 4.1–1b 4.1–1c
below normal pitch.
A setting of +99 raises the pitch approximately a semitone
above normal pitch.
4.1–3a
In the case of the “User All Notes Scale,” you can select
Stretch in the Utility menu command “Copy Scale” (3.1–1b).
Use the cursor keys [ ], [ ] to select the key that you
wish to set. You can also select the key by holding down 4.1–3b 4.1–3c
the [ENTER] key and playing a note on the keyboard.

131
If you want the edited user categories to be backed up 5.1–1: High (High Sample)
when the power is turned off, you must write them into
memory. Select the Utility “Write Global Setting” to Here you can select a drum kit, assign High and Low drum-
access the Write Global Setting dialog box, or press the samples to each key, and set parameters for the High and
[REC/WRITE] key to display the Update Global set- Low drumsamples.
tings dialog box and press the [F8] (“OK”) key to write
the edited settings.
5.1–1a

4.1–1 (...4)a: Category 5.1–1b

Indicates the category name that you wish to edit.


5.1–1c 5.1–1d

■ 4.1–1 (...4)b: TEXT


Edits the category name. 5.1–1a: Drum Kit, Key, Assign, Level H, Level L,
Press the [F5] (“TEXT”) key to access the text dialog box, Vel. SW L→H
and enter a category name of up to 16 characters.
For the editing procedure, refer to BG p.43. Drum Kit [00(INT)...23(User)]
Selects the drum kit that you wish to edit.
If you wish to modify the drum kit name, use the “Rename
■ 4.1–1 (...4)c: UTILITY Drum Kit” Utility menu command.
☞ “Write Global Setting” (1.1–1d) 00(INT) …15(INT) Preloard drum kits, for user drum kits
16(User)...23(User) for user drum kits

Key [C–1...G9]
GLOBAL 5.1: DKit (Drum Kit) Indicates the key to which you will assign a drumsample
(and its settings).
To select the key, use the [F6] (“Key–”), [F7] (“Key+”) keys.
Here you can create a drum kit by assigning a drum instru- You can also select a key by holding down the [ENTER] key
ment (drumsample) to each key. and playing a note on the keyboard.
A drum kit you edit here can be selected in Program mode All 5.1: DKit parameters except for “Drum Kit” will apply to
PROG 2.1: Ed–Basic OSC1 page “Drum Kit” (when “Oscilla- the key you assign here.
tor Mode” is Drums) as an oscillator, and processed through Two drumsamples, High and Low, can be assigned to each
the filter, amp and effects in the same way as a “multisam- key, and you can switch between them by velocity as you
ple” (when “Oscillator Mode” is Single or Double). play.
When you wish to edit a drum kit, enter Program mode, Assign [Off, On]
select a program that uses a drum kit (i.e., whose “Oscillator
On (checked): The drumsamples you assigned for High
Mode” is Drums), and then move to this page. A program
(5.1–1b) and Low (5.1–2a) will sound. Normally you will
that uses a drum kit will already have filter, amp, and effect
check this parameter.
settings etc. suitable for drum sounds. (Programs in the sep-
Off (unchecked): The selected drumsamples will be invalid,
arate Voice Name List that use a drum kit are indicated by a
d symbol.) and the drumsamples of the key to the right will sound. At
this time, the pitch will be a semitone lower than the pitch of
Even if a program with an “Oscillator Mode” of Single or
the key to the right. Uncheck this parameter when you wish
Double is selected in Program mode, the program will
to play a drumsample at differing pitches.
sound using its own filter and amp settings etc. Effects will
sound according to the settings of the program you selected. Level H (Level High) [–99...+99]
You must set “Octave” (PROG 2.1–2c) to +0[8']. With any
setting other than +0[8'], the key locations and drum sounds Level L (Level Low) [–99...+99]
will not correspond correctly. Specifies the volume of the High and Low drumsamples.
Keys that are set to +99 will sound at a volume double that
If “Exclusive” (2.1–1b) is checked, the drum kit can be of the amp level of the program that uses this drum kit. Keys
edited using exclusive data. that are set to 0 will sound at the amp level of the program
When a drum kit is edited, all programs that use that that uses this drum kit.
drum kit will be affected. Keys that are set to –99 will not sound.

If you want the edited drum kit settings to be backed Vel. SW L→H (Velocity SW Lo→Hi) [001...127]
up after you turn off the power, you must write them Specifies the velocity value at which you will switch from
into memory. the Low drumsample to the High drumsample. Velocities
Select the Utility “Write Drum Kits” to access the Write above this value will sound the High drumsample, and
Drum Kits dialog box, or press the [REC/WRITE] key velocities below this value will sound the Low drumsample.
to access the Update Drum Kits dialog box, and press If you do not wish to use velocity switching, set this to 001
the [F8] (“OK”) key to write the edited settings. and specify only the High drumsample (☞“Velocity SW
☞ For details on creating a drum kit, refer to BG p.93. L→H” PROG 2.1–2(3)a).
You can also select a key by holding down the [ENTER]
key and playing a note on the keyboard.

132
5.1–1b: High (High Sample) Trans (Transpose) [–64...+63]
Adjusts the pitch in semitone steps. +12 is one octave up,

GLOBAL
Drumsample Bank [ROM, RAM] and –12 is one octave down.
Specifies the bank of the High drumsample. Tune [–99...+99]
ROM: Select preset Drumsamples. In “Drumsample,” you Adjusts the pitch in one-cent steps.
can choose from 0000: BD-Dry 1 – 0412: Amp Noise. –99 is a semitone lower, and +99 is a semitone higher.
(☞VNL)
RAM: Samples created in Sampling mode or samples Fc (Cutoff) [–64...+63]

6.1 5.1 4.1 3.1 2.1 1.1


loaded in Media mode can be used as drum samples. Adjusts the cutoff frequency of the filter. The cutoff fre-
(Requires installation of the EXB-SMPL option (sold sepa- quency for each key is determined by adding this value to
rately) and/or sample data RAM.) the filter “Frequency” (PROG 4.1–1b, 4.2–1b) of the program
Select the “Drumsample” in the range of 000–999. that uses this drum kit.
Data in AKAI S1000/S3000 formats, AIFF format, or Reso (Resonance) [–64...+63]
WAVE format can also be loaded in Media mode as
samples, and used as drum samples. Adjusts the filter resonance. The filter resonance for each
key is determined by adding this value to the filter “Reso-
Drumsample [0000: name...] nance” (PROG 4.1–1b, 4.2–1b) of the program that uses this
Indicates the High drumsample. The sample selected here drum kit. (When the “Type” (PROG 4.1–1a, 4.2–1a) is Low
will be sounded by velocities above the “Vel. SW L→H” Pass & High Pass, there will be no resonance effect.)
value. (☞For details on each drumsample, refer to VNL.) At (Attack) [–64...+63]
When ROM is selected as the “Bank,” you can use the Adjusts the attack time of the volume (Amplifier). The
utility menu command “Select by Category” to select attack time for each key is determined by adding this value
drumsamples by category (☞5.1–1d). to the amp EG Attack Time of the program that uses this
drum kit.
It is not possible to edit the category name of a drum-
sample, or to re-specify its category. Dc (Decay) [–64...+63]
S.Ofs (Start Offset) [Off, On] Adjusts the decay time of the volume (Amplifier). The decay
time for each key is determined by adding this value to the
On (checked): The sample waveform will start playback
amp EG Decay Time of the program that uses this drum kit.

GLOBAL
from a location later than the beginning of the drumsample
waveform. The location of the Start Offset is pre-determined
for each drumsample. This setting is not valid for drumsam- ■ 5.1–1c: Key–, Key+
ples which have no Start Offset.
However when a RAM bank is selected, this will depend on Selects the key to which you will assign a drumsample (and
the selected drumsample. If you select a drumsample that its settings).
includes one of the following types of sample, checking this ☞ “Key” (5.1–1a)

6.1 5.1 4.1 3.1 2.1 1.1


item will cause playback to start from the Loop Start
Address.
• A sample that was recorded (sampled) in Sampling ■ 5.1–1d: UTILITY
mode (if the EXB-SMPL option is installed)
• A sample whose Loop Start Address was edited in
Sampling mode (if the EXB-SMPL option is installed)
after the sample was loaded in Media mode
• A sample whose Loop Start Address was specified
automatically when it was loaded as an AKAI, AIFF, or
WAVE file in Media mode For details on how to select the desired utility function, refer
Off (unchecked): Playback will start from the beginning of to “PROG 1.1–1c: UTILITY.”
the drumsample waveform.
Write Drum Kits
Rev (Reverse) [Off, On] This command writes all drum kits 00 (INT)–23 (User).
On (checked): The drumsample waveform will playback in
1 Select “Write Drum Kits” to access the dialog box.
“one-shot” reverse. The location at which the reverse play-
back will start and end is pre-determined for each drum- 2 To execute the Write command press the [F8] (“OK”) key.
sample. To cancel without executing press the [F7] (“Cancel”)
key.
If the drumsample is already preset for reverse play-
back or reverse loop playback, checking this setting will You can also use the [REC/WRITE] key to write the data
not change its playback direction. In the case of a drum- in the same way as this command.
sample from the RAM bank, the sample will play (in Press the [REC/WRITE] key to access the “Update Drum
reverse) from “E (End)” (SMPL 3.1–2b) to “S (Start).” Kits” dialog box, and press the [F8] key to write the data.

This parameter will not change the playback direction


of a sample for which “Rev (Reverse)” is checked.

133
Rename Drum Kit Drumsample [0000...: name]
This command renames the selected drum kit. You can input Selects the Low drumsample. This will be sounded by veloc-
a name of up to sixteen characters. (☞BG p.43) ities lower than the value set for “Vel. SW L→H” (5.1–1a).
(☞For details on each drumsample, refer to VNL.)
Copy Drum Kit The drumsample can be selected using the utility menu
This command copies the settings of another drum kit to the command “Select by Category” (☞5.1–1d).
currently-edited drum kit. Drum kits 24 (GM)–32 (GM) can-
not be edited, but you may copy them to another drum kit S.Ofs (Start Offset) [Off, On]
and then edit them. Rev (Reverse) [Off, On]
1 Select “Copy Drum Kit” to access the dialog box. Trans (Transpose) [–64...+63]
Tune [–99...+99]
Fc (Cutoff) [–64...+63]
Reso (Resonance) [–64...+63]
At (Attack) [–64...+63]
2 Select the copy source drum kit (“From”).
Dc (Decay) [–64...+63]
3 To execute the Copy Drum Kit command press the [F8]
☞ “High Drumsample”(5.1–1b)
(“OK”) key. To cancel without executing press the [F7]
(“Cancel”) key.
■ 5.1–2b: UTILITY
Copy Key Setup
This command copies the settings of an individual key to ☞ “Write Drum Kits,” “Rename Drum Kit,” “Copy Drum
another key. You can also copy settings from two or more Kit,” “Copy Key Setup,” “Select by Category” (5.1–1d)
contiguous keys at once.
1 Select “Copy Key Setup” to access the dialog box.
5.1–3: Voice (Voice/ Mixer)
For each key of a drum kit, you can set voice assign, pan,
and effect routing etc.

2 Specify the beginning of the range of keys to be copied


(“From Key”).
3 Select the copy destination key (“To Key”). 5.1–3a
If you selected multiple keys in “From Key,” they will be
copied sequentially, starting at “To Key” and extending
upward. 5.1–3b

4 To execute the Copy Key Setup operation, press the [F8]


(“OK”) key. To cancel without executing press the [F7] 5.1–3a: Voice Assign Mode/ Mixer
(“Cancel”) key.
Voice Assign Mode:
Select by Category
If ROM is selected for “Bank,” you can select drumsamples Single Trig (Single Trigger) [Off, On]
by category. On (checked): Even when the same key (note) is played
All drumsamples are grouped into one of fifteen categories. repeatedly, the previous note will be halted before the new
For the procedure, refer to “Select by Category” (☞p.2) note is begun, so that the notes will not overlap. Normally
you will leave this unchecked.
It is not possible to edit the name of a drumsample cate-
gory or to change the assigned category of a drumsam- Excl Group (Exclusive Group) [Off, 001...127]
ple.
001–127: This allows you to group keys to which a drum-
sample is assigned. Keys to which the same group number
is assigned will be treated as a single group, and will be
5.1–2: Low (Low Sample) played monophonically with last-note priority. For example
you might assign closed and open hi-hat sounds to the same
group so that two or more hi-hat sounds can not sound
simultaneously.
Off: Keys will not be grouped. Normally you will set this
5.1–2a
Off.

Enable Note On (Note On Receive)


5.1–2b On (checked): Note-on messages will be received. Normally
you will check this, but you can uncheck it if you do not
want specific notes to sound.
5.1–2a: Low (Low Sample)
Drumsample Bank [ROM, RAM]
Specifies the bank of the Low drumsample (☞“Drumsample
Bank” 5.1–1b).

134
Enable Note Off (Note Off Receive) If you moved here from Sequencer mode: Your editing will
On (checked): Note-off messages will be received. Normally apply to the arpeggio pattern specified for the selected song.
Even if you moved here from settings in which the arpeggia-

GLOBAL
you will uncheck this. This parameter is valid when “Hold”
(PROG 2.1–1b) is checked (Hold On). In the case of a drum tor was turned off, you can use the [ARP ON/OFF] key to
program, you will normally select Hold On. In this case if turn it on. However, it is not possible to turn on an arpeggia-
“Enable Note Off” is checked, note-off messages will be tor for which the “Arpeggiator Run” (SEQ 6.1–1(2)a) param-
received, and the sound will stop (the release segment of the eter A or B is not checked. Also, the arpeggiator will not
EG will begin) when the key is released. operate if it has not been assigned to a track in “Assign”
(SEQ 6.1–1(2)b).

6.1 5.1 4.1 3.1 2.1 1.1


Mixer: In each of the above cases, you can modify the settings of the
arpeggio pattern even if the arpeggiator is not turned on.
Pan [Rndm, L001...C064...R127]
When editing a pattern, it is a good idea to turn on the
Specifies the panning for each key. With a setting of Rndm arpeggiator and make sure that it is the pattern that you
(Random), the panning of the drumsample will change ran- wish to edit.
domly for each note-on.
If you want the edited user arpeggio pattern settings to
BUS (Bus Select) [L/ R, IFX, 1, 2, 1/ 2, Off] be backed up even when the power is turned off, you
Specifies the bus to which each key will be sent. must write them into memory. Select the Utility “Write
For example you can send snare-type sounds to IFX to apply Arpeggio Pattern” to access the Write Arpeggio Pattern
the insert effect, and send the other sounds to L/R without dialog box. Alternatively, press the [REC/WRITE] key
applying the insert effect. to access the “Update Arpeggio Patterns” dialog box.
Then press the [F8] (“OK”) key to write the edited data.
S1 (Send1 (to MFX1)) [000...127]
If you moved here from Sampling mode (if the EXB-
S2 (Send2 (to MFX2)) [000...127] SMPL option is installed): The arpeggiator will not turn
For each key, specify the send levels to master effects 1 and on, nor will it be possible to edit the arpeggio pattern.
2. These settings are valid when “BUS Select” (5.1–3a) is set
to L/R or Off. ☞ For details on creating an arpeggio pattern, refer to BG
If “BUS Select” is set to IFX, the send level to master effects 1 p.99.
and 2 will be determined by the Program, Combination, or
Sequencer mode Setup pages (PROG/COMBI 7.1–2, SEQ
7.1–3) S1 (Send1(MFX1),” “S2 (Send2(MFX2)” which are
6.1–1: Setup

GLOBAL
located after the sound passes through IFX.
Drum kits will sound using the settings of the program
6.1–1a
that is selected in Program mode. These settings are
6.1–1b
valid only if “Use DKit Setting” (PROG 5.1–1b) and
“Use DKit Setting” (PROG 7.1–1a) are checked. Be 6.1–1c
aware that the results of editing a drum kit will not be

6.1 5.1 4.1 3.1 2.1 1.1


reflected unless these settings have been made in the
6.1–1d 6.1–1e
program.

■ 5.1–3b: UTILITY 6.1–1a: Arp, pat (Pattern), (Tempo)


☞ “Write Drum Kits,” “Rename Drum Kit,” “Copy Drum
Arp (Arpeggio Select) [A, B]
Kit,” “Copy Key Setup” (5.1–1d)
If you have moved from Combination mode or Sequencer
mode and edit an arpeggio pattern, you must select either
arpeggiator A or B as the pattern to edit. Your editing will
apply only to the selected one.
GLOBAL 6.1: Arp.Pattern B will not be displayed if you moved here from Program
mode.
Here you can create user arpeggio patterns.
Pat (Pattern) [P000...P004, U000(INT)...U215(User)]
In this page, the TRITON Le will sound as it did in the mode
you were in before entering Global mode. Selects the pattern that you wish to edit.

If you moved here from Program mode: Your editing will P000 …P004 Preset Arpeggio Patterns
apply to the arpeggio pattern that is selected by the pro- U000(INT)...199(INT) Preload Arpeggio Patterns
gram. Even if you moved from a program in which the U200(User)...215(User) for user Arpeggio Patterns
arpeggiator is turned off, it can be turned on by the [ARP
ON/OFF] key. ! (Tempo) [040...240, EXT]
If you moved here from Combination mode: Your editing Specify the tempo.
will apply to the arpeggio pattern that is selected by the This can also be adjusted by the REALTIME CONTROLS C-
combination. Even if you moved from a combination in mode [TEMPO] knobs. If “MIDI Clock” (2.1–1a) is External,
which the arpeggiator is turned off, it can be turned on by the display will indicate EXT and the arpeggiator will syn-
the [ARP ON/OFF] key. chronize to MIDI Clock messages from an external MIDI
However, it is not possible to turn on an arpeggiator for device.
which the A or B parameter is unchecked in “Arpeggiator
Run” (COMBI 1.1–4(5)a, COMBI 6.1–1a). Also, the arpeggia-
tor will not run unless it has been assigned to a timbre in
“Assign” (COMBI 6.1–1b).

135
6.1–1b: Lgth, Reso, Oct, Sort, Latch, K.Sync, Kbd Octave Motion [Up, Down, Both, Parallel]
Specifies the operation when “Oct” is set to 2–4 octaves.
Lgth (Length) [01...48] Up: Notes will repeatedly ascend within the specified range
Specify the length of the arpeggio pattern. After the note of octaves.
value specified by “Reso” occurs for the number of times Down: Notes will repeatedly descend within the specified
specified here, the pattern will return to the beginning. This number of octaves.
parameter is not valid for preset patterns P000–004. Both: Notes will repeatedly ascend and descend within the
specified number of octaves.
Reso (Resolution) [! " , ! , # " , # , $ " , $ ] Parallel: The notes of the specified octaves will sound simul-
Oct (Octave) [1, 2, 3, 4] taneously.
Sort [Off, On]
Latch [Off, On] 6.1–1d: Fixed Note, Mode, Tone No., Fixed Note
K.Sync (Key Sync.) [Off, On] No.
Kbd (Keyboard) [Off, On]
Fixed Note [Off, On]
☞ PROG 6.1: Ed–Arp. “Setup(Arpeg. Setup)”
Specifies the Tone type (the “●” or “❍” displays in 6.1–2) of
“Pat,” “$ (Tempo),” “Oct,” “Reso,” “Sort,” “Latch,” the arpeggio pattern.
“K.Sync,” and “Kbd” are parameters that can be set in Off (unchecked): This is the normal arpeggiator type. The
Program, Combination, Song, but you can also set them Tone pitches will be expanded into an arpeggio based on the
here. note number played on the keyboard.
If you move here from Program or Combination mode On (checked): You can specify the note number for each
and set these parameters, you must return to the origi- Tone. The note numbers from the keyboard will be ignored
nal mode and write them. These parameters cannot be for the purposes of the Tone pitch, and the arpeggio will be
written by the “Write Arpeggio Patterns” command in sounded using the note numbers specified for each Tone.
this page. The note numbers from the keyboard will only control the
timing at which the arpeggiator is triggered. This setting is
suitable for arpeggio patterns used for drum patterns etc.
6.1–1c: Arpeggio Pattern Setup The Tone indication in 6.1-2: Arp.Pattern, Edit page will be
“●” if this setting is Off (unchecked), or “❍” if this is On
These parameters are not valid for preset patterns (checked).
P000–P004.
Mode (Fixed Note Mode)
Type (Arpeggio Type) [As Played...Up&Down]
[Trigger As Played, Trigger All Tones]
Specifies the correspondence between the arpeggio notes
Specifies how tones will be triggered when “Fixed Note” is
specified from the keyboard and the Tone at each step.
checked.
As Played: If there are more Tones in a step than arpeggio Trigger As Played: The Tones will be triggered according to
notes specified (notes played on the keyboard), those steps the number of keys pressed.
will not sound. Trigger All Tones: Pressing a single key will trigger all
As Played (Fill): If there are more Tones in a step than Tones.
arpeggio notes specified (notes played on the keyboard), the
Example)
last arpeggio note (the last-played note if “Sort” is Off, or
Here’s how the drums pattern will sound when “Fixed
the highest note if “Sort” is On) will sound for those steps.
Note” is checked. Tone 1 is assigned a note number that
Running Up: If there are more Tones in a step than arpeggio
plays a kick sound, Tone 2 a snare, and Tone 3 a hi-hat.
notes specified (notes played on the keyboard), the arpeggio
With a setting of Trigger As Played, pressing one key
will return to the first note (the first-pressed note if “Sort” is
will sound only Tone 1 (kick). Pressing two keys will
Off, or the lowest note is “Sort” is On) and sound it.
sound Tone 1 (kick) and Tone 2 (snare). Pressing three
Up&Down: If there are more Tones in a step than arpeggio
keys will sound all three Tones 1–3 (kick, snare, hi-hat). If
notes specified (notes played on the keyboard), the arpeggio
the “Vel (Velocity)” of each Tone is set to Key, each Tone
will return in reverse direction from the last arpeggio note
will be sounded at the velocity with which each key was
back toward the first.
played.
Example) With a setting of Trigger All Tones, playing one key is
If you set “Lgth” to 04, “Step” 01 to Tone0, “Step” 02 to sufficient to sound all three; Tone 1 (kick), Tone 2 (snare),
Tone1,” “Step” 03 to Tone2, “Step” 04 to Tone3, and and Tone 3 (hi-hat). If the “Vel (Velocity)” of each Tone is
simultaneously play three notes to produce an arpeggio, set to Key, the Tones will be sounded at the correspond-
the following results will be produced depending on the ing velocity each time a key is pressed.
“Type.”
As Played: 0 → 1 → 2 → rest → 0 → 1 → 2 → rest → 0 ... Tone No. [00...11]
As Played (Fill): 0 → 1 → 2 → 2 → 0 → 1 → 2 → 2 → 0 ... This is valid only if “Fix Note” (6.1–1d) is checked. It selects
Running Up: 0 → 1 → 2 → 0 → 0 → 1 → 2 → 0 → 0 ... the Tone.
Up&Down: 0 → 1 → 2 → 1 → 0 → 1 → 2 → 1 → 0 ...
Fixed Note No. [C–1...G9]
Specifies the note number for the selected Tone. You can also
input this value by holding down the [ENTER] key and
pressing a note on the keyboard.

136
■ 6.1–1e: UTILITY 6.1–2: Edit
Here you can input Tones 0–11 for each step 01 to 48. “Step”

GLOBAL
can be a maximum of 48 steps, and Tone corresponds to up
to twelve notes for the (up to) twelve keys pressed simulta-
neously. If “Sort” (6.1–1b) is checked, the notes that were
pressed will correspond in ascending order of pitch to Tones
0, 1, etc. If “Sort” (6.1–1b) is unchecked, the notes that were
pressed will correspond to Tones 0, 1, etc. in the order in
For details on how to select the desired utility function, refer

6.1 5.1 4.1 3.1 2.1 1.1


which they were pressed.
to “PROG 1.1–1c: UTILITY.”
These parameters are not valid for preset patterns
Write Arpeggio Patterns P000–P004 .
This command writes user arpeggio patterns U000 (INT)–
U215 (User).
1 Select “Write Arpeggio Patterns” to access the dialog box. 6.1–2a

2 To execute the Write command press the [F8] (“OK”) key.


To cancel without executing press the [F7] (“Cancel”)
key.
You can also write the same data as “Write Arpeggio Pat- 6.1–2b
terns” by pressing the [REC/WRITE] key.
Press the [REC/WRITE] key to access the “Update
Arpeggio Patterns” dialog box, and press the [F8] to 6–2a: Step, Ptch, Gt, Vel, Flam
write the data.
“Pat,”“ ! (Tempo),” “Oct,” “Reso,” “Sort,” “Latch,” Step (Step No.) [01...48]
“K.Sync,” and “Kbd” are parameters that are set in Pro- Select the step that you wish to edit, and set/reset each
gram, Combination, and Sequencer modes. The Write Tone.
operation executed here does not save these parame- When the “Step” is selected, use the numeric keys to input
ters. the Tones. Numeric keys [0]–[9] correspond to Tones 0–9, [–
If you move here from Program or Combination mode ] corresponds to Tone 10, and [./HOLD] to Tone 11. Each

GLOBAL
and set these parameters, you must return to the origi- time you press a key, the Tone will be set or reset.
nal mode and write them. If “Fix Note” (6.1–1d) is checked, this will be displayed as
“●.” If unchecked, this will be displayed as “❍.”
Rename Arpeggio Pattern To delete all Tones of a step, use the Utility “Delete Step.” To
This command renames the selected user arpeggio pattern. insert a blank step, use the Utility “Insert Step.”
Up to sixteen characters can be input. Preset patterns P000–
P004 cannot be selected (☞BG p.43). Ptch (Pitch Offset) [–48...+48]

6.1 5.1 4.1 3.1 2.1 1.1


For each step, the pitch corresponding to the Tone can be
raised or lowered in semitone steps. This lets you make set-
tings for the same tone in each step to create a melody, or to
make settings for two or more tones in each step to play par-
allel chords.
Copy Arpeggio Pattern Gt (Gate) [Off, 001...100%, LGT]
This command copies the settings of another user arpeggio Off: That step will not sound even if Tones have been speci-
pattern to the currently selected arpeggio pattern. It is not fied.
possible to copy from a preset arpeggio pattern P000–P004 . LGT: Notes will continue sounding until the same Tone is
1 Select “Copy Arpeggio Pattern” to access the dialog box. 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, or
Song parameter “Gate” (PROG 6.1–1a, COMBI 6.1–2(3)a,
SEQ 6.1–3(4)a) is set to Step. When making this setting,
make sure that “Gate” is set to Step in the mode from which
2 Select the copy source arpeggio pattern “From.” you arrived here.
3 To execute the Copy Arpeggio Pattern command press Vel (Velocity) [001...127, Key]
the [F8] (“OK”) key. To cancel without executing press
Key: The Tone of the step will sound with the velocity at
the [F7] (“Cancel”) key.
which the key was played.
001–127: The specified velocity value will always be used.
This setting is valid when the Program, Combination, or
Song parameter “Velocity” (PROG 6.1–1a, COMBI 6.1–2(3)a,
SEQ 6.1–3(4)a) is set to Step.
When making this setting, make sure that “Velocity” is set to
Step in the mode from which you arrived here.

137
Flam [–99...+99] Delete Step
Specifies how the note timing will be skewed when two or This command deletes the step parameters (“Tone,” “Ptch,”
more Tones are specified in the same step. “Gt,” “Vel,” “Flam”) of the currently selected step number.
00: All Tones will sound simultaneously. Subsequent steps will move one column toward the left.
+01–+99: The timing of the notes will be skewed in the order 1 Select “Delete Step” to access the dialog box.
of the Tone number. (When “Sort” is ON, from low note to
high note. When “Sort” is OFF, in the order in which keys
were pressed.)
–01– –99: The timing of the notes will be skewed in the
opposite direction as “+.” 2 To execute the Delete Step operation, press the [F8]
To simulate chords strummed on a guitar, it is effective to set (“OK”) key. To cancel without executing, press the [F7]
“+” values for odd-numbered steps and “–” values for even- (“Cancel”) key.
numbered steps.
This setting is not valid for preset patterns P000–P004. Insert Step
This command inserts an empty step into the currently
■ 6.1–2b: UTILITY selected step number. Subsequent steps will be moved one
step to the right.
1 Select “Insert Step” to access the dialog box.

2 To execute the Insert Step operation, press the [F8]


☞ “Write Arpeggio Patterns,” “Rename Arpeggio Pattern,”
(“OK”) key. To cancel without executing, press the [F7]
“Copy Arpeggio Pattern” (6.1–1e)
(“Cancel”) key.
For details on how to select the desired utility function, refer
to “PROG 1.1–1c: UTILITY.” Rotate Step
This command rotates the step settings.
Initialize Steps
1 Select “Rotate Step” to access the dialog box.
This command initializes the step parameters (“Tone,”
“Ptch,” “Gt,” “Vel,” “Flam”) of the arpeggio pattern.
1 Select “Initialize Steps” to access the dialog box.

2 Select the type “Direction” of rotation.


For example, suppose there is a pattern of “Length” 4.
If you select Forward, the settings of Step 1 will be
2 Select the type “Type” of initialize. rewritten to 2, Step 2 →3, Step 3 →4, Step 4 → 1.
Empty will initialize all tones to a blank state. Full will If you select Backward, the settings of Step 1 will be
initialize all tones to a full state. rewritten to 4, Step 2 → 1, Step 3 → 2, Step 4 → 3.
3 To execute the Initialize Steps operation, press the [F8] 3 To execute the Rotate Step operation, press the [F8]
(“OK”) key. To cancel without executing, press the [F7] (“OK”) key. To cancel without executing, press the [F7]
(“Cancel”) key. (“Cancel”) key.

Copy Step
This command copies the settings of a specific step. The set-
tings of two or more adjacent steps can also be copied
together.
1 Select “Copy Step” to access the dialog box.

2 Select the range of steps that you wish to copy (“From


Step”).
3 Select the copy destination step “To Step”.
If you selected more than one step in “From Step,” the
steps will be copied starting at “To Step” and continuing
through the steps to the right.
4 To execute the Copy Step command, press the [F8]
(“OK”) key. To cancel without executing, press the [F7]
(“Cancel”) key.

138
6. Media mode
In this mode, various types of internal memory data can be Files, directories, and icons
saved/loaded to/from SmartMedia or an external SCSI
device (if the EXB-SMPL option is installed). The TRITON Le manages data on SmartMedia and other
media in a hierarchical manner, using files and directories.
For the types of SmartMedia that can be used, refer to BG
The contents of a file (whether it is a file or a directory) are
p.96.
indicated not only by the name but also graphically by an
About the EXB-SMPL option icon. Files and directories have differently shaped icons.
If the EXB-SMPL option (sold separately) and the included
On the TRITON Le, files and directories that can be recog-
72-pin SIMM memory module (16 Mbyte sample data RAM)
nized by MS-DOS (i.e., read by an MS-DOS computer) are
are installed, you will be able to save/load multisample and
referred to as DOS files and DOS directories.
sample data created in Sampling mode (☞p.144, 149), or
Various types of DOS files are distinguished by the exten-
load/export AIFF files or WAVE files that were created on
sion that is added to the filename.
your computer (☞p.146, 150).
In the case of a DOS file with an extension other than listed
Sample data RAM can be expanded by installing up to two
below, selecting “Load selected” to access the dialog box
72-pin SIMM modules of either 32 MB or 16 MB (total maxi-
will cause the file to be considered to be a Standard MIDI
mum 64 MB).
File (SMF). However, non-SMF files cannot be loaded.
Even if the EXB-SMPL is not installed, you can install When you save a file on the TRITON Le, one of these file-
RAM in the 72-pin SIMM slots to allow loading of mul- name extensions will automatically be added as appropriate
tisample or sample data created on the TRITON series, for the type of data.
or AIFF files and WAVE files. However in this case, it
If you change the filename extension of the following
will not be possible to edit the multisample or sample
files, they will be handled as undefined files when you
data.
attempt to load them again; they will not be loaded cor-
In addition, an external SCSI device (hard disk, removable rectly.
media, etc.) can be connected to the SCSI connector of the
Extension Type
EXB-SMPL, allowing data to be saved on a hard disk etc. in
the same way as on SmartMedia, or allowing you to load .PCG Program, combination, drum kit, user arpeggio pattern,
global settings
data from CD-ROM.
For details on formatting, refer to p.152. For details on con- .SNG Song, cue list
nections and ID settings for external SCSI devices when the .MID Standard MIDI File (SMF)
EXB-SMPL option (sold separately) is installed, refer to the .EXL MIDI exclusive data
operation manual included with the EXB-SMPL.
.KMP Korg Multisample Parameter file (Korg format)
.KSF Korg Sample File (Korg format)
.KSC Korg Script File (Korg format)
.AIF AIFF file
.WAV WAVE file

MEDIA
DOS directory Undefined DOS file

Files that can be loaded

DOS files

1.1
.PCG file All programs 1 program 1 program
bank [A–D]
DOS file

.MID file
All combinations 1 combination 1 combination
bank [A–C]
.EXL file

All drum kits 1 drum kit group 1 drum kit


[INT, User] .KMP file AKAI format program file

.KSF file
All user arpeggio 1 user arpeggio 1 user arpeggio
AKAI format sample file
patterns pattern group pattern
[INT, User]
.KSC file

Global settings

.AIF file

.SNG file Cue list .WAV file

1 song Track
[000–199]

1 user pattern
[00–99]

Up Open

139
If sample data RAM is not installed, .KMP, .KSF, .KSC, b3: File name
.AIF, .WAV, and AKAI files can be recognized but not This is the name of the file (DOS file).
loaded. In this case, a message of “Memory overflow” If the Utility “Translation” (1.1–1f) is checked, the DOS file-
will be displayed. name of a .KMP (Korg multisample parameter) file or .KSF
(Korg sample file) that is loaded will be replaced in the dis-
Files handled by the TRITON Le have the following struc-
play by the multisample name or sample name that you
ture. Since .PCG and .SNG files can be opened to divide
specified in Sampling mode.
their contents, they are displayed as directory icons.
(☞p.139) b4: Size
This is the size of the file (in bytes).
b5: Save date and time
This shows the date and time when the file was saved. From
the left, this is shown as day, month, year, hours and min-
MEDIA PAGE MENU utes.
However since the TRITON Le does not contain an internal
In Media mode you can press the [F1]–[F4] keys located calendar or clock, you must use “Set Date/Time” (1.1–3a) to
below the tab to select the desired page. set the date and time before saving the file.
Load Load the contents of the selected file or directory
into internal memory. (☞p.140)
1.1–1c: Media select
Save Save various from internal memory to SmartMe-
dia or other media. (☞p.148)
Selects the device (SmartMedia slot or hard disk etc.) that
Utility Rename, copy, or delete a selected SmartMedia will be used for loading and saving.
or file, create a new directory, or specify the date
and time. (☞p.151) When you press the [MEDIA] key or a function key to make
Media Information View information on the selected media. the TRITON Le recognize the media, the volume label of
(☞p.153) that media will be displayed. If the media has no volume
label, the display will indicate “no label.” If the media has
not been formatted, the display will indicate “Unformat-
ted.”
If the EXB-SMPL option is installed and the TRITON Le is
1.1–1: Load recognizing multiple media volumes connected to the SCSI
connector, use the [INC]/[DEC] keys to select the media.
Here you can load a selected file or directory into internal If the EXB-SMPL is not installed or if no external SCSI
memory. devices are connected to the SCSI connector of the EXB-
Use the [F5] (“UP”) key and [F6] (“OPEN”) key to select the SMPL, only SmartMedia can be selected.
desired file or directory. Then use the Utility “Load selected”
(1.1–1f) to select and load the data.
1.1–1d: File select
1.1–1a
The file/directory selected in the directory window will be
1.1–1b shown in “Index:” The total number of files in the current
b1 b2 b3 b4 b5 directory is shown in “(/).”
1.1–1c
Use the [ ], [ ] keys to choose File Select, and use the
numeric keys to directly select the file or directory to be
1.1–1d 1.1–1e 1.1–1f edited.

■ 1.1–1e: UP, OPEN


1.1–1a: Current directory
Select the current directory.
The directory currently selected for processing is referred to Use the [F5] (“UP”) key and [F6] (“OPEN”) key to select the
as the “current directory.” current directory.
The LCD screen will show the full path name of the direc-
tory. A slash “/” character is used as the delimiter between : Move to the higher directory.
directory levels. To change the current directory, use the [F5] : Move to a lower directory.
(“UP”) key and [F6] (“OPEN”) key.
■ 1.1–1f: UTILITY
1.1–1b: Directory window
Directory window
File information for the current directory is shown here.
You can select a file or directory in this window.
b1: File index
This displays the file index. For details on how to select the desired utility function, refer
to “PROG 1.1–1c: UTILITY.”
b2: File/ icon
The icon indicates the type of file.
For details on icons, ☞p.139.

140
Hide unknown file 1) Load .PCG: selected icon
Select “Hide unknown file” in the utility menu and press the All data in the .PCG file will be loaded.
[F8] key. A check mark will appear at the left of “Hide
unknown file.” With this setting, undefined files will not be
displayed in the directory window. However, this is effec-
tive only if the current directory is a DOS directory.
Translation
Select “Translation” in the utility menu and press the [F8]
1 If the current directory contains a .SNG file or .KSC file of
key. A check mark will appear at the left of “Translation.”
the same filename, you can select “Load ********.SNG
With this setting, .KMP (Korg multisample parameter) files
too” and “Load ********.KSC too”.
and .KSF (Korg sample file) DOS file names will be dis-
• If you check “Load ******.SNG too,” the file with an
played as the multisample name or sample name used in
identical name to the .PCG file and an extension of .SNG
Sampling mode (if the EXB-SMPL option is installed).
will also be loaded.
Load selected • If you check “Load ********.KSC too,” the file with an
This command loads into internal memory the file or direc- identical name to the .PCG file and an extension of .KSC
tory that was selected in the “directory window” (1.1–1b). will also be loaded.
When you choose “Load selected” from the Utility menu, a 2 If you checked “Load ********.KSC too”, set “.KSC Alloca-
dialog box will appear. The dialog box will differ depending tion” to specify how the multisamples and samples
on the type of file to be loaded. within the .KSC file will be loaded.
Append: The data will be loaded into the numbers after
If the file to load cannot be found, or when loading a the last multisample or sample number currently existing
file that was saved in parts in sample data RAM (i.e., that were previously sampled
When loading multisample or sample data files (if sample or loaded). In this case, only the valid multisamples and
data RAM is installed), and the TRITON Le cannot find a samples will be loaded, and will be packed without leav-
necessary file in the current directory or in a lower directory, ing vacant numbers (see diagram below).
a dialog box like the one shown below (“Where is a ...”) will At this time, programs in the .PCG file that use multisam-
be displayed. This will appear in the following situations. ples listed in the .KSC file will automatically have their
oscillator multisample settings remapped so that each
• When loading a .KSC file (when sample data RAM is
program uses the correct multisamples. Drum kits in the
installed), if the .KMP file used by it cannot be found
.PCG file that uses samples listed in the .KSC file will also
• When loading a .KMP file (when sample data RAM is
have their drum kit sample settings remapped so that the
installed), if the .KSF file cannot be found
drum kit plays the correct samples.
• When loading an AKAI S1000/S3000 format Program
Clear: All multisamples and samples currently existing
file (when sample data RAM is installed), if the Sample
in sample data RAM will be cleared, and the multisam-
file cannot be found
ples and samples will be loaded in the same configura-
• When loading a .KSF file (when sample data RAM is
tion as when they were saved (see diagram below).
installed) that is larger than the capacity of the media
If you want to load multisamples and samples from
and was saved across multiple volumes of media, when
media without erasing the multisamples and samples
the first volume has finished loading and the second or

MEDIA
that currently exist in sample data RAM, choose
subsequent volume is needed
Append.
If you want to reproduce the state in which the data had
been saved, for example immediately after power-on,
choose Clear.

1.1
.KSC Allocation

.KSC file to be loaded Internal memory before Internal memory after


If this dialog box appears, take the following action. loading loading

1 Select the directory that contains the file requested by KSC000 KSC000 KSC000
KSC001
“Where is a ...” If the requested file is on another volume KSC002 KSC002
of media, exchange the media, then press the [MEDIA] Append KSC003 KSC003 KSC003
KSC004
key or a function key to make the TRITON Le recognize KSC005 KSC005
the media, and then select the directory. KSC006
KSC007

It is not possible to open .PCG or .SNG files in the


“Where is a ...” dialog box. The [F6] (“OPEN”) key can- KSC000 KSC000 KSC000
not be used for .PCG or .SNG files. KSC001 KSC001
KSC002
Clear KSC003 KSC003 KSC003
2 Press the [F8] (“Select”) key to resume loading. If you
press the [F7] (“Cancel”) key, loading will be halted. If KSC005 KSC005

you press the [F3] (“Skip”) key, the specified files will be
skipped, and the next file will be loaded.
Except for special cases in which the media containing
the specified file has been damaged or is unavailable, 3 To load the data, press the [F8] (“OK”) key. To cancel
press the [F8] (“Select”) key to continue loading. without loading, press the [F7] (“Cancel”) key.

141
2) Load Programs: selected icon 7) Load a Combination: selected icon
All program data from a .PCG file will be loaded. The combination you select will be loaded into the loading
destination combination number you specify.

1 To load the data, press the [F8] (“OK”) key. To cancel


without loading, press the [F7] (“Cancel”) key.
1 If desired, use “From” to re-select the combination to be
3) Load Program Bank [A...D]: selected icon loaded.
All program data of the selected bank will be loaded into the 2 In “To,” select the bank and combination into which the
bank you specify. data will be loaded.
3 To load the data, press the [F8] (“OK”) key. To cancel
without loading, press the [F7] (“Cancel”) key.

8) Load Drum Kits: selected icon


1 In “To,” select the loading destination bank. All drum kits in the .PCG file will be loaded.
2 To load the data, press the [F8] (“OK”) key. To cancel
without loading, press the [F7] (“Cancel”) key.

4) Load a Program: selected icon


1 To load the data, press the [F8] (“OK”) key. To cancel
Data for the selected program will be loaded into the pro-
without loading, press the [F7] (“Cancel”) key.
gram number you specify.

9) Load Drum Kit [00…15(INT),16…23(User):


selected icon
All drum kit data of the selected drum kit block will be
loaded into the drum kit block you specify as the loading
destination.
1 If you wish to load a program other than the one already
selected, use “From” to select the program that you wish
to load.
2 In “To,” select the bank and program into which the data
will be loaded.
1 In “To,” select the drum kit block into which the data will
3 To load the data, press the [F8] (“OK”) key. To cancel
be loaded.
without loading, press the [F7] (“Cancel”) key.
2 To load the data, press the [F8] (“OK”) key. To cancel
5) Load Combinations: selected icon without loading, press the [F7] (“Cancel”) key.

All combinations in the .PCG file will be loaded.


10) Load a Drum Kit: selected icon
The selected drum kit will be loaded into the drum kit num-
ber you specify as the loading destination.

1 To load the data, press the [F8] (“OK”) key. To cancel


without loading, press the [F7] (“Cancel”) key.

6) Load Combination Bank [A...C]: selected icon


All combinations in the selected bank will be loaded into the 1 If desired, use “From” to re-select the drum kit to be
bank you specify. loaded.
2 In “To,” select the loading destination drum kit.
3 To load the data, press the [F8] (“OK”) key. To cancel
without loading, press the [F7] (“Cancel”) key.

1 In “To,” specify the loading destination bank. 11) Load Arpeggio Patterns: selected icon
2 To load the data, press the [F8] (“OK”) key. To cancel All user arpeggio pattern data in the .PCG file will be
without loading, press the [F7] (“Cancel”) key. loaded.

1 To load the data, press the [F8] (“OK”) key. To cancel


without loading, press the [F7] (“Cancel”) key.

142
12) Load Arpeggio Pattern 2 If you checked “Load ********.KSC too,” set “.KSC Alloca-
[000…199(INT), 200…215(User)]: selected icon tion” to specify how the multisamples and samples in the
All user arpeggio pattern data in the selected user arpeggio .KSC file will be loaded.
pattern block will be loaded into the user arpeggio pattern ☞ “1) Load .PCG: 2”
block you specify as the loading destination. 3 To load the data, press the [F8] (“OK”) key. To cancel
without loading, press the [F7] (“Cancel”) key.

16) Load Cue Lists: selected icon


The cue list data in the .SNG file will be loaded.
1 In “To,” select the loading destination user arpeggio pat-
tern block.
If you select user arpeggio pattern block 000–199 (INT)
as the destination for loading either 200–215(User), user
1 To load the data, press the [F8] (“OK”) key. To cancel
arpeggio patterns 000–015 will be loaded. If you select
without loading, press the [F7] (“Cancel”) key.
200–215(User) as the loading destination for 000–199
(INT), the data will be loaded into user arpeggio pat-
terns 000–015(INT). 17) Load a Song: selected icon
Data for the selected song will be loaded into the song num-
2 To load the data, press the [F8] (“OK”) key. To cancel
ber you specified as the load destination.
without loading, press the [F7] (“Cancel”) key.

13) Load an Arpeggio Pattern: selected icon


The selected user arpeggio pattern data will be loaded into
the user arpeggio pattern number that you specify as the
loading destination.
1 If you wish to load a song other than the one already
selected, use “From” to re-select the song that you wish
to load.
2 In “To,” select the loading destination song.
3 To load the data, press the [F8] (“OK”) key. To cancel
1 If desired, use “From” to re-select the user arpeggio pat- without loading, press the [F7] (“Cancel”) key.
tern to be loaded.
18) Load tracks: selected icon
2 In “To,” specify the loading destination user arpeggio
pattern. The selected Track file will be loaded into the song you spec-
ify as the loading destination. However, it is not possible to
3 To load the data, press the [F8] (“OK”) key. To cancel
specify an uncreated song as the loading destination.
without loading, press the [F7] (“Cancel”) key.

MEDIA
14) Load Global Setting: selected icon
Global setting data in the .PCG file will be loaded.
This includes Global mode parameters other than drum
kits and user arpeggio patterns. 1 In “To,” specify the loading destination song.

1.1
Memory protect, and LCD screen contrast will not be 2 To load the data, press the [F8] (“OK”) key. To cancel
loaded. without loading, press the [F7] (“Cancel”) key.

19) Load Pattern Data: selected icon


The selected user pattern will be loaded into a user pattern
1 To load the data, press the [F8] (“OK”) key. To cancel of the selected loading destination song. However, it is not
without loading, press the [F7] (“Cancel”) key. possible to specify an uncreated song as the loading destina-
tion.
15) Load .SNG: selected icon
All data in the .SNG file will be loaded.

1 If you wish to load a user pattern other than the one


already selected, use “From” to re-select the user pattern
1 If a .PCG file or .KSC file of the same name exists in the that you wish to load.
current directory, you can select the “Load ********.PCG 2 In “To” and “Pattern,” select the loading destination song
too” and “Load ********.KSC too” check boxes. and user pattern.
☞ “1) Load .PCG: 1”
3 To load the data, press the [F8] (“OK”) key. To cancel
without loading, press the [F7] (“Cancel”) key.

143
20) Load Standard MIDI File: selected icon Loading sample data
The selected Standard MIDI File will be loaded into the song The 22) Load .KSC, 23) Load .KMP, and 24) Load .KSF com-
number you select as the loading destination. mands explained here will load Korg-format PCM data files
into the sample data RAM of the TRITON Le (if the EXB-
SMPL option and/or sample data RAM is installed).
About the sample data RAM
One 16 Mbyte sample data RAM module (SIMM module) is
included with the EXB-SMPL option (sold separately).
When you install the EXB-SMPL, you must also install sam-
1 Use “To” to select the loading destination song.
ple data RAM into a sample data RAM slot (72-pin SIMM
2 To load the data, press the [F8] (“OK”) key. To cancel slot) inside the TRITON Le.
without loading, press the [F7] (“Cancel”) key. The TRITON Le has two slots for sample data RAM (72-pin
SIMM slots), allowing you to install additional sample data
The program bank and program numbers loaded into
RAM. By installing 16 Mbyte or 32 Mbyte SIMM modules
the song will follow the “Bank Map (GLOBAL 1.1–2a)
you can expand the sample data memory to a maximum of
setting. If “Bank Map” is KORG, bank A will be
64 Mbytes.
selected for bank select 00.00 (MSB.LSB). If “Bank Map”
is GM, bank G will be selected. It is not possible to load an individual sample that is
larger than 16 Mbytes.
If you select an undefined file and choose “Load
selected,” the file will be assumed to be a Standard
MIDI File, and the “Load Standard MIDI File” dialog Limitations on the maximum number that can be loaded
box will appear. When you execute loading, the file will • Multisamples: up to 1,000
be loaded into the song that was specified as the load- • Samples: up to 4,000
ing destination. However if the file format is inappro- • Samples used by multisamples: up to 4,000
priate, the operation will be invalid and an error
message will be displayed.
About Korg format PCM data files

21) Load and Transmit MIDI Exclusive Data: KSC files


selected icon Files with an filename extension of KSC (Korg SCript) con-
tain the names of .KMP and .KSF files.
Load all data from the .EXL file and transmit it from MIDI When a .KSC file is loaded, the .KMP and .KSF files whose
OUT. names it contains will also be loaded. This is a convenient
way to load multiple multisamples and samples at once.
When this file is saved, a directory will be created with the
same name as the .KSC file, and the .KMP and .KSF files
listed in the .KSC file will be saved in that directory.

1 If the .EXL file contains two or more exclusive data items, KMP files
use “Transmit Interval Time” to specify the time interval Files with a filename extension of KMP (Korg Multisample
that will be inserted between each item of exclusive data. Parameter) contain the parameters which make up a single
If you are transmitting the data to another TRITON Le, multisample. These parameters also include the filename of
the required time interval will depend on the type of the .KSF files that are used by that multisample, so when a
data. After transmitting all .PCG data, you must allow an .KMP file is loaded, the necessary .KSF files will also be
interval of approximately 20 seconds. For details refer to loaded at the same time.
the Global mode section on Dump (☞GLOBAL 2.1–1c). When this file is saved, a directory will be created with the
For other MIDI devices, refer to their owner’s manual. same name as the .KMP file, and the .KSF files used by the
2 To load the data, press the [F8] (“OK”) key. To cancel multisample will be saved in that directory.
without loading, press the [F7] (“Cancel”) key.
The data size that can be transmitted will depend on KSF files
the amount of unused song memory. The maximum is Files with a filename extension of KSF (Korg Sample File)
199,604 bytes. contain the parameters and waveform data which make up
a single sample.
A .KSF file can be used as one of the samples used by a mul-
tisample. A .KSF file can also be selected and used as a drum
sample for a drum kit.

144
Loading multiple files 22) Load .KSC: selected icon
You can use wild cards to simultaneously load two or more The .KMP files and .KSF files listed in the .KSC file will be
.KMP, .KSF, .AIF, .WAV., AKAI Program, or AKAI Sample loaded as multisamples and samples respectively.
files from a directory.
You can use Utility 23) Load .KMP, 24) Load .KSF, 25)
Load .AIF, 26) Load .WAV, 27) Load AKAI Sample File,
28) Load AKAI Program File.
In the dialog box, you can press the [F5] (“Name”) key to The .KMP files and .KSF files listed in the .KSC file
display the text input dialog box and use the wild cards “*” are saved in a directory of the same name that is cre-
and “?” in the selected filename so that multiple sample files ated automatically at the same time as the .KSC file.
with the same extension (i.e., of the same format) will be
loaded simultaneously. 1 “.KSC Allocation” allows you to specify how the multi-
samples and samples in the .KSC file will be loaded.
Append: The data will be loaded into the numbers after
the last multisample or sample number currently existing
in sample data RAM (i.e., that were previously sampled
or loaded). In this case, only the valid multisamples and
samples will be loaded. (☞p.141 “Load .KSC too”, “.KSC
Example) Allocation” diagram)
When a folder contains the following files, you have If “Load ********.PCG too” is checked when you load the
selected “SFX_A_00.WAV,” and want to use wild cards to data, programs within the .PCG file that use multisam-
load multiple files simultaneously ples from the .KSC file will automatically have the multi-
sample settings for their oscillators rewritten so that each
PIANO.WAV, SFX_A_00.WAV, SFX_A_01.WAV,
program uses the correct multisample. Drum kits in the
SFX_B_00.WAV, SFX_B_01.WAV, SFX_C_00.WAV
.PCG file that use samples from the .KSC file will auto-
matically have the sample settings for the drum kit
rewritten so that the drum kit uses the correct samples.
Clear: All multisamples and samples currently existing
in sample data RAM will be cleared, and the multisam-
ples and samples will be loaded in the same configura-
tion as when they were saved (☞p.141 “Load .KSC too”,
Select “SFX_A_00.WAV,” and choose the Utility “Load “.KSC Allocation” diagram).
selected” to display the dialog box. Choose “Append” if sample data RAM already contains
multisamples and samples that you do not want to erase,
and you would like to load additional multisamples and
samples from media.
Choose “Clear” if you want to reproduce the state in
which the data had been saved, for example immediately
Press the [F5] (“Name”) key to access the text input dia- after power-on.

MEDIA
log box, and specify a wild card. (For the renaming pro- 2 If the current directory contains a .PCG file or .SNG file of
cedure, refer to BG p.43.) the same filename, you will be able to select the “Load
********.PCG too” and/or “Load ********.SNG too” check-
boxes.
• If you check “Load ********.PCG too,” the .PCG file of
the same name as the .KSC file will also be loaded.

1.1
• If you check “Load ********.SNG too,” the .SNG file of
The wild card “*” matches all subsequent characters. the same name as the .KSC file will also be loaded.
The wild card “?” matches only one character. ☞ “Load.PCG: 1”

1) If you specify SFX_A* and execute loading, the following 3 To load the data, press the [F8] (“OK”) key. To cancel
files will be loaded. without loading, press the [F7] (“Cancel”) key.
SFX_A_00.WAV, SFX_A_01.WAV If the .KSF files used by the .KMP file are not in the cur-
rent directory or below it, a dialog box will appear, allow-
2) If you specify SFX_?_00 and execute loading, the follow- ing you to specify the directory. Use the procedure “If the
ing files will be loaded. file to load cannot be found,…” (☞p.141) to load the
SFX_A_00.WAV, SFX_B_00.WAV, SFX_C_00.WAV required .KSF files.
3) If you specify SFX_*_00 and execute loading, the result
Since overflow checking of sample data RAM is per-
will be the same as if you had specified “SFX_*” and the
formed when loading each individual .KSF file, it is
following files will be loaded.
possible that an overflow may occur in the middle of
SFX_A_00.WAV, SFX_A_01.WAV, SFX_B_00.WAV
the loading process.
SFX_B_01.WAV, SFX_C_00.WAV
4) If you specify * and execute loading, all .WAV files will
be loaded, as follows.
PIANO.WAV, SFX_A_00.WAV, SFX_A_01.WAV,
SFX_B_00.WAV, SFX_B_01.WAV, SFX_C_00.WAV

145
23) Load .KMP: selected icon The data will be loaded into the numbers that follow the
The selected .KMP file will be loaded as a multisample. The last sample number currently existing in sample data
.KSF files used by the .KMP will also be loaded as samples. RAM (i.e., that were previously sampled or loaded)
(Append load).
You can load multiple files within the directory.
(☞p.145)

26) Load .WAV: selected icon


The .KSF files used by the .KMP file will be saved in
The selected WAVE file will be loaded as a sample.
an identically-named directory that is created auto-
matically when the .KMP file is created.
1 To load the data, press the [F8] (“OK”) key. To cancel
without loading, press the [F7] (“Cancel”) key.
The data will be loaded into the numbers that follow the
last multisample or sample number currently existing in
sample data RAM (i.e., that were previously sampled or 1 To load the data, press the [F8] (“OK”) key. To cancel
loaded). In this case, only the valid multisamples and without loading, press the [F7] (“Cancel”) key.
samples will be loaded (Append load). The data will be loaded into the numbers that follow the
If a .KSF file used by the .KMP file is not found in the cur- last sample number currently existing in sample data
rent directory or lower, a dialog box will appear, asking RAM (i.e., that were previously sampled or loaded)
you to specify the directory. Use the procedure described (Append load).
in “When a file to be loaded cannot be found...” (☞p.141)
Files with an extension of other than .AIF/.WAV cannot
to load the required .KSF file.
be recognized as AIFF/WAVE files. In this case, use the
Since overflow checking of sample data RAM is per- Utility “Rename” (1.1–3a) to change the last four char-
formed when loading each individual .KSF file, it is acters of the filename to “.AIF”/“.WAV”
possible that an overflow may occur in the middle of
If the data that is loaded as a sample contains a loop
the loading process.
point, you can set “S.Ofs(Start Offset)” (PROG 2.1–2b,
You can load multiple files within the directory. GLOBAL 5.1–1b) on the TRITON Le so that the sound
(☞p.145) will begin from the loop point.
If data whose sample size is 8 bits or less is loaded, it
24) Load .KSF: selected icon will be converted into 16 bit data inside the TRITON Le.
The selected .KSF file will be loaded as a sample. This will mean that the amount of internal memory
consumed will be approximately twice as large as the
file size. The increase in size resulting from this conver-
sion may mean that it is impossible to save that data on
a media.

Loading AKAI S1000/ S3000 format Sample files and


1 To load the data, press the [F8] (“OK”) key. To cancel Program files
without loading, press the [F7] (“Cancel”) key. If sample data RAM is installed in the TRITON Le, AKAI
The data will be loaded into the numbers that follow the S1000/S3000 format Sample files and Program files can be
last sample number currently existing in sample data loaded (☞p.147 “About AKAI Program files” for more infor-
RAM (i.e., that were previously sampled or loaded) mation about compatibility). The loaded Sample or Program
(Append load). file data can be used as a sample or multisample respec-
tively. When the loaded data is then saved to storage media,
You can load multiple files within the directory.
it will be saved as a Korg format .KSF file or .KMP file
(☞p.145)
respectively.
Loading AIFF files and WAVE files AKAI S1000/S3000 format stereo Sample files and Program
files whose names end in “-L” and “-R” can be loaded into
If the EXB-SMPL option (sold separately) and sample data
the TRITON Le as stereo samples and multisamples.
RAM are installed in the TRITON Le, you can load AIFF for-
When the above files are loaded, “-L” and “-R” will auto-
mat or WAVE format files containing audio data that was
matically be moved to the end of the sample name or multi-
saved on your computer. The loaded data can be used as
sample name (15th and 16th character) so that they can
samples or drum samples.
automatically be recognized as stereo samples or multisam-
ples.
25) Load .AIF: selected icon
The selected AIFF file will be loaded as a sample. 27) Load AKAI Sample File: selected icon
The selected Sample will be loaded as a sample.
1 To load the data, press the [F8] (“OK”) key. To cancel
without loading, press the [F7] (“Cancel”) key.
The data will be loaded into the numbers that follow the
last sample number currently existing in sample data
1 To load the data, press the [F8] (“OK”) key. To cancel RAM (i.e., that were previously sampled or loaded)
without loading, press the [F7] (“Cancel”) key. (Append load). If the loaded data is then saved to storage
media, it will be saved as a Korg format .KSF file. (possi-

146
ble to export as a .AIF, .WAV format ☞p.150 “Export
About AKAI Program files
Smpl AIF/WAV”)
The TRITON Le will load only the key-map related param-
If the data that is loaded as a sample contains a loop eters from the Program file.
point, you can set “S.Ofs(Start Offset)” (PROG 2.1–2b, AKAI format uses the concept of “key groups.” For each
GLOBAL 5.1–1b) on the TRITON Le so that the sound key zone, up to four samples can be assigned, and these
will begin from the loop point. four can be switched or crossfaded by velocity. Key zones
can also be crossfaded.
If the end (11th and 12th characters) of the sample name
On the TRITON Le, in contrast, there is one sample for
is “-L” and “-R,” the “-L” and “-R” will automatically
each key zone, and you can use up to four multisamples to
be moved to the end of the TRITON Le’s sample name
create a key map in the order of the velocity of each key
(15th and 16th characters).
group. It is not possible to crossfade key zones.
When you load two files whose sample names are iden-
tical except for ending in “-L” and “-R,” and assign Example)
them to a stereo multisample in Sampling mode, they An AKAI format Program file “TESTPROGRAM” consists
will be recognized as a stereo sample. of four key groups, and each key group consists of up to
three velocity zones. Key groups 1 and 2 are a layer whose
Sample files low range is the same. When this is loaded into the
Parameter AKAI S1000/S3000 TRITON Le format after TRITON Le, three multisamples will be created, collected
format loading by velocity zone, and the numerals 1, 2, and 3 will be
Loop points Multiple settings possible Of the multiple loop points, appended to each multisample name. At this time, the top
the settings for the first key will be determined by the bottom key of the sample
HOLD loop are used. that is assigned at the right, and if the bottom key is the
If there is no HOLD loop, same (key groups 1 and 2 in the diagram), the higher-num-
use the longest loop
bered key group will be used.
Loop length Settable with resolution Resolution of less than one
of less than one sample sample is ignored

You can load multiple files within the directory.


Program file
(☞p.145) TESTPROGRAM Key Group 1 Zone 1
Key Group 1 Zone 2

28) Load AKAI Program File: selected icon Key Group 2 Zone 1
Key Group 2 Zone 2

The selected Program file will be loaded as a multisample.


When the loaded data is saved to storage media, a Program Key Group 3 Zone 1
Key Group 3 Zone 2
file will be saved as a .KMP file, and a Sample file will be Key Group 3 Zone 3

saved as a .KSF file. Key Group 4 Zone 1


Key Group 4 Zone 2
1 To load the data, press the [F8] (“OK”) key. To cancel
without loading, press the [F7] (“Cancel”) key.
The data will be loaded into the numbers that follow the
last multisample or sample number currently existing in
Multisample

MEDIA
sample data RAM (i.e., that were previously sampled or TESTPROGRAM 1 Key Group 2 Zone 1 Key Group 3 Zone 1 Key Group 4 Zone 1

loaded). In this case, only the valid program files and TESTPROGRAM 2 Key Group 2 Zone 2 Key Group 3 Zone 2 Key Group 4 Zone 2

samples files will be loaded (Append load). TESTPROGRAM 3 Key Group 3 Zone 3

If the Sample files used by the Program file are not in the
current directory or below it, a dialog box will appear,
allowing you to specify the directory. Use the procedure
“If the file to load cannot be found,…” (☞p.141) to load

1.1
the required Sample files.
Since overflow checking of sample data RAM is per-
formed when loading each individual Sample file, it is
possible that an overflow may occur in the middle of
the loading process.
If a loaded multisample is assigned samples whose
sample names end in “-L” and “-R,” an “-L” and “-R”
will automatically be added to the end (15th and 16th
characters) of the multisample name.
When you load two multisamples whose multisample
names are identical except for ending in “-L” and “-R,”
they will be recognized in Sampling mode as a stereo
multisample.
You can load multiple files within the directory.
(☞p.145)

147
If the data does not fit on the media when saving
1.1–2: Save If you are saving .KSC, .KMP, and .KSF files and the data
does not fit on a single SmartMedia (or other type of media),
Here you can save various data from internal memory to a dialog box will indicate “No space available on medium.”
media such as SmartMedia. Use the [F5] (“UP”) key and [F6]
(“OPEN”) key to move to the desired directory (i.e., change
the current directory), and then select the Utility menu com-
mand [F8].
When you execute a Save operation, the data will be saved
in the same level of the media hierarchy as the files that are 1 Make sure that you have additional SmartMedia etc., and
displayed. press the [F8] (“OK”) key. Saving will begin.
The date and time with which the saved file is stamped is 2 When the media is full, the following dialog box will
specified by “Set Date/Time” (1.1–3a). appear. Remove the SmartMedia from the slot, insert
another SmartMedia, and press the [MEDIA] key or
1.1–1a
function key to make the TRITON Le recognize the
1.1–1b media. If you want to specify a different SCSI device (if
the EXB-SMPL option is installed), use “Media Select”
1.1–1c (1.1–1c) to specify it.

1.1–1d 1.1–1e 1.1–2a

■ 1.1–2a: UTILITY
3 Use the [INC], [DEC] keys etc. to set Media Select to the
save destination media.
4 Press the [F8] (“Select”) key. If you press the [F7] (“Can-
cel”) key the save operation will be cancelled. If you wish
to end the save operation at this point, press the [F8]
(“OK”) key. If you press the [F3] (“Skip”) key, the speci-
☞ “Hide unknown file,” “Translation” (1.1–1f) fied file will be skipped, and the next file will be saved.
For details on how to select the desired utility function, refer
Save All (PCG, SNG and KSC)
to “PROG 1.1–1c: UTILITY.”
This command saves all internal memory programs, combi-
When saving combinations with “Save All,” “Save PCG nations, drum kits, user arpeggio patterns, and global set-
& SEQ,” or “Save PCG,” you should also try to save the tings as a .PCG file, multi as a .SNG file, and multisamples
programs used by each timbre (and the drum kits used and samples created in Sampling mode (if the EXB-SMPL
by the programs) and the user arpeggio patterns at the option is installed) as a .KSC file to the specified media.
same time. This command is valid only when the current directory is a
Similarly when saving programs, you should also save DOS directory.
the drum kit used by the program and the user arpeg-
1 Select “Save All” to access the following dialog box.
gio pattern at the same time.
If multisamples or samples created in Sampling mode
(if the EXB-SMPL option is installed) are used in a pro-
gram or drum kit, we recommend that you save the
data as “Save All.”
Also when using “Save PCG” or “Save Sampling Data”
to save an individual program, drum kit, or multisam- 2 Use the [F5] (“Name”) key to move to the text dialog box,
ple or sample created in Sampling mode, we recom- and specify the filename (☞BG p.43). For example if you
mend that you save the data in the same directory with specify NEWFILE and execute the save command, files
the same filename. named NEWFILE.PCG, NEWFILE.SNG, and NEW-
When using “Load PCG” to load a .PCG file, the .KSC FILE.KSC will be saved to the media.
file of the same name will be loaded at the same time so
that the correct multisamples/samples with which the 3 Check the check boxes for the data that you want to save.
program or drum kit was saved will correspond cor- There are check boxes for each program and combination
rectly. bank, user drum kits, user arpeggio patterns, and global
settings. Check those that you want to save.
Data that is not checked will not be saved.
4 To save the data, press the [F8] (“OK”) key. To cancel
without saving, press the [F7] (“Cancel”) key.
If the data does not fit on a single SmartMedia (or other
type of media), the “No space available on medium” dia-
log box will appear. Refer to “If the data does not fit on
the media when saving,” and use the procedure given
there to save the data.

148
When you save, files will be created in the current direc- Save SEQ (Songs and Cue Lists)
tory. If the data you save extends across two or more This command saves all songs and cue lists from internal
media, these files will be divided. In addition to the memory as a .SNG file.
.PCG, .SNG, and .KSC files that will be created with the This command is valid only when the current directory is a
specified filename, one directory will also be created. The DOS directory.
files listed in NEWFILE.KSC will be saved in this direc-
tory. 1 Select “Save SEQ” to access the following dialog box.

Save PCG & SEQ


This command saves all internal memory programs, combi-
nations, drum kits, user arpeggio patterns, and global set-
tings as a .PCG file, and saves songs and cue lists to a .SNG
file on the specified media. 2 Use the [F5] (“Name”) key to move to the text dialog box,
This command is valid only when the current directory is a and specify the filename. For example if you specify
DOS directory. NEWFILE and execute the save command, a file named
1 Select “Save PCG & SEQ” to access the following dialog NEWFILE.SNG will be saved to the media.
box. 3 To save the data, press the [F8] (“OK”) key. To cancel
without saving, press the [F7] (“Cancel”) key.

Save Sampling Data (Multisamples and Samples)


When this command is executed, the following multisample
and sample data will be saved to media as Korg format
.KMP files, .KSF files, and a .KSC file that collects these files.
2 Use the [F5] (“Name”) key to move to the text dialog box, This is valid only when the current directory is a DOS direc-
and specify the filename (☞BG p.43). For example if you tory.
specify NEWFILE and execute the save command, files
• Multisample and sample data recorded or edited in
named NEWFILE.PCG and NEWFILE.SNG will be saved
Sampling mode (if the EXB-SMPL option is installed)
to the media.
• Multisample and sample data loaded in Media mode
3 Check the check boxes for the data that you want to save.
Data that is not checked will not be saved. • Multisample and sample data in internal sampling
☞ Save All (PCG, SNG and KSC): 3 RAM memory
4 To save the data, press the [F8] (“OK”) key. To cancel 1 Select “Save Sampling Data” to access the following dia-
without saving, press the [F7] (“Cancel”) key. log box.

Save PCG
This command saves all internal memory programs, combi-
nations, drum kits, user arpeggio patterns, and global set-
tings as a .PCG file.
This command is valid only when the current directory is a

MEDIA
2 Use “To” to specify the contents that will be saved. (All
DOS directory.
content will be saved in Korg format.)
1 Select “Save PCG” to access the following dialog box. All: All multisamples and samples in sample data RAM
will be saved as .KMP files and .KSF files. A .KSC file and
directory will also be created at this time and saved.
The filename will be the .KSC filename and the directory

1.1
name.
All Multisamples: All multisamples and samples (i.e.,
samples used by the multisamples) will be saved as
2 Use the [F5] (“Name”) key to move to the text dialog box, .KMP files and .KSF files. Simultaneously, a .KSC file and
and specify the filename (☞BG p.43). For example if you a directory to contain these files will also be created and
specify NEWFILE and execute the save command, a file saved.
named NEWFILE.PCG will be saved to the media. The filename will be the .KSC filename and the directory
name.
3 Check the check boxes for the data that you want to save.
All Samples: All samples will be saved as .KSF files.
Data that is not checked will not be saved.
Simultaneously, a .KSC and directory to contain these
☞ Save All (PCG, SNG and KSC): 3
files will also be created and saved.
4 To save the data, press the [F8] (“OK”) key. To cancel The filename will be the .KSC filename and the directory
without saving, press the [F7] (“Cancel”) key. name.
One Multisample: The selected multisample will be
saved as a .KMP file. Simultaneously, a directory will also
be created, and the samples used by the multisample will
be saved in that directory.
The filename will be the .KMP filename and the directory
name.
Initially, the filename will automatically be set to the first
five characters (uppercase) of the sixteen-character multi-
sample name + the multisample number.
[Examples]
000: NewMS_ _ _ _ _ _000 → NEWMS000.KMP

149
001: 108bpmDrLoop00 → 108BP001.KMP Save Exclusive (Receive and Save MIDI Exclusive Data)
One Sample: The selected sample will be saved as a .KSF This command receives exclusive data, accumulates it in the
file. unused portion of the internal memory, and saves the data
The filename will be the .KSF filename name. to media as an .EXL file.
Initially, the filename will automatically be set to the first The remaining amount of internal memory depends on how
four characters (uppercase) of the sixteen-character sam- much data is used in Sequencer mode.
ple name + the sample number. This command is valid only when the current directory is a
[Examples] DOS directory.
0000: NewSample_0000 → NEWS0000.KSF
0001: C#3-EGuitar → C#3-0001.KSF 1 When you select “Save Exclusive,” this instrument will
be ready to receive exclusive data. The following dialog
If you wish to export the data in AIFF (.AIF) or WAVE box will appear.
(.WAV) format, select the Utility “Export Smpl AIF/
WAV.”
3 Press the [F5] (“Name”) key to move to the text dialog
box, and specify the filename (☞BG p.43).
4 To save the data, press the [F8] (“OK”) key. To cancel
without saving, press the [F7] (“Cancel”) key.
2 Transmit the exclusive data that you wish to save to this
If the Utility “Translation” (1.1–1f) is checked, the instrument. While the data is being received, the display
names of .KMP files and .KSF files you save will be dis- will indicate “Status=RECEIVING MIDI DATA.” When
played as the multisample name or sample name. This reception ends, the size of the received data and the size
is convenient when you are searching for the desired of the remaining free area will be rewritten. The display
files on media. will change to “Status=AWAITING MIDI DATA,” and
you can continue transmitting exclusive data to this
Save to Std MIDI File (Save Song as Standard MIDI instrument. During reception, the [F7] (“Cancel”) key
File) and the [F8] (“OK”) key cannot be pressed.
This command saves the selected song from internal mem- 3 Press the [F5] (“Name”) key to access the text dialog box,
ory to storage media as a .MID file (Standard MIDI File). and specify the filename (☞BG p.43).
This command is valid only when the current directory is a
4 To save the data, press the [F8] (“OK”) key. To cancel
DOS directory.
without saving, press the [F7] (“Cancel”) key.
1 Select “Save to Std MIDI File” to access the following dia-
log box. Export Smpl AIF/ WAV (Export Samples as AIFF/
WAVE)
Sample data in internal sampling RAM that was recorded or
edited in Sampling mode (if the EXB-SMPL option is
installed), or loaded in Media mode, can be exported (writ-
ten) to media as an AIFF or WAVE format sample file.
This is valid only when the current directory is a DOS direc-
2 In “Song,” so the song that you wish to save. tory.
3 Use the [F5] (“Name”) key to access the text dialog box, Normally, it is recommended that you use Save All or
and specify the filename (☞BG p.43). Save Sampling Data to save sample data in Korg format
By default, the first eight characters (uppercase) of the (.KSC, .KMP, .KSF). This will allow you to save the data
song name will be assigned. in a way that preserves the state of the multisamples
4 In “Format,” select the Standard MIDI File format in (and the samples that they use) as they exist in internal
which you wish to save. sampling RAM memory.
If you select 0, data such as time signature and tempo Use “Export Smpl AIF/WAV” if you wish to use an
will be saved together with the event data in a single AIFF or WAVE format compatible application on your
track. computer to work with samples that were recorded or
If you select 1, time signature and tempo etc. and event edited on the TRITON Le.
data will be saved in separate tracks. “Export Smpl AIF/WAV” does not export multisample
5 To save the data, press the [F8] (“OK”) key. To cancel, files. The exported AIFF or WAVE format samples can
press the [F7] (“Cancel”) key. be re-loaded, but if the sample number when saving is
The song data you save here can be played back on a different than the sample number when loading, you
device that supports Standard MIDI Files. However if may need to re-make settings, such as selecting the
you intend to playback the data on this instrument, we sample for each index of a multisample.
recommend that you use “Save SEQ” to save the data, Furthermore, the following parameters set in Sampling
since this will allow a higher degree of reproducibility. mode are lost by “Export Smpl AIF/WAV.”
• Sample Name
• Loop Tune (SMPL 3.1–1b. “Tune: Loop Tune”)
• Reverse (SMPL 3.1–1b. “Rev: Reverse”)
Samples that are handled by the TRITON Le as stereo
will be exported as two independent L and R files.

150
1 Select “Export Smpl AIF/WAV” to access the following
dialog box. 1.1–3: Utility
Here you can rename, copy, or delete the selected media or
file, create a new directory, and set the date and time.
After selecting a media or file, select the Utility menu [F8].

1.1–1a

2 In “Format,” select either AIFF or WAVE as the file for- 1.1–1b


mat for export.
1.1–1c
3 Press the [F5] (“Name”) key to move to the text dialog
box, and specify the filename (☞BG p.43).
1.1–1d 1.1–1e 1.1–3a
4 In “To,” specify the content that will be exported.
One Sample: The single selected sample will be
exported.
The filename will be the filename of the .AIF or .WAV file. ■ 1.1–3a: UTILITY
Initially, the filename will automatically be set to the first
four characters (uppercase) of the sixteen-character sam-
ple name + the sample number.
[Examples]
0000: NewSample_0000→NEWS0000.AIF
0001: C#3-EGuitar→C#3-0001.WAV
If the sample data being exported will not fit on a single ☞ “Hide unknown file,” “Translation” (1.1–1f)
volume of media (e.g., SmartMedia), it cannot be For details on how to select the desired utility function, refer
exported. to “PROG 1.1–1c: UTILITY.”
All Samples: All samples will be exported.
Rename
It will not be possible to specify the filename. The file-
name will automatically be assigned as the first four This command renames the selected file or directory.
characters (uppercase) of the sixteen-character sample This command is valid only when a DOS file or a DOS direc-
name + the sample number. tory is selected.
Samples in One Multisample: All samples used by the 1 Select “Rename” to access the following dialog box.
selected multisample will be exported.
Only five characters of the filename can be specified. The
five-character filename + the index number (001–128) in
the multisample will be assigned automatically.
Initially, the filename will automatically be set to the MS
+ the multisample number (000–999).
2 Press the [F5] (“Name”) key to access the text dialog box,

MEDIA
[Examples]
000: NewMS___000: and modify the name (☞BG p.43).
Sample selected for index 001 → MS000001.AIF 3 To rename the file or directory, press the [F8] (“OK”) key.
Sample selected for index 002 → MS000002.AIF To cancel, press the [F7] (“Cancel”) key.
001: 108bpmDrLoop00:
Copy
Sample selected for index 001 → MS001001.AIF

1.1
Sample selected for index 002 → MS001002.AIF This command copies the selected file or directory.
This command is valid only when a DOS file or a DOS direc-
When exporting All Samples or Samples in One Mul- tory is selected.
tisample, and all of the sample data does not fit on one
1 Select “Copy” to access the following dialog box.
volume of media (e.g., SmartMedia), another dialog
box will appear, directing you to specify the next
media. (☞p.148 “If the data does not fit on the media
when saving”) However at this time if a single sample
is larger than the capacity of the media, the sample can-
not be exported. Either specify media with a larger
capacity, or press “Skip” to omit exporting that sample
and proceed to exporting the next sample. 2 In the upper left of the dialog box, “Copy” indicates the
selected file and directory name.
5 To export the data, press the [F8] (“OK”) key. To cancel
If you wish to change the file or directory that will be
without exporting, press the [F7] (“Cancel”) key.
copied, use the [F2] (“Name”) key to move to the text
dialog box, and specify the filename that you wish to
copy (☞BG p.43).
(Can use */? as Wildcard): When you use the [F2]
(“Name”) key to access the text dialog box and specify
the name of the file or directory to be copied, you can use
“*” and “?” characters as wildcards. For example, if in the
above example you specify NEWFILE1.* (instead of
NEWFILE1.PCG), all filenames of NEWFILE1. with any

151
filename extension will be copied at the same time: i.e., Create Directory
NEWFILE1.PCG, NEWFILE1.SNG, NEWFILE1.KSC, ... This command creates a new directory within the current
[Example] directory.
NEWFILE1.*: NEWFILE1.PCG, NEWFILE1.SNG,
NEWFILE1.KSC, ... 1 Select “Create Directory” to access the following dialog
NEWFILE?.PCG: NEWFILE1.PCG, NEWFILE2.PCG, box.
NEWFILE3.PCG, ...
When wildcards are used, only files will be subject to
copying. Directories will not be copied.
3 Use the [F5] (“UP”) key and [F6] (“OPEN”) key to select
the copy destination directory. If you wish to specify a 2 Use the [F5] (“Name”) key to access the text dialog box,
different SCSI device, use “Media Select” (1.1–1c) to and specify the name of the new directory (☞BG p.43).
select it (if the EXB-SMPL option has been installed). 3 To create the directory, press the [F8] (“OK”) key. To can-
It is not possible to open .PCG or .SNG files while you cel without creating the directory, press the [F7] (“Can-
are selecting the copy destination directory. The [F6] cel”) key.
(“OPEN”) key cannot be used for .PCG or .SNG files. Set Date/ Time
4 If you wish to copy the file or directory with a different This command sets the date and time that will be used to
name, use the [F3] (“R.Name”) key (in the lower line) to time-stamp files that are saved.
access the text dialog box, and specify the name with
1 Select “Set Date/Time” to access the following dialog
which the file or directory will be copied (☞BG p.43). If
box.
you are using wildcards to simultaneously copy multiple
files, it is not possible to modify the filename.
5 To copy the data, press the [F8] (“OK”) key. To cancel
without copying, press the [F7] (“Cancel”) key.
If the media that you selected in “Media Select” is
removable media (SmartMedia, MO disc, removable 2 Set each parameter.
hard disk etc.), it is not possible to copy to different “Year” 1980–2079
media on the same drive.
“Month” 1–12
Delete “Day” 1–31
This command deletes the selected file or directory. “Hour” 0–23
If a directory is selected, it can be deleted only if no files “Minute” 0–59
exist within that directory. “Second” 0–59 (only even-numbered second values will
This command is valid only if a DOS file or directory is be assigned to a file)
selected. 3 To set the date and time, press the [F8] (“OK”) key. To
1 Select “Delete” to access the following dialog box. cancel, press the [F7] (“Cancel”) key.
The seconds (“Second”) will not be displayed in the
directory window.

Format
This command formats the selected media, such as a Smart-
2 “Delete” will indicate the name of the selected file or Media or external SCSI device (if the EXB-SMPL option has
directory. been installed). The volume label (a name for the entire
If you wish to change the file or directory that is to be media) you specify will be assigned to the media. The vol-
deleted, use the [F5] (“Name”) key to access the text dia- ume label you assign here will be displayed in “Media
log box, and specify the name of the file or directory that Select” (1.1–1c). The volume label can be a maximum of
you wish to delete (☞BG p.43). eleven characters.
(Can use */? as Wildcard): When you use the [F5] When you format, all data saved on that media will be
(“Name”) key to access the text dialog box and specify erased. Be sure to double-check before you format.
the name of the file to be deleted, you can use the “*” or
“?” characters as wildcards. This allows you to simulta- After formatting, it is not possible to press the [COM-
neously delete multiple files with identical filenames and PARE] key to return to the previous state.
different extensions, or files whose names are partially
1 To format a SmartMedia, insert the SmartMedia to be for-
identical (☞“Copy” (1.1–3a)).
matted into the SmartMedia slot.
When wildcards are used, only files will be subject to 2 In “Media Select” (1.1–1c), select the media that you wish
deletion. Directories will not be deleted. to format. (If no external SCSI device is connected via the
3 To delete the selected file or directory, press the [F8] EXB-SMPL option, ignore this step.)
(“OK”) key. To cancel without deleting, press the [F7] 3 Select “Format” to access the following dialog box.
(“Cancel”) key.

152
4 Press the [F5] (“Name”) key to move to the text dialog Total Size:
box, and specify the “Volume Label” (☞BG p.43). The capacity of the media (in bytes).
When the dialog box appears, “Volume Label” will show
the volume label that had been specified before format- Free Size:
ting. If a media that has no volume label or a non-DOS The free capacity of the media (in bytes).
media is inserted, this will indicate “NEW VOLUME.”
5 Specify the initialization format. Normally you should Write Protect:
use Quick Format to initialize the media, and use Full The write protect status of the media. This will indicate
Format if an error message of “Media not Formatted” “On” if protected, or “Off” if not protected.
appears.
Removable (Supports Removable):
Quick Format: Selects this if the media has already been
This will indicate “Yes” if the media of the selected device
physically formatted. Since only the system area of the
can be removed (e.g., SmartMedia, MO disc, removable
media need be formatted, this will require less time.
hard disk). If the media is fixed, this will be “No.”
Full Format: Selects this when formatting media that has
not been physically formatted. You should also select this
type of formatting if writing errors occur frequently with ■ 1.1–4b: UTILITY
this media.
It is not necessary to perform a Full Format on SCSI
media that has been physically formatted at 512 bytes/
block. Perform the Quick Format for such media.
The TRITON Le cannot format media with a format of
other than 512 bytes/block (such as 640 MB, 1.3 GB MO
disks etc.). Scan SCSI device
This command allows you to re-mount a connected SCSI
6 To format the media, press the [F8] (“OK”) key. To cancel
device if the EXB-SMPL option is installed.
without formatting, press the [F7] (“Cancel”) key.
A maximum of 4 GB can be formatted on an external 1 From the Utility menu, select “Scan SCSI device.”
SCSI device connected via the EXB-SMPL (sold sepa- The currently-connected SCSI devices will be re-scanned
rately). (if the EXB-SMPL option is installed). Once scanning is
completed, any valid SCSI device can be selected in
“Media Select.”
Never connect or disconnect a SCSI cable while the
1.1–4: Media Information power of the TRITON Le or of a SCSI device is turned
on. Doing so can cause irreparable malfunctions.

1.1–4a

MEDIA
1.1–4b

1.1
1.1–4a: Media (Media select)
This displays information on the media that is selected by
“Media Select.”
☞ 1.1–1c: Media select

Vol. Label (Volume Label):


The volume label of the media.

SCSI ID:
The specified SCSI ID. If the TRITON Le’s internal Smart-
Media slot is selected, “–” will be displayed.

Dev. Type (Device Type):


The type of media.

Product ID:
The vendor ID, product, and product version, etc.

Format (Format Type):


The type of format. If not formatted, this will indicate
“Unformatted.”

153
154
7. Effect Guide
If the separately sold EXB-SMPL option is installed, the
Overview external source from AUDIO INPUT 1 and 2 is also valid in
modes other than Sampling mode. In Program, Combina-
The effects section of TRITON Le consists of a single channel tion, and Sequencer modes, the insert effect, master effects,
Insert Effect, two-channel Master Effects, a single-channel or master EQ can be used on these inputs. Settings for the
Master EQ (stereo, three-band EQ) and a Mixer section that external in from AUDIO INPUT 1/2 are made in GLOBAL
controls the effect routings. 1.1: System, Audio In (Setup for COMBI, PROG, SEQ) (GLO-
The insert effect and master effects can be chosen from 89 BAL 1.1–4).
types of full-digital effect, grouped into the categories listed In these modes, the TRITON Le can function as a 2-in 4-out
below. effect processor for the external input signal from AUDIO
INPUT 1 and 2.
Classification of 89 effects
00–15 Filters and dynamics effect, such as EQ and compression Send
Master Effect 1,2
Return

16–31 Pitch modulation and phase modulation effects, such as cho- Oscillator Filter Amplifier Insert Effect Master EQ
OUTPUT
L/MONO, R
rus and phaser
AUDIO INPUT 1, 2
32–40 Other modulation and pitch-shifting effects, such as rotary
speaker and pitch shifter
41–51 Early reflection and delay effects
When you apply effects to the external audio signal
52–57 Reverb effects
from AUDIO INPUT 1 and 2, oscillation may be heard
58–89 Mono effects and mono chain effects, in which two mono depending on the effect type and the parameter set-
effects are internally connected in series
tings. If this occurs, adjust the input level, output level,
and effect parameters. In particular, please exercise cau-
tion when using high-gain effects.
1. Effects in each mode
In Program mode, you can process sounds using Insert
Effect. This is something like processing an oscillator (OSC) 2. Dynamic modulation (Dmod)
output sound using a filter and an amplifier. Then, you can Dynamic modulation (Dmod) is a function that lets you use
apply a modulation and reverb effect or other Master Effect) the controllers of this instrument or MIDI messages to con-
to the processed sound to add ambience and space. Finally, trol specific effect parameters*1, allowing realtime control
before the sound is output from the OUTPUT (MAIN) L/ while you play.
MONO, and R connectors, you can fine-tune the tonal qual- The BPM/MIDI Sync function*2 is provided as another way
ity using the stereo, three-band Master EQ. You can adjust to control effect parameters. This allows parameters such as
these settings for each Program individually. the LFO speed of modulation-type effects or the delay time
of delay-type effects to be synchronized to the tempo of the
Send Return
Master Effect 1,2
arpeggiator.
Oscillator Filter Amplifier Insert Effect Master EQ
OUTPUT
L/MONO, R
For details on these two functions, refer to “Dynamic Modu-
lation Source (Dmod)” (☞p.217).
In Combination mode and Sequencer mode, you may pro- *1 These effect parameters are marked with
cess Program sounds for each timbre and track using the (☞p.164–).
Insert Effect, add ambience and space to the entire sound *2 The effect parameters marked with support this
using the Master Effects, and adjust the overall tonal quality
function (☞p.168–).
using the Master EQ.
You can make these settings for each Combination in Com-

Effect
bination mode, and for each Song in Sequencer mode indi-
vidually. 3. Effect I/ O
Send
Master Effect 1,2
Return To achieve the best tonal quality, signals sent to the Insert
Timbre 1 / Track 1 Insert Effect Master EQ
OUTPUT Effect and the Master Effects should be output at the maxi-
L/MONO, R
mum level without clipping. Also, use the “W/D” (wet/
Timbre 2 / Track 2
dry) parameter for the Insert Effect and the “Output Level”
Timbre 8 / Track 16 or “Rtn (Return1, 2)” parameter for the Master Effects to
adjust the effect output level.
If the separately sold EXB-SMPL option is installed, an
insert effect can be applied in Sampling mode to the exter- This instrument does not have an input level meter that
nal source that is input for sampling via AUDIO INPUT 1 monitors the input level of the effect. If the input level is
and 2. To do so, use the SMPL 1.1: Recording, Input/Pref insufficient, the S/N (signal to noise) ratio will
(SMPL1.1–3) parameters. The settings here are effective only decrease. If the input level is excessive, distortion may
in Sampling mode. occur.

Sample
AUDIO INPUT 1, 2 Insert Effect
Recording

155
The following table shows the parameters related to the
level settings: Insert Effect (IFX)
Program mode
Input OSC1/2 High, Low Level (PROG 2.1)
Filter1/2 Trim (PROG 4.1, 4.2)
1. In/ Out
Amp1/2 Level (PROG 5.1, 5.2) Insert Effect (IFX) have a stereo input and a stereo output.
If you select Dry (no effect) for the “W/D” parameter, the
OSC1/2 Send1/2 (PROG 7.1)
stereo input signal will be output in stereo without being
Effect Trim parameter *1 (PROG 7.1, 7.2)
processed by the effect. If you select Wet (effect applied), the
Output Effect W/D parameter (PROG 7.1, 7.2) processed signal will be output in one of the following ways:
Rtn1/2 (Return1, 2) (PROG 7.2)
Mono In - Mono Out + Effect

Combination mode
Wet Mono In - Stereo Out + Effect
Input Volume (COMBI 1.1, 2.1)
Effect
S1/2 (Send1/2) (COMBI 7.1) Stereo In - Stereo Out Effect

Effect Trim parameter *1 (COMBI 7.1, 7.2)


If you select 00: No Effect, stereo input signals are output in
Output Effect W/D parameter (COMBI 7.1, 7.2)
stereo without being processed.
Rtn1/2 (Return1, 2) (COMBI 7.2) The possible routing of effect inputs and outputs is indi-
cated in the upper left corner of the block diagram.
Sequencer mode These can be switched on/off by the “On/Off” settings in
Input Volume (SEQ 1.1) 7.1: Ed-InsertFX (or Insert FX), Setup pages IFX in each
S1/2 (Send1/2) (SEQ 7.1) mode. When off, the effect will be bypassed. In the same
way as for 00: No Effect, the stereo input sound will be out-
Effect Trim parameter *1 (SEQ 7.1, 7.2)
put in stereo without modification.
Output Effect W/D parameter (SEQ 7.1, 7.2)
Rtn1/2 (Return1. 2) (SEQ 7.2) Separately from this “On/Off” setting, MIDI control
change CC#92 can be received to turn all IFX effect off.
Sampling mode (if the separately sold EXB-SMPL A value of 0 is off, and a value of 1–127 restores the
original setting. You can also use “FX SW” (GLOBAL
option is installed)
1.1–1b) to turn off IFX in the same way. This is con-
Input Rear panel AUDIO INPUT LEVEL trolled on the global MIDI channel “MIDI Channel”
Input1/2 Lvl (Level) (SMPL 1.1) (GLOBAL 2.1–1a).
Effect Trim parameter *1 (SMPL 7.1)
Output Effect W/D parameter (SMPL 7.1)
2. Routing
Global mode *2 (if the separately sold EXB-SMPL
option is installed)
2–1. Program mode
Input Rear panel AUDIO INPUT LEVEL
Use “BUS Select” (PROG 7.1–1a) to set the destination bus of
Input1/2 (Level) (GLOBAL 1.1) the oscillator output.
Input1/2 Send1/2 (GLOBAL 1.1)

*1:Some effects may not have these parameters.


*2:Use this parameter to set the Audio Input Level in all
modes other than Sampling mode.

L/R: The signal is not sent to the Insert Effects. Instead, it is


sent to AUDIO OUTPUT (MAIN) L/MONO and R after the
Master EQ.
IFX: The signal is sent to Insert Effect IFX.
1, 2, 1/2: The signal is sent to AUDIO OUTPUT (INDIVID-
UAL) 1, 2 (☞p.162 “Individual Outputs”). The signal is not
sent to the Insert Effect, Master Effects, and or Master EQ.
Off: The signal is not sent to AUDIO OUTPUT (MAIN L/
MONO, R, (INDIVIDUAL) 1 or 2. (After the Master Effects,
the signal is output to AUDIO OUTPUT (MAIN).) Select this
option if you connect the Insert Effect with the Master
Effects in series, with the send level specified by “MFX1
Send1”and “MFX2 Send2.”

156
Use MFX1 Send “Send1” and “Send2” (PROG 7.1–1a) to The following illustration is an example in Combination
specify the send level for the Master Effects. This setting is mode. “BUS Select” settings have been made to send the
effective if “BUS Select” (PROG 7.1–1a) is set to L/R or Off. output of timbre 1 to IFX and the other timbres to L/R. The
If “BUS Select” is set to IFX, use “S1 (Send1(MFX1))” and output passes through the master EQ, and is sent to AUDIO
“S2 (Send2(MFX2))”(PROG 7.1–2) for the post-IFX signal OUTPUT (MAIN) L/MONO and R. It is not sent to the
(☞“3. Mixer”). insert effect.
Send Level 1 can be controlled by MIDI Control Change
CC#93, and Send Level 2 can be controlled by MIDI
Control Change CC#91. At this time, the actual send
level is determined by multiplying the Send Level 1 or 2
value of the oscillator with the Send Level 1 or 2 value
received via MIDI.
— Settings for drum programs —
If you have selected “Drums” for “Oscillator Mode” (PROG
2.1–1a) of a Program, the “Use DKit Setting” (PROG 7.1–1b)
box becomes available. If you check this box, “BUS Select”
(GLOBAL 5.1–3a) for each key of the selected DrumKit
— Settings for drum Programs —
becomes effective. For example you can send snare-type
sounds to IFX to apply a gate effect, and send the other If a drum Program (“OSC Mode” Drums) is selected for tim-
sounds to AUDIO OUTPUT (MAIN) L/MONO and R with- bres in Combination mode and for tracks in Sequencer
out applying the insert effect. If you de-select the box, all mode, you can select “DKit” for “BUS Select.” If you select
drum instrument outputs are sent to the bus specified by “DKit,” the “BUS Select” (GLOBAL 5.1–3a) settings for each
“BUS Select” (PROG 7.1–1a). You may apply the Insert Effect key become effective, and each drum instrument sound will
to all drum instruments, regardless of the DrumKit settings. be routed to the corresponding buses (e.g.: the snare sound
is sent to IFX, and other sounds to L/MONO and R). If you
select anything other than DKit, you may apply the Insert
2–2. Combination, Sequencer mode Effect to all drum instruments, regardless of the DrumKit
Use the “BUS Select” settings (COMBI 7.1–1a, SEQ 7.1–1 settings.
(2)a) settings of the Timbre (Combination)/Track If “BUS Select” is set to DKit, you will be able to select “DKit
(sequencer) to specify whether the insert effect will be IFX Patch.” This temporarily patches the “BUS Select” IFX
applied to a timbre/track. settings to send them to L/R.
In the same way as for Program mode, you can select from For example, suppose you have assigned a drum program to
L/R, IFX, 1, 2, 1/2, or Off for each timbre/track. timbre 1 and a conventional program to timbre 2, and set
“S1 (Send1(MFX1)),” “S2 (Send2(MFX2))” become available “BUS Select” to DKit for timbre 1 and to IFX for timbre 2.
if “BUS Select” has been set to L/R or Off. Since timbre 1 is set to DKit, the “BUS Select” (GLOBAL
If IFX is selected, use “S1 (Send1(MFX1))” and “S2 5.1–3a) setting of the drum kit will be used.
(Send2(MFX2))” for the post-IFX signal (☞“3. Mixer”).
Send level 1 is controlled by MIDI control change
CC#93, and send level 2 by MIDI control change CC#91.
At this time, the actual send level will be the send level
1 or 2 of the program oscillator used by the timbre/
track multiplied by the send level 1 or 2 that is set via
MIDI. (“Send Level” ☞p.159)

Effect
If, for example, you have specified IFX for snare-type
sounds, use “DrumKit IFX Patch” when you do not want
the insert effect used by timbre 2 to be used for the drum
program. Select the Utility “DKit IFX Patch,” and tempo-
rarily send the drum kit IFX to L/R. Press the [F8] (“OK”)
key to execute, and the snare sounds will be sent to L/R.
When you want to return to the original sounds, select
IFX→IFX.
DrumKit IFX Patch dialog box

After settings are made

157
2–3. Sampling mode (if the separately sold EXB- 3. Mixer
SMPL option is installed)
For each mode, use 7.1: Ed-InsertFX (or Insert FX) Setup
You can sample sound while applying the Insert Effects to page parameters “Pan (CC#8),” “BUS Select,”“S1
the signal input from AUDIO INPUTs 1 and 2. (Send1(MFX1)),” and “S2 (Send2(MFX2))” to specify the
Use “BUS (IFX) Select” (SMPL 1.1–3a) to set Inputs 1/2, and pan, bus select, and the send levels to master effects MFX1
the buses by selecting from L/R, IFX, and Off. You cannot and MFX2 for the signals that have passed through the
select 1, 2, or 1/2 (output to OUTPUTs 1, 2). insert effect.
In the following example, input signals at Inputs 1 and 2 are In Sampling mode (if the separately sold EXB-SMPL
routed to IFX. The Insert effect parameters are set in “SMPL option is installed), you cannot use the Master Effects or
7.1: Insert Effect” and the Insert effect is applied to the input route signals to INDIVIDUAL 1and 2. You can set only
signals for sampling. the pan setting for the post-IFX signals.

2–4. Audio Input (if the separately sold EXB-SMPL 3–1. Pan (CC#8)
option is installed) Specifies the pan after passing through the insert effect.
In Program, Combination and Sequencer modes, you can If the insert effect is a Stereo In–Stereo Out type (☞”In/
apply the Insert Effect, Master Effects and Master EQ to the Out”), setting this parameter to C064 will allow the “Pan”
signals input from AUDIO INPUTs 1 and 2. These signals settings of the oscillator (PROG 5.1–1, PROG 5.2–1), timbre
are routed to the TRITON Le’s effect, according to the GLO- (COMBI 1.1–3, 2.1–2), track (SEQ 1.1–4/5) or audio input (if
BAL 1.1: System, Audio In page setting. the separately sold EXB-SMPL option is installed, SMPL 1.1–
3, GLOBAL 1.1–4) to be used.
If the insert effect is a Mono In-Stereo Out or Mono In-
Mono Out type (☞“In/Out”), the “Pan” of the oscillator,
timbre, track, or audio input (if the separately sold EXB-
SMPL option is installed) will be ignored, and the sound
will always be panned to the center. In this case, the “Pan
Use “BUS (IFX/Indiv.) Select” (GLOBAL 1.1–4a/b) to set (CC#8)” (7.1–1) that follows the insert effect will determine
Inputs 1/2 buses by selecting from L/R, IFX, 1, 2, 1/2, and the final panning. L001 is far left and R127 is far right.
Off.
“Send1” and “Send2” become effective only when “BUS Insert Effect = Stereo In - Stereo Out
(IFX/Indiv.) Select” (GLOBAL 1.1–4a/b) is set to L/R or Off.
If IFX is selected, use “S1 (Send1(MFX1))” and “S2 OSC1 OSC2
OSC1: Amp1 Pan=L001 OSC1: Amp1 Pan=L032

(Send2(MFX2))” for the post-IFX signal (☞“3. Mixer”). Left Center Right
OSC2: Amp2 Pan=R127
Left Center Right
OSC2: Amp2 Pan=R096

This setting is ignored in Sampling mode. Refer to “2–3. Post IFX Pan(CC#8) Post IFX Pan(CC#8)

C064 C064
Sampling Mode” for information on the Sampling
L032 L032
mode settings.
L000 L000

Use “7.1: Ed–InsertFX ( or Insert FX)” in Program, Combina- R096 R096

tion, or Sequencer mode to set up the Insert Effect. You can R127 R127

apply 2-in/4-out effects to the incoming signal from Inputs 1 Left Center Right Left Center Right

and 2. You may also combine these signals with the internal
sound.
Insert Effect = Mono In - Stereo Out
Mono In - Mono Out

OSC1 OSC2
OSC1: Amp1 Pan=L001
OSC2: Amp2 Pan=R127
Left Center Right

Post IFX Pan(CC#8)

C064

L032

L000

R096

R127

Left Center Right

You can control these parameters via MIDI Control


Change CC#8.

158
3–2. BUS Select 4–3. Sequencer mode
This parameter enables you to specify the destination bus Use Setup page “Control Channel” to set up the control
for the post-IFX signals. channel for IFX. Select an appropriate option from Ch01–16
“L/R” is a common setting to send signals to the Master EQ and All Rt..
before they are routed to the OUTPUT L/R outputs. Ch01–16: Select one of these settings when you want to use a
Select 1, 2 or 1/2 to route the signals to AUDIO OUTPUT single channel for control. An asterisk “*” will be displayed
(INDIVIDUAL) 1 or 2 (☞p.162 “Individual Outputs”). Select at the right of the channel number of timbres routed to the
“Off” so that no signals will be output to L/MONO, R, 1 or insert effect. This option is suitable if multiple tracks on dif-
2. In this case, the signals are routed from the Master Effects ferent MIDI channels are sent to the Insert Effects and you
to AUDIO OUTPUT (MAIN). This setting is used when you wish to control the parameters using one of the tracks.
are connecting the Insert Effect with the Master Effects in All Rt.: Selects this option to control the parameters on the
series using “S1 (Send1(MFX1))” and S2 (Send2(MFX2)).” channel numbers (Ch01–16 that have a “*” mark) for the
tracks that are routed to the corresponding Insert Effect.
3–3. Send level “All Rt.” is a typical option. If you wish to control the
parameters on a channel, select one from Ch01–16.
These parameters enable you to set the send level of the sig-
nals routed to Master Effects MFX1 and MFX2. These set-
tings are effective only when “BUS Select” is set to L/R or
Off.
If you are not using insert effect, set the PROG 7.1–1 MFX Master Effects (MFX1, 2)
Send “Send 1” and “Send 2” parameters, the COMBI 7.1–1
“S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” parameters,
or the Sequencer mode SEQ 7.1–1/2, “S1 (Send1(MFX1))”
and “S2 (Send2(MFX2))” parameter to set the send levels to 1. In/ Out
master effects MFX1 and MFX2.
(If the separately sold EXB-SMPL option is installed, the The I/Os of Master Effects MFX1 and MFX2 are mono-in/
send levels of the audio input in Program, Combination, and stereo-out. “Send Level 1” and “Send Level 2” determine
Sequencer modes are set by GLOBAL 1.1–4a/b.) the send level to the Master Effects (☞“Routing” and
“Mixer”). Stereo signals will be combined to a mono signal
Send Level 1 can be controlled by MIDI Control Change automatically and sent to the effects.
CC#93 and Send Level 2 can be controlled by MIDI The Master Effects do not output any Dry signals (signals
Control Change CC#91. that are not processed by the effects). Therefore, they output
only Wet (signals that are processed by the effects) signals
(set via the “W/D” of the “MFX1” and “MFX2” page). The
output signals from the Master Effects are routed to the L/R
4. Controlling the Insert Effects via bus with the output level specified by “Rtn (Return1,
MIDI Return2).” These output signals are mixed with the output
signals from the bus specified by BUS page L/R, or with the
Using the Dynamic Modulation (Dmod) function enables
output signals from the bus specified by “BUS Select” (Setup
you to control all effect parameters in real-time during per-
page in each mode) L/R, then routed to the Master EQ.
formance from the controllers of this instrument or a con-
nected MIDI sequencer. You can also control the “Pan
(CC#8),” “S1 (Send 1(MFX1)),” and “S2 (Send 2(MFX2))” of
the post-IFX signals in the same way.

4–1. Program mode and Sampling mode (if the sep-


Selecting “00: No Effect” will mute the output. The pro-
arately sold EXB-SMPL option is installed)
cessed signal will be output in one of the following ways,

Effect
You can control the parameters on global MIDI channel according to the type of effects 01–89.
(MIDI Channel” (GLOBAL 2.1–1a).
Mono In - Mono Out + Effect

4–2. Combination mode Wet Mono In - Stereo Out + Effect

Use Setup page “Control Channel” to set up the control


Effect
channel for IFX. Select an appropriate option from Ch01–16, Stereo In - Stereo Out +
Effect

Gch, and All Rt.


The possible routing of effect signal inputs and outputs is
Ch01–16: Select one of these settings when you want to use a
indicated in the upper left corner of the block diagram.
single channel for control. An asterisk “*” will be displayed
at the right of the channel number of timbres routed to the MFX1 and 2 are switched on/off by the “On/Off” parameter
insert effect. in the 7.2: Ed-MasterFX (or Master FX) Setup page “On/Off”
Gch: Selects this option if you wish to control the parame- of each mode. When off is selected, the output will be
ters on global MIDI channel “MIDI Channel” (GLOBAL 2.1– muted in the same way as for 00: No Effect.
1a). This is a common setting.
Separately from this “On/Off” setting, MIDI control
All Rt.: Select this option to control the parameters on the
changes CC#94 (MFX1) and CC#95 (MFX2) can be
channels (Ch01–16 that have a “*” mark) for the timbres that
received to turn each master effect off. A value of 0 is
are routed to the corresponding Insert Effect.
off, and a value of 1–127 restores the original setting.
You can also use “FX SW” (GLOBAL 1.1–1b) to turn off
MFX1 and MFX2 in the same way. This is controlled on
the global MIDI channel “MIDI Channel” (GLOBAL
2.1–1a).

159
2. Routing – Setting for drum program –
If the program “Oscillator Mode” (PROG 2.1–1a) is Drums,
Two master effects (MFX 1 and 2) can be used in any mode the “USE DKit Setting” (PROG 7.1–1b) will be used.
other than Sampling (if the separately sold EXB-SMPL If this is checked, the setting for each key of the selected
option is installed). If you are not using the Insert Effect in drum kit will be used. The drum instrument for a key whose
any mode, the Master Effects send levels are determined by drum kit “BUS (Bus Select)” (GLOBAL 5.1–3a) parameter is
the “Send Level 1/2 (MFX2)” parameters specified indepen- set to L/R or Off will use the “S1 (Send1(MFX1))” and “S2
dently for the oscillators (Program), timbres (Combination), (Send2(MFX2))” (GLOBAL 5.1–3a) settings. If IFX is used,
tracks (Sequencer). For example, you can apply substantial the “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” (PROG
reverberation to a piano sound assigned to the timbre and 7.1–2a) after passing through IFX will be used.
tracks, a small amount of reverberation to the strings sound, If this is not checked, the “Send 1” and “Send 2” (PROG 7.1–
and no reverberation to the bass sound. If you are using the 1a, MFX Send) settings or the “S1 (Send1(MFX1))” and “S2
Insert Effect, set the “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” (PROG 7.1–2a) settings after passing
(Send2(MFX2))” parameters for the post-IFX signals. through IFX will be used for all drum instruments. (This is
the same as when “Oscillator Mode” is Single or Double.)
2–1. Program mode
The PROG 7.1–1a MFX Send parameters “Send 1” and 2–2. Combination, Sequencer mode
“Send 2” or the PROG 7.1–2a “S1 (Send1(MFX1))” and “S2 Use “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” (7.1–
(Send2(MFX2))” parameters that follow IFX determine the 1(2)a) for timbres (Combination) and tracks (Sequencer) to
send levels to the master effects. set the Send level for each timbre and track. As with Pro-
The PROG 7.1–1a MFX Send “Send 1” and “Send 2” settings gram mode, if “BUS Select” is set to L/R or Off, “S1
are used when “BUS Select” is set to L/R or Off. Each can be (Send1(MFX1))” and “S2 (Send2(MFX2))” become effective.
set for oscillator 1 and 2. In this case, the actual send level will be the setting of the
The PROG 7.1–2a “S1 (Send1(MFX1))” and “S2 program (PROG 7.1–1a) used by the timbre/track multi-
(Send2(MFX2))” settings that follow IFX are used when plied by the send level you specify here.
“BUS Select” is set to IFX. If the insert effect are chained
(connected in series), the “S1 (Send1(MFX1))” and “S2 – Send level –
(Send2(MFX2))” that follows the last-connected IFX will be For example, if a Program’s “OSC1 Send1” is set to 127,
used. “Send2” set to 064, “OSC2 Send1” set to 064, “Send2” set to
If “BUS Select” is 1, 2 or 1/2, the oscillator will be directly 127, a Combination’s “Send1” set to 064, and “Send2” set to
output to AUDIO OUTPUT (INDIVIDUAL)1, 2 (☞p.162 127, the actual send levels of the combination are calculated
“Individual Outputs”). Send levels 1/2 will be ignored, and as follows:
the master effects will not be applied. OSC1 Send1=127 (100%)*064(50%)=064(50%)
OSC1 Send2=064 (50%)*127(100%)=064(50%)
OSC2 Send1=064 (50%)*064(50%)=032(25%)
OSC2 Send2=127 (100%)*127(100%)=127(100%)
If IFX is selected for “BUS Select”, use the “S1
(Send1(MFX1))” and “S2 (Send2(MFX2))” parameters for the
post-IFX signals.
If 1, 2 or 1/2 is selected instead, these settings are ignored
and the Master Effect is not applied.
Send Level 1 responds to MIDI Control Change CC#93,
and Send2 Level responds to MIDI Control Change
CC#91. If “Send1(MFX1)” and “Send2(MFX2)” for each
timbre/track are effective, the parameter will be con-
trolled on the MIDI channels set for the corresponding
timbres and tracks. If the “Send1(MFX1)” and
“Send2(MFX2)” parameters for the post-IFX signals are
effective, they can be controlled on the MIDI channels
Send Level 1 can be controlled by MIDI Control Change assigned to IFX.
CC#93 and Send Level 2 can be controlled by MIDI The following screens are examples in Combination mode.
Control Change CC#91 on global MIDI channel “MIDI The “BUS Select” setting in screen shot (1) sends timbre 1 to
Channel” (GLOBAL 2.1–1a). At this time, the actual IFX, and the remaining timbres to L/R. In this case, the send
send level uses the value of the Send 1 and 2 settings for levels from timbre 1 to the master effects are set by “S1
Oscillators 1 and 2, multiplied by the Send Level 1 and (Send1(MFX1))” and “S2 (Send2(MFX2))” after the signal
2 values received via MIDI. has passed through IFX: 01:St. Amp Simulation as shown in
screen shot (2). (In this example, these are set to 032 and 127
respectively.) Other timbres will use the “S1 (Send1(MFX1))”
and “S2 (Send2(MFX2))” settings shown in screen shot (1).
(At this time, the send level will be the send level of the pro-
gram oscillator multiplied by this send level.)

160
3. Mixer
The send levels determine the input levels of oscillators
(1) (Program), timbres (Combination), tracks (Sequencer) that
are routed to the Master Effects. The 7.2: Ed–MasterFX (or
Master FX) in all modes enable you to set the output levels
and Master EQ gain values, and connect the Master Effects
in series (chain).

(2) 3–1. Rtn (Return1, Return2)


These specify the output levels from MFX1 and MFX2
respectively. The left value of the “W/D” specified for the
effect selected in MFX 1 or 2 will be the output level of the
master effect; e.g., 25% for 25:75, 100% for Wet, and 0% for
– Setting for drum program –
Dry. This level multiplied by the “Rtn (Return 1, Return 2)”
If a drum program has been selected for a timbre in Combi- value will be sent to the L/R bus, and will be mixed with the
nation mode or for a track in Sequencer mode, you will be 7.1–1a “BUS Select” L/R or 7.2–1a“BUS Select” L/R output
able to select DKit for the “BUS Select” parameter. If this is sound.
selected, the “BUS (BUS Select)” (GLOBAL 5.1–3a) settings For example, with MFX1 “W/D” set to 50:50 (50%) and “Rtn
for each individual key will be used, and will be sent to the (Return1)” set to 64 (50%), the resultant effect level will be
bus for each drum instrument. In this case, the send level 25%. The effect level is maximum (100%) when “W/D” is set
will be determined by multiplying the value of the “S1 to “Wet” and “Rtn (Return1)” is set to 127.
(Send1(MFX1))” and “S2 (Send2(MFX2))” settings of each
key in the drum kit by the value of the “S1 (Send1(MFX1))”
and “S2 (Send2(MFX2))” settings that you make here. (For
3–2. MFX Chain
the drum instruments of keys whose drum kit “BUS (BUS If you check the “MFX Chain” check box, the signal will be
Select)” parameter is set to IFX, this is determined by “S1 routed between MFX1 and MFX2.
(Send1(MFX1))” and “S2 (Send2(MFX2))” after the signal The following figure indicates that the output from
has passed through IFX.) If L/R or Off is selected, the send “MFX1:16: Stereo Chorus” is added to “MFX2: 52: Reverb
levels specified by PROG 7.1–1a “OSC1 Send 1” and “Send Hall” input.
2” will be multiplied by the “S1 (Send1(MFX1))” and “S2
(Send2(MFX2))” settings that you make here. (This is the
same as when “Oscillator Mode” is Single or Double.) If
IFX are selected, the “S1 (Send1(MFX1))” and “S2
(Send2(MFX2))” after the specified insert effect will be used.
If 1, 2 or 1/2 are selected, “S1 (Send1(MFX1))” and “S2
(Send2(MFX2))” will be ignored.
3–3. Chain Direction
2–3. Sampling Mode (if the separately sold EXB-
Specify the direction of the connection when the signal is
SMPL option is installed) routed between MFX1 and MFX2.
You cannot use the Master Effects and Master EQ in Sam-
pling mode. 3–4. Chain Signal
This parameter enables you to select signals routed between
2–4. Audio Input (if the separately sold EXB-SMPL MFX1 and 2. If the chain direction (order) is from MFX1 to
option is installed) MFX2, selecting LR Mix will cause the stereo L/R outputs
In Program, Combination, and Sequencer modes, you can from MFX1 to be mixed and input to MFX2. This setting is

Effect
apply the Insert Effect, Master Effects and Master EQ to the useful when you wish to serially connect delays that are
signals input from AUDIO INPUTs 1 and 2. These signals panned to L and R (e.g., “43: LCR Delay”). Selecting L Only
are routed to the TRITON Le’s effects, according to the GLO- or R Only will cause only one channel of stereo outputs
BAL 1.1: System, Audio In page setting. from MFX1 to be input to MFX2. This setting is suitable for a
The send levels from input 1 and 2 to the master effects are chain connection of a reverb effect and a modulation effect
specified by the “Send 1” and “Send 2” (GLOBAL 1.1–4a/b) such as 16: St. Chorus.
values. These settings become effective only when “BUS
Select” is set to L/R or Off. If IFX is selected, use the “S1 3–5. Chain Level
(Send1(MFX1))” and “S2 (Send2(MFX2))” parameters (☞“3.
This parameter determines the level of signals routed from
Mixer”). If 1, 2, or 1/2 is selected, the Send Level 1 and Send
one MFX to the other MFX in a chain connection.
2 settings are ignored.
These settings are ignored in Sampling mode. 3–6. Master EQ Gain[dB]
Use 7.2: Ed–MasterFX (or Master FX)in Program, Combina- These parameters are used to set the gain of the Low, Mid,
tion, and Sequencer modes to set the Master Effects and and High stereo three-band EQ that is located right before
Master EQ. AUDIO OUTPUT (MAIN) L/MONO and R. Low and High
EQs are of the shelving type, and Mid EQ is a band type
equalizer. These settings are linked with the Low, Mid, and
High “Gain” parameters of the MEQ page. Use this MEQ
page to set the center frequency, band width (for Mid), and
dynamic modulation of the EQ bands.

161
4. Controlling the Master Effects via
Master EQ
MIDI
You can use the Dynamic Modulation (Dmod) function to The Master EQ (stereo, three-band EQ) is located right
control all Master Effects parameters in real-time from this before AUDIO OUTPUT (MAIN) L/MONO, R. Low and
instrument’s controllers or from an external MIDI sequencer. High EQs are of the shelving type, and Mid EQ is a peaking
type equalizer. You can control the Low Gain and High Gain
In Program mode, the parameters are controlled on global parameters using the Dynamic Modulation function.
MIDI channel “MIDI Channel” (GLOBAL 2.1–1a). The Master EQ (stereo, three-band EQ) is applied to the sig-
In Combination mode, and Sequencer mode, you can set nal input from the L/R bus. For more information on the
the control channels for MFX1 and MFX2 using the Setup parameters, p.209.
page “Control Channel” parameters of the “MFX1–2” tabs.
Select the desired option from Ch01–16, and Gch.
Ch01–16: Select this option if you wish to control the param-
eters for each Master Effect on different channels.
Gch: Select this option if you wish to control the parameters Individual Outputs
on global MIDI channel “MIDI Channel” (GLOBAL 2.1–1a).
This is the normal setting. The TRITON Le is equipped with two individual AUDIO
OUTPUTs (INDIVIDUALs). You can route the oscillator
(Program), timbre (Combination), and track (Sequencer)
output or the post-IFX signals to these two individual out-
puts.
Use “BUS Select” (7.1–1a) in Program, Combination, or
Sequencer mode to route the oscillators (Program), timbres
(Combination), or tracks (Sequencer) to AUDIO OUTPUTs
(INDIVIDUAL).
If you are using the Insert Effects, use “BUS Select” of the
7.1: Ed–InsertFX (or Insert FX), and Setup page to route the
post-IFX signals.
1, 2: Monaural signals are routed to AUDIO OUTPUTs
(INDIVIDUAL).
1/2: Stereo signals are routed to AUDIO OUTPUTs (INDI-
VIDUAL).

Program mode

Effect / Mixer Block Diagram in Program Mode

PROG 7.1: Insert Effect PROG 7.2: Master Effect

IFX / Indiv.Out
Pan BUS Select Send1 Send2 L/R BUS

Oscillator 1
BUS Select
= IFX
Oscillator 2

AUDIO INPUT 1 BUS Select


= L/R
AUDIO INPUT 2 BUS Select
= IFX
GLOBAL 1.1: System Audio In*1
(Send1,2 on Input1, 2)
GLOBAL 1.1: System Audio In*1 Post IFX Post IFX AUDIO OUTPUT
(Input1,2) Insert Effect Pan(CC#8) BUS Select
stereo Master EQ (MAIN) L/MONO, R
Send1 / 2
Select from: stereo BUS Select
L/R IFX BUS IFX = L/R
IFX
1 Select from:
2 L/R
1/2 1
Off 2
1/2
Off

Chain Master Effects Return1 / 2

mono MFX1
stereo

*1: Sold separately EXB-SMPL option is installed


mono MFX2
mono x 2 stereo
mono x2
AUDIO OUTPUT
(INDIVIDUAL)1/2

162
Combination, Sequencer mode

Effect / Mixer Block Diagram in Combination / Sequencer Mode

COMBI/SEQ 7.1: Insert Effect COMBI/SEQ 7.2: Master Effect

IFX / Indiv.Out
Pan BUS Select Send1 Send2 L/R BUS

Timbre / Track 1 BUS Select


= L/R
Timbre / Track 2 BUS Select
= IFX
Timbre / Track 3 BUS Select
=1
Timbre / Track 4 BUS Select
= Off

Timbre / Track 8 BUS Select


= 1/2
AUDIO OUTPUT
stereo Master EQ (MAIN) L/MONO, R
Track 16 BUS Select
=2

AUDIO INPUT 1 BUS Select


= L/R
AUDIO INPUT 2 BUS Select
= IFX
GLOBAL 1.1: System Audio In*1
(Send1,2 on Input1, 2)
GLOBAL 1.1: System Audio In*1
Post IFX Post IFX
(Input1,2) Insert Effect Pan(CC#8) BUS Select Send1 / 2
stereo BUS Select
Select from: IFX BUS IFX = L/R
(DKIT)
L/R Select from:
IFX L/R
1 1
2 2
1/2 1/2
Off Off

Chain Master Effects Return1 / 2

mono MFX1
stereo

*1: Sold separately EXB-SMPL option is installed mono MFX2


mono x 2 mono x 2 stereo

AUDIO OUTPUT
(INDIVIDUAL)1/2

Sampling mode (if the EXB-SMPL option is installed)

Effect / Mixer Block Diagram in Sampling Mode (If the EXB-SMPL option is installed)

SMPL 1.1: Recording, Input/Pref. SMPL 7.1: Insert Effect

IFX
Pan BUS Select L/R BUS

AUDIO INPUT 1 BUS Select


= L/R
AUDIO INPUT 2 BUS Select
= IFX
Select from:
L/R Post IFX stereo Sample Recording
IFX Insert Effect Pan(CC#8) Level Meter
Off
stereo
IFX BUS IFX

Effect

163
Level (Output Level) 0...100
Filter/ Dynamic Sets the output level of the compressor ☞,
(Source) Off...Tempo
d
Filter and dynamics control effects Selects the modulation source for the compressor output level
(Amount) –100...+100
Sets the modulation amount of the compressor output level
Pre EQ Trim 0...100
e
00: No Effect Sets the EQ input level
LoEQ (Pre Low EQ Gain) –15.0...+15.0dB
Select this option when you do not wish to use any effects. Sets the gain of Low EQ
The Insert Effect section outputs unprocessed signals and the f
HiEQ (Pre High EQ Gain) –15.0...+15.0dB
Master Effect section mutes the output. Sets the gain of High EQ
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds

01: St.Amp Sim g


(Source)
Selects the modulation source of the effect balance
Off...Tempo

(Stereo Amp Simulation) (Amount) –100...+100


Sets the modulation amount of the effect balance
This effect simulates the frequency response characteristics of
guitar amplifiers. It is also effective for organ and drum a: Envelope
sounds. This parameter selects whether the left and right channels are
linked to control both signals simultaneously, or whether each
Stereo In - Stereo Out
channel is controlled independently.
Left
Wet / Dry
b: Sensitivity, d: Level
Amp Simulation Filter
The “Sensitivity” parameter sets the sensitivity of the compressor.
If this parameter is set to a higher value, lower level sounds will
be boosted. With a higher Sensitivity, the overall volume level is
Amp Simulation Filter higher. To adjust the final volume level, use the “Level” parame-
Right
ter.
Wet / Dry
Compressor - Sensitivity
Level
Wet
Sensitivity=100
Amplifier Type SS, EL84, 6L6

Louder
a Select between three types of guitar amp simula- Dry Sensitivity=40

tors
W/D (Wet/Dry) Dry, 1:99...99:1, Wet Time
Sets the balance between the effect and dry sounds
(Source) Off...Tempo c: Attack
b
Selects the modulation source of the effect balance This parameter controls the attack level.
(Amount) –100...+100 Compressor - Attack
Level
Sets the modulation amount of the effect balance
Attack=80
Attack=20
Wet

02: St.Compressor Dry

Time

(Stereo Compressor)
This effect compresses the input signal to regulate the level
and give a “punchy” effect. It is useful for guitar, piano, and
drum sounds. This is a stereo compressor. You can link left
03: St.Limiter
and right channels, or use each channel separately. (Stereo Limiter)
Stereo In - Stereo Out The Limiter regulates the input signal level. It is similar to the
Left
Wet / Dry Compressor, except that the Limiter compresses only signals
EQ Trim LEQ HEQ
Compressor that exceed the specified level to lower unnecessary peak sig-
Output Level
Envelope - Control
nals. The Limiter applies a peaking-type EQ to the trigger sig-
Envelope Select
Envelope - Control nal (which controls the degree of the Limiter effect), allowing
Compressor
Output Level you to set any band width to be covered. This effect is a stereo
EQ Trim LEQ HEQ limiter. You can link left and right channels, or use each chan-
Right
Wet / Dry nel individually.

Stereo In - Stereo Out


Left
Wet / Dry
Envelope (Envelope Select) L/R Mix, L/R Individually Gain Adjust
a Determines whether the left and right channels are linked or used Limiter
separately ☞ Side PEQ
Envelope - Control Trigger Monitor
Sensitivity 1...100 +
Envelope - Control
b
Sets the sensitivity ☞ Envelope Select
Limiter
Attack 1...100 Gain Adjust
c
Sets the attack level ☞ Right
Wet / Dry

164
Envelope (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 –40...0dB
c
Sets the level above which the compressor is applied ☞ Wet
Ratio=Inf : 1
Attack=1
Release=1
Attack 1...100
d
Sets the attack time ☞
Release 1...100
e
Sets the release time ☞ Wet
Ratio=Inf : 1
Attack=100
Side PEQ Insert Off, On Release=100
f
Toggles between on/off of the trigger signal’s EQ ☞ Release

Trigger Monitor Off, On Attack


g Switches between effect output monitor and trigger signal monitor

EQ (Side PEQ Cutoff) 20...12.00kHz f: Side PEQ Insert, h: EQ, h: Q, h: G
Sets the EQ center frequency for the trigger signal ☞
These parameters are used to set the EQ applied to the trigger sig-
Q 0.5...10.0 nal.
h
Sets the EQ bandwidth for the trigger signal
The Limiter determines whether the compression is applied or
G (Gain) –18.0...+18.0dB not, based on the post-EQ trigger signal. Setting the equalizer
Sets the EQ gain for the trigger signal
allows you to set the Limiter to respond to any frequency band.
G.Adj (Gain Adjust) –Inf, –38...+24dB
Sets the output gain ☞, g: Trigger Monitor
(Source) Off...Tempo Setting this parameter On will cause the trigger signal to be out-
i
Selects the modulation source for the output gain put, instead of the effect sound. Use this parameter to check the
(Amount) –63...+63 trigger signal with EQ applied.
Sets the modulation amount of the output gain Usually, set this to Off.
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds

j
(Source)
Selects the modulation source of the effect balance
Off...Tempo
04: Mltband Limit
(Amount) –100...+100 (Multiband Limiter)
Sets the modulation amount of the effect balance
This effect applies the Limiter to the low range, mid range,
a: Envelope and high range of the input signal. You can control dynamics
When L/R Mix is selected for this parameter, the left and right for each range to adjust the sound pressure of the low range,
channels are linked to control the Limiter using the mixed signal. mid range, and high range in a different way from the EQ.
If L Only (or R Only) is selected, the left and right channels are
linked, and the Limiter is controlled via only the left (or right) Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Left
channel. Band-Pass Filters
Wet / Dry

With L/R individually, the left and right channels control the Lim- Low
Limiter
iter individually. Envelope - Control
Mid Low Offset
+ Limiter
b: Ratio, c: Threshold, i: G.Adj Envelope - Control Gain Adjust
High Mid Offset
This parameter sets the signal compression “Ratio”. Compression Limiter
Envelope - Control
is applied only when the signal level exceeds the “Threshold” High Offset
Right
value. Wet / Dry

Adjust the output level using the “G.Adj” parameter, since com-
pression causes the entire level to be reduced.
Ratio 1.0:1...50.0:1, Inf:1

Effect
Limiter - Threshold / Ratio a
Sets the signal compression ratio ☞ Fx:03
Ratio=1.0 : 1
Output Level Threshold –40...0dB
b
Ratio=2.0 : 1 Sets the level above which the compressor is applied ☞ Fx:03
Threshold Ratio=4.0 : 1
Attack 1...100
Ration=Inf : 1 c
Sets the attack time ☞ Fx:03
Louder

Release 1...100
d
Sets the release time ☞ Fx:03
Louder
Input Level Low Offset –40...0dB
e
Gain of the low-range trigger signal ☞
Level Dry Ratio=1.0 : 1
Ratio=2.0 : 1 Mid Offset –40...0dB
Ratio=4.0 : 1 f
Gain of the mid-range trigger signal ☞
Threshold
High Offset –40...0dB
g
Ratio=Inf : 1 Gain of the high-range trigger signal ☞
Time G.Adj (Gain Adjust) –Inf, –38...+24dB
Sets the output gain ☞ Fx:03,
d: Attack, e: Release (Source) Off...Tempo
h
These parameters set the attack time and release time. A higher Selects the modulation source for the output gain
attack time will cause the compression to be applied more slowly. (Amount) –63...+63
Sets the modulation amount of the output gain

165
c: Threshold, d: Attack, e: Release
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds This parameter sets the signal level below which Gate is applied
(Source) Off...Tempo
when “Envelope” is set to L/R Mix, L Only, or R Only.
i The Attack and Release parameters set the Gate attack time and
Selects the modulation source of the effect balance
release time.
(Amount) –100...+100
Sets the modulation amount of the effect balance Gate - Threshold

Output Level

e: Low Offset, f: Mid Offset, g: High Offset


Threshold
These parameters set the gain of the trigger signal.
For example, if you do not want to apply compression to the high

Louder
range, reduce the “High Offset” value down below the “Thresh-
old” level. In this way, the high range limiter will not respond, Louder
and compression will not be applied. Input Level

Gate - Attack / Release

Threshold

05: St.Gate Dry

(Stereo Gate)
This effect mutes the input signal if its level is lower than the Wet Attack=1
Release=1
specified level. It also reverses the on and off operation of the
gate, and uses Note On and Off messages to turn the gate on
and off. Wet Attack=100
Release=100

Stereo In - Stereo Out Attack Release


Left
Wet / Dry

Delay Gate
g: Delay
Envelope - Control
+ This parameter sets the delay time of the Gate input. If the sound
Envelope - Control
has a very fast attack, increase the delay time so that the signal
Delay Gate
Envelope Select will be input after the Gate is opened. This will preserve the attack
Right
Wet / Dry
part of the sound.
Gate+Dmpr

Envelope (Envelope Select) Dmod, L/R Mix, L Only, R Only 06: OD/ HiGain Wah
a Selects from Control via the modulation source, mixing the left and
right signals, Only left, and Only right ☞, (Overdrive/ Hi.Gain Wah)
Env. Dmod Src (Envelope Dmod Source) Off...G2+Dmp
b Selects the modulation source that controls the gate when Envelope
This distortion effect utilizes an Overdrive mode and a Hi-
= Dmod Gain mode. Controlling the wah effect, the 3-band EQ, and
Threshold 0...100
the amp simulation will allow you to create versatile distor-
c tion sounds. This effect is suitable for guitar and organ
Sets the level to which the Gate is applied ☞
Attack 1...100 sounds.
d
Sets the attack time ☞ Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Release 1...100 Left
e Wet / Dry
Sets the release time ☞
Mode: Overdrive / Hi-Gain
Polarity +, – Drive
f Pre Low-cut 3 Band PEQ
Switches between non-reversed and reversed Gate on/off ☞ + Wah Driver Amp Simulation
Delay (Delay Time) 0...100ms Output Level
g
Sets the delay time of the gate input ☞ Direct Mix
W/D (Wet/Dly) Dry, 1:99...99:1, Wet Right
Wet / Dry
Sets the balance between the effect and dry sounds
(Source) Off...Tempo D-mod
h
Selects the modulation source of the effect balance
(Amount) –100...+100
Sets the modulation amount of the effect balance Wah Off, On
Switches Wah on/off ☞,
(Source) Off...Tempo
a: Envelope, b: Env. Dmod Src
a Selects the modulation source that switches the Wah on and off
The “Envelope” parameter selects whether the gate on/off is trig-
(Sw) Tggl, Mmnt
gered by the level of the input signal, or controlled directly by the
Selects the switching mode for the modulation source that switches
modulation source. The Src parameter specifies the modulation the Wah on and off ☞
source, selected from Off to G2+Dmod.
Sweep Rng (Wah Sweep Range) –10...+10
With “Envelope” = L/R Mix, the left and right channel signal mix- Sets the range of Wah ☞,
ture will trigger the gate on/off. When L Only or R Only is b
Src (Source) Off...Tempo
selected, the gate is controlled by either of the channel signals. Selects the modulation source that controls the Wah ☞
f: Polarity Mode (Drive Mode) Overdrive, Hi-Gain
This parameter reverses the Gate on/off operation. With a nega- Switches between overdrive and hi-gain distortion
c
tive value, the gate is closed when the input signal level exceeds Drive 1...100
the Threshold. The gate operation controlled by the modulation Sets the degree of distortion ☞
source is also reversed. d
Pre Low-cut 0...10
Sets the low range cut amount of the distortion input ☞

166
Level (Output Level) 0...50 07: St.Para.4EQ
Sets the output level ☞,
(Source) Off...Tempo (Stereo Parametric 4-Band EQ)
e Selects the modulation source for the output
level This is a stereo 4-band parametric equalizer. You can select
peaking type or shelving type for Band 1 and 4. The gain of
(Amount) –50...+50
Sets the modulation amount of the output level Band 2 can be controlled by dynamic modulation.
Lo (Low Cutoff ) 20...1.0kHz Stereo In - Stereo Out
Sets the center frequency for Low EQ (shelving type) Left
f Band1 Band2 Band3 Band4 Wet / Dry
PEQ PEQ PEQ PEQ
G (Gain) –18...+18dB
Sets the gain of Low EQ Trim
LEQ HEQ

M1 (Mid1 Cutoff) 300...10.00kHz


Sets the center frequency for Mid/High EQ 1 (peaking type) LEQ HEQ
Trim
Q 0.5...10.0 PEQ PEQ PEQ PEQ
g
Sets the band width of Mid/High EQ 1 ☞ Right
Wet / Dry
G (Gain) –18...+18dB
Sets the gain of Mid/High EQ 1 D-mod
M2 (Mid2 Cutoff) 500...20.00kHz
Sets the center frequency for Mid/High EQ 2 (peaking type)
Trim 0...100
Q 0.5...10.0 a
h Sets the input level
Sets the band width of Mid/High EQ 2 ☞
B1 Type (Band1 Type) Peaking, Shelving-Low
b
G (Gain) –18...+18dB Selects the type of Band 1 ☞
Sets the gain of Mid/High EQ 2
B4 Type (Band4 Type) Peaking, Shelving-High
c
Direct Mix 0...50 Selects the type of Band 4 ☞
Sets the amount of the dry sound mixed to the distortion
i B2 Dyn.G Src (Band2 Dynamic Gain Source) Off...Tempo
SpSim (Speaker Simulation) Off, On Selects the modulation source of the Band 2 gain ☞
Switches the speaker simulation on/off d
(Amount) –18...+18dB
W/D (Wet/Dly) Dry, 1:99...99:1, Wet Sets the modulation amount of Band 2 gain ☞
Sets the balance between the effect and dry sounds
B1 (Band1 Cutoff) 20...1.00kHz
(Source) Off...Tempo Sets the center frequency of Band 1
j
Selects the modulation source of the effect balance
Q 0.5...10.0
e
(Amount) –100...+100 Sets the bandwidth of Band 1 ☞ Fx:06
Sets the modulation amount of the effect balance
G (Gain) –18.0...+18.0dB
Sets the gain of Band 1
a: Wah
The Wah parameter switches the wah effect on/off. B2 (Band2 Cutoff) 50...10.00kHz
Sets the center frequency of Band 2
a: (Sw) Q 0.5...10.0
f
This parameter sets how the wah effect is switched on and off via Sets the bandwidth of Band 2 ☞ Fx:06
the modulation source. G (Gain) –18.0...+18.0dB
When “Sw” = Mmnt (Moment), the wah effect is usually turned Sets the gain of Band 2 ☞,
off. It is turned on only when you press the pedal or operate the B3 (Band3 Cutoff) 300...10.00kHz
joystick. Sets the center frequency of Band 3
Q 0.5...10.0
When a value for the modulation source is less than 64, g
Sets the bandwidth of Band 3 ☞ Fx:06
“off” speed is selected, and when the value is 64 or higher,
G (Gain) –18.0...+18.0dB
“on” is selected.
Sets the gain of Band 3
When “(Sw)” = Tggl (Toggle), the wah effect is switched between B4 (Band4 Cutoff) 500...20.00kHz
on and off each time you press the pedal or operate the joystick. Sets the center frequency of Band 4
Q 0.5...10.0
The switch will be turned on/off each time the value of the h
Sets the bandwidth of Band 4 ☞ Fx:06

Effect
modulation source exceeds 64.
G (Gain) –18.0...+18.0dB
b: SweepRng, b: Src Sets the gain of Band 4

This parameter sets the sweep range of the wah center frequency. W/D (Wet/Dly) Dry, 1:99...99:1, Wet
A negative value will reverse the direction of sweep. The wah cen- Sets the balance between the effect and dry sounds
ter frequency can be controlled by the modulation source speci- i
(Source) Off...Tempo
fied in the “Src” parameter. Selects the modulation source of the effect balance
(Amount) –100...+100
d: Drive, e: Level Sets the modulation amount of the effect balance
The degree of distortion is determined by the level of input signal
and the setting of “Drive”. Raising the “Drive” setting will cause b: B1 Type, c: B4 Type
the entire volume level to increase. Use the “Level” parameter to Selects a filter type for Band 1 and 4.
adjust the volume level. The “Level” parameter uses the signal
Parametric 4EQ - Band1, Band4 Type
level input to the 3-Band EQ. If clipping occurs at the 3-Band EQ,
adjust the “Level” parameter. +Gain 3dB
Band4 Type=Shelving High
Band4 Type=Peaking
d: Pre Low-cut 0dB
Cutting the signal in the low range before it is input to the Distor- Band1 Type=Shelving Low
tion will create a sharp distortion. –Gain Band1 Type=Peaking
3dB

g: Q, h: Q Band1 Cutoff Band4 Cutoff

These parameters set the bandwidth of each equalizer. The higher


the value, the narrower the band becomes.

167
d: B2 Dyn.G Src, d: (Amount), f: G
You can control the gain of Band 2 using the modulation source.
09: St.Wah/ AutoW
Parametric 4EQ - Band2 Dynamic Gain Control (Stereo Wah/ Auto Wah)
+15dB D -mod
This stereo wah effect allows you to create sounds from vin-
Band2 Cutoff
+6dB +6dB tage wah pedal simulation to auto-wah simulation, and much
0dB 0dB broader range settings.
Band2 Cutoff

–9dB Stereo In - Stereo Out


D-mod
Left
Wet / Dry
Band2 Gain[dB]= +6.0 Band2 Gain[dB]= +6.0
Band2 Dynamic Gain Amt[dB]= +9.0 Band2 Dynamic Gain Amt[dB]= –15.0
Wah
Envelope Sens
Sweep Mode
+ Envelope Shape
Auto
Response D-mod
D -mod
LFO

08: St.Graphic7EQ LFO


Wah

(Stereo Graphic 7-Band EQ) Right


Wet / Dry

This is a stereo 7-band graphic equalizer. The bar graph of the


gain setting for each band gives you a clear, visual idea of fre- FreqBottm (Frequency Bottom) 0...100
quency responses. You can select a center frequency setting Sets the lower limit of the wah center frequency ☞
a
for each band from twelve types, according to the sound. FreqTop (Frequency Top) 0...100
Sets the upper limit of the wah center frequency ☞
Stereo In - Stereo Out
Left Swp Mode (Sweep Mode) Auto, Dmod, LFO
Wet / Dry Selects the control from auto-wah, modulation source, and LFO
b ☞,
Trim Band1 Band2 Band3 Band4 Band5 Band6 Band7
Src (Source) Off...Tempo
Selects the modulation source for the wah when Swp Mode=Dmod
Trim
Response 0...100
c
Band1 Band2 Band3 Band4 Band5 Band6 Band7 Sets the response speed when Swp Mode = Auto or Dmod
Right
Wet / Dry Envelope Sens (Envelope Sensitivity) 0...100
d
Sets the sensitivity of auto-wah ☞
Envelope Shape –100...+100
e
Type 1:Wide 1, 2:Wide 2, 3:Wide 3, 4:Half Wide 1, 5:Half Wide 2,
Sets the sweep curve of auto-wah ☞
6:Half Wide 3, 7:Low, 8:Wide Low, 9:Mid, 10:Wide Mid, 11:High, lfoF (LFO Frequency) 0.02...20.00Hz
a
12:Wide High Sets the LFO speed ☞,
Selects a combination of center frequencies for each band ☞
(Source) Off...Tempo
Trim 0...100 f
b Selects the modulation source of LFO speed
Sets the input level
(Amount) –20.00...+20.00Hz
(Band1) –18.0...+18.0dB Sets the modulation amount of LFO speed
c
Sets the gain of Band 1
BPM/MIDI Sync Off, On
(Band2) –18.0...+18.0dB Switches between using the frequency of the LFO speed and using
d
Sets the gain of Band 2 the tempo and notes ☞,
(Band3) –18.0...+18.0dB BPM MIDI, 40...240
e
Sets the gain of Band 3
g Selects MIDI Clock and assigns tempo ☞
f
(Band4) –18.0...+18.0dB Base (Base Note) ! , "# , " , $#, $, %#, %, &
Sets the gain of Band 4 Selects the type of notes that specify the LFO speed ☞
(Band5) –18.0...+18.0dB Times x1...x16
g
Sets the gain of Band 5 Sets the number of notes that specify the LFO speed ☞
(Band6) –18.0...+18.0dB Resonance 0...100
h
Sets the gain of Band 6 Sets the resonance amount
h
(Band7) –18.0...+18.0dB LPF (Low Pass Filter) Off, On
i
Sets the gain of Band 7 Switches the Wah Low Pass Filter on and off
W/D (Wet/Dly) Dry, 1:99...99:1, Wet W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds Sets the balance between the effect and dry sounds
(Source) Off...Tempo (Source) Off...Tempo
j i
Selects the modulation source of the effect balance Selects the modulation source of the effect balance
(Amount) –100...+100 (Amount) –100...+100
Sets the modulation amount of the effect balance Sets the modulation amount of the effect balance

a: Type
This parameter selects a combination of center frequencies for
each band. Select a combination of center frequencies for each
band. The center frequency of each band is shown at the top of the
LCD screen.

168
a: FreqBottm, a: FreqTop
The sweep width and direction of the wah filter are determined
10: St.Rndm Filter
by the “FreqBottm” and “FreqTop” 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

Higher
Top=75 Wah
Bottom=60
from filter oscillation.

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

Sweep Mode=Auto Filter


Frequency Frequency

Right
Wah Bottom=75 Wah Wah Wet / Dry
Top=75
LFO Phase

Higher

Higher
LFO: Step-Tri/Random
Envelope

Woo Woo
Bottom=25 Top=25
Woo

LFO Wave (LFO Waveform) Step-Tri, Random


a
Envelope Time Envelope Time Selects LFO Waveform ☞
LFO Phase –180...+180deg
b: Swp Mode b
Sets the LFO phase difference between the left and right ☞
This parameter changes the wah control mode. Setting “Swp
Freq (LFO Frequency) 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
(Source) Off...Tempo
used for funk guitar parts and clav sounds. c Selects the modulation source used for both LFO speed and step
When “Swp Mode” is set to Dmod, you can control the filter speed
directly via the modulation source in the same way as a wah (Amount) –20.00...+20.00Hz
pedal. Sets the modulation amount of LFO speed
When “Swp Mode” is set to LFO, the effect uses LFO to sweep in Step (LFO Step Frequency) 0.05...50.00Hz
cycle. Sets the LFO step speed (speed that changes in steps) ☞,
d
d: Envelope Sens (Amount) –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 Manual 0...100
Sets the filter center frequency
input signal is so high that the filter is stopped temporarily. e
Resonance 0...100
e: Envelope Shape Sets the resonance amount
This parameter determines the sweep curve for auto-wah. BPM/MIDI Sync Off, On
Envelope Shape Switches between using the frequency of the LFO speed and using
Level the tempo and notes ☞ Fx:09,
Envelope BPM MIDI, 40...240
f Selects MIDI Clock and assigns tempo ☞ Fx:09, ☞
value = 0...+100 Base (Base Note) !# $%# $# &%# &# '%# '# "
value = 0...–100 Selects the type of notes that specify the LFO speed ☞ Fx:09
Time
Times x1...x16
Sets the number of notes that specify the LFO speed ☞ Fx:09
f: lfoF, g: BPM/MIDI Sync
StepBase (Step Base Note) (# !%# !# $%# $# &%# &# '%# '# "
When “BPM/MIDI Sync”=Off, the LFO speed uses the lfoF Selects the type of notes to specify the LFO step speed ☞,
parameter setting. When “BPM/MIDI Sync”=On, the LFO speed g
Times x1...x32
follows the “BPM”, “Base”, and “Times” settings. Sets the number of notes to specify the LFO step speed ☞
g: BPM, g: Base, g: Times Depth 0...100

Effect
One cycle of LFO sweep is obtained by multiplying the length of a Sets the modulation depth of filter center frequency
note (!…") (selected for “Base”, in relation to the tempo specified (Source) Off...Tempo
in (“BPM”, or the MIDI Clock tempo if “BPM” is set to MIDI) by h Selects the modulation source of filter modula-
tion
the number specified in the Times parameter.
(Amount) –100...+100
Sets the modulation amount of filter modulation
W/D (Wet/Dly) –Wet...–1:99, Dry, 1:99...Wet
Sets the balance between the effect and dry sounds ☞,
(Source) Off...Tempo
i
Selects the modulation source of the effect balance
(Amount) –100...+100
Sets the modulation amount of the effect balance

a: LFO Wave, c: Freq, d: Step


When “LFO Wave” is set to Step-Tri, LFO is a step-shape, triangle
waveform. The “Freq” parameter sets the original triangle wave-
form speed. Changing the “Step” parameter enables you to adjust
the width of the steps.

169
When “LFO Wave” is set to Random, the “Step” parameter uses a Enh Dep (Enhancer Depth) 0...100
random LFO cycle. Sets the determines to what degree the Enhancer effect is applied
Random Filter LFO
LFO Frequency
e (Source) Off...Tempo
Selects the modulation source of the Enhancer width
(Amount) –100...+100
LFO Step Freq
Sets the modulation amount of the Enhancer width
LFO Step Freq
Step-Tri Random Pre EQ Trim 0...100
f
Sets the EQ input level

b: LFO Phase LoEQ (Pre Low EQ Gain) –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. HiEQ (Pre High EQ Gain) –15.0...+15.0dB
Sets the gain of High EQ
LFO Phase
0 +90 +180 [degree] W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds
(Source) Off...Tempo
h
Selects the modulation source of the effect balance

–180 –90 0 [degree]


(Amount) –100...+100
Sets the modulation amount of the effect balance

a: Blend
This parameter sets the depth (intensity) of the Exciter effect. Pos-
itive values give a frequency pattern (to be emphasized) different
f: BPM, g: StepBase, g: Times from negative values.
The width of an LFO step, or a cycle of random LFO, is obtained
b: Point
by multiplying the length of a note (!…") (selected for “Step-
This parameter sets the frequency to be emphasized. Higher val-
Base”, 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: Enh Dly L, d: Enh Dly R
These parameters set the delay time for the Enhancer left and
j: W/D
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.

11: St.Exct/ Enhcr 12: St.Sub OSC


(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 pres-
very useful when simulating a roaring drum sound or
ence.
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
Stereo In - Stereo Out
Depth
Left
EQ Trim Delay Wet / Dry
Exciter
Enhancer Wah
Envelope Sens
Right Sweep Mode
Wet / Dry + Envelope Shape
Auto
Response D-mod
D-mod D-mod LFO
LFO
Wah
Blend (Exciter Blend) –100...+100
Sets the intensity (depth) of the Exciter effect ☞, Right
Wet / Dry

(Source) Off...Tempo
a
Selects the modulation source of the Exciter intensity
OSC Mode Note (Key Follow), Fixed
(Amount) –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 ☞
Point (Emphatic Point) 0...70 Note Interval –48...0
Sets the frequency to be emphasized ☞, b Sets the pitch difference from the note number when OSC
(Source) Off...Tempo Mode=Note (Key Follow) ☞
b
Selects the modulation source of the frequency to be emphasized Fine (Note Fine) –100...+100
c
(Amount) –70...+70 Fine adjustment of the oscillator frequency ☞
Sets the amount of modulation of the frequency to be emphasized Fixed (Fixed Frequency) 10.0...80.0Hz
Enh Dly L (Enhancer Delay L) 0.0...50.0ms Sets the oscillator frequency when OSC Mode=Fixed
c
Sets the delay time for the Enhancer left channel ☞ (Source) Off...Tempo
Enh Dly R (Enhancer Delay R) [msec] 0.0...50.0ms Selects the modulation source for the oscillator frequency when OSC
d d
Sets the delay time for the Enhancer right channel ☞ Mode=Fixed
(Amount) –80...+80Hz
Sets the oscillator frequency modulation amount when OSC
Mode=Fixed

170
Envelope Pre LPF 1...100 BPM/MIDI Sync Off, On
e Sets the upper limit of the frequency range for which very low har- Switches between using the frequency of the LFO speed and using
monics are added ☞ the tempo and notes ☞ Fx:09,
Envelope Sens (Envelope Sensitivity) 0...100 BPM MIDI, 40...240
f
Sets the sensitivity with which very low harmonics are added g Selects MIDI Clock and assigns tempo ☞ Fx:09
g
Envelope Shape –100...+100 Base (Base Note) !" #$" #" %$" %" &$" &" '
Sets the oscillator’s volume envelope curve Selects the type of notes that specify the LFO speed ☞ Fx:09
W/D (Wet/Dly) Dry, 1:99...99:1, Wet Times 1...16
Sets the balance between the effect and dry sounds Sets the number of notes that specify the LFO speed ☞ Fx:09
(Source) Off...Tempo Resonance 0...100
h h
Selects the modulation source of the effect balance Sets the Level of resonance of the voice pattern ☞
(Amount) –100...+100 W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the modulation amount of the effect balance Sets the balance between the effect and dry sounds
(Source) Off...Tempo
a: OSC Mode, b: Note Interval, c: Fine i
Selects the modulation source of the effect balance
The “OSC Mode” parameter selects the oscillator operation mode. (Amount) –100...+100
When Note (Key Follow) is selected, the oscillator’s frequency is 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 d: Top, d: Center, d: Bottom
from the original note number by semitone steps. The “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.
E.g.: When “Top”=A, “Center”=I, and “Bottom”=U:
e: Envelope Pre LPF
If “Sweep Mode” is set to Dmod and “Control Src” is set to JSX,
This parameter sets the upper limit of the frequency range to
moving the joystick from the far right to the far left will make the
which very low harmonics are added. Adjust this parameter if
voice change from “a” to “i” then “u.”
you do not want to add lower harmonics to the higher range.
If Sweep Mode is set to LFO, the sound will change cyclically
from “a” to “i,” “u,” “i,” then “a.”
Talking Modulator Control

13: Talking Mod Voice Bottom


A
Voice Center Voice Top
A
(Talking Modulator) I
U
This effect adds an unusual character, like a human voice, to
E
the input signal. Modulating the tone via dynamic modula-
O
tion, you can create an interesting effect that sounds as if the JS X
guitar or synthesizer is talking. D-mod Rbn#16 – Max Zero
+ Max

JS +Y#1
+ Max
JS –Y#2 Zero
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out etc…
Left
Wet / Dry

e: Formant Shift
This parameter adjusts the frequency level to which the effect is
+ Talking Modulator A-I-U-E-O applied. If you wish to apply the effect to a higher-range sound,
set this parameter to a higher value; to apply the effect to a lower-
range sound, set this to a lower value.
Right
Wet / Dry
Sweep Mode Voice Top: A
h: Resonance
D-mod D-mod
Voice Center: I
Voice Bottom: U This parameter sets the intensity of resonance for the voice pat-
LFO
LFO
tern. A larger value will add more character to the sound.

Sweep Mode Dmod, LFO


a Switches between modulation source control and LFO control

Effect
Voice Control Bottom, 1...49, Center, 51...99, Top
b
Voice pattern control
Control Src (Control Source) Off...Tempo
c
Selects the modulation source that controls the voice pattern
Top (Voice Top) A, I, U, E, O
Selects a vowel sound at the top end of control ☞
Center (Voice Center) A, I, U, E, O
d
Selects a vowel sound in the center of control ☞
Bottom (Voice Bottom) A, I, U, E, O
Selects a vowel sound at the bottom end of control ☞
Formant Shift –100...+100
e
Sets the frequency to which the effect is applied ☞
lfoF (LFO Frequency) 0.02...20.00Hz
Sets the LFO speed ☞ Fx:09,
(Source) Off...Tempo
f
Selects the modulation source of LFO speed
(Amount) –20.00...+20.00Hz
Sets the modulation amount of LFO speed

171
14: St.Decimator 15: St.AnalogRecd
(Stereo Decimator) (Stereo Analog Record)
This effect creates a rough sound like a cheap sampler by low- This effect simulates the noise caused by scratches and dust
ering the sampling frequency and data bit length. You can on analog records. It also reproduces some of the modulation
also simulate noise unique to a sampler (aliasing). caused by a warped turntable.

Stereo In - Stereo Out Stereo In - Stereo Out

Left Left
Wet / Dry Wet / Dry
Pre LPF Resolution High Damp Output Level EQ Trim Pre EQ Analog Record
Decimator Simulation

D-mod Sampling Frequency

LFO
Decimator
Pre LPF Resolution High Damp Output Level EQ Trim Pre EQ
Right Right
Wet / Dry Wet / Dry

Pre LPF Off, On Speed 33 1/3, 45, 78RPM


a
a Selects whether the harmonic noise caused by a decrease in sam- Sets the r.p.m. of a record
pling frequency is generated or not ☞
Flutter 0...100
b
b
High Damp 0...100% Sets the modulation depth ☞
Sets the ratio of cut of the high range
Pre EQ Trim 0...100
c
Fs (Sampling Frequency) 1.00k...48.00kHz Sets the EQ input level
Sets the sampling frequency
EQ (Pre EQ Cutoff) 300...10.00kHz
(Source) Off...Tempo Sets the EQ center frequency
c
Selects the modulation source of the sampling frequency
Q 0.5...10.0
d
(Amount) –48.00k...+48.00kHz Sets the EQ band width
Sets the modulation amount of the sampling frequency
G (Gain) –18.0...+18.0dB
Resolution 4...24 Sets the EQ gain
d
Sets the data bit length ☞
Noise Density 0...100
e
Level (Output Level) 0...100 Sets the noise density
Sets the output level ☞,
Noise Tone 0...100
f
(Source) Off...Tempo Sets the noise tone
e Selects the modulation source for the output
level NoiseLvl (Noise Level) 0...100
Sets the noise level
(Amount) –100...+100
Sets the modulation amount of the output level (Source) Off...Tempo
g
Selects the modulation source for the noise level
lfoF (LFO Frequency) 0.02...20.00Hz
Sets the LFO speed (Amount) –100...+100
Sets the modulation amount of the noise level
(Source) Off...Tempo
f ClickLvl (Click Level) 0...100
Selects the modulation source of LFO speed
Sets the click noise level ☞,
(Amount) –20.00...+20.00Hz
Sets the modulation amount of LFO speed (Source) Off...Tempo
h
Selects the modulation source for the click noise level
Depth 0...100
Sets the depth of the sampling frequency LFO modulation (Amount) –100...+100
Sets the modulation amount of the click noise level
(Source) Off...Tempo
g W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Selects the LFO modulation source of the sampling frequency
Sets the balance between the effect and dry sounds
(Amount) –100...+100
Sets the LFO modulation amount of the sampling frequency (Source) Off...Tempo
i
Selects the modulation source of the effect balance
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds (Amount) –100...+100
Sets the modulation amount of the effect balance
(Source) Off...Tempo
h
Selects the modulation source of the effect balance
b: Flutter
(Amount) –100...+100
This parameter enables you to set the depth of the modulation
Sets the modulation amount of the effect balance
caused by a warped turntable.
a: Pre LPF h: ClickLvl
If a sampler with a very low sampling frequency receives very This parameter enables you to set the level of the click noise that
high-pitched sound that could not be heard during playback, it occurs once every rotation of the turntable. This simulation repro-
could generate pitch noise that is unrelated to the original sound. duces record noise, and the noise generated after the music on a
Set “Pre LPF” to ON to prevent this noise from being generated. vinyl record finishes.
If you set the “Fs” to about 3kHz and set “Pre LPF” to OFF, you
can create a sound like a ring modulator.

d: Resolution, e: Output Level


If you set a smaller value for the “Resolution” parameter, the
sound may be distorted. The volume level may also be changed.
Use “Level” to adjust the level.

172
e: L Dly, e: R Dly
Pitch/ Phase Mod. Setting the left and right delay time individually allows you to
control the stereo image.
Pitch/ phase modulation effects

17: St.HarmnicCho
16: St.Chorus (Stereo Harmonic Chorus)
(Stereo Chorus) This effect applies chorus only to higher frequencies. This can
be used to apply a chorus effect to a bass sound without mak-
This effect adds thickness and warmth to the sound by modu-
ing the sound thinner. You can also use this chorus block with
lating the delay time of the input signal. You can add spread
feedback as a flanger.
to the sound by offsetting the phase of the left and right LFOs
from each other. Stereo In - Stereo Out
Left
Low Level Wet / Dry
Stereo In - Stereo Out
Left
Wet / Dry Chorus/Flanger High Level
LEQ HEQ High Damp
Chorus High/Low Split Point Feedback
EQ Trim High Damp
High Level
Chorus/Flanger

LEQ HEQ
Low Level
Chorus Right
EQ Trim Wet / Dry

Right LFO Phase


Wet / Dry
LFO: Tri / Sine
LFO Phase
LFO: Tri / Sine

LFO Wave (LFO Waveform) Triangle, Sine


a
Selects LFO Waveform
LFO Wave (LFO Waveform) Triangle, Sine
a
Selects LFO Waveform LFO Phase –180...+180deg
b
Sets the LFO phase difference between the left and right ☞ Fx:10
LFO Phase –180...+180deg
b
Sets the LFO phase difference between the left and right ☞ Fx:10 Freq (LFO Frequency) 0.02...20.00Hz
Sets the LFO speed ☞ Fx:09,
Freq (LFO Frequency) 0.02...20.00Hz
Sets the LFO speed ☞ Fx:09, c
(Source) Off...Tempo
Selects the modulation source of LFO speed
(Source) Off...Tempo
c
Selects the modulation source of LFO speed (Amount) –20.00...+20.00Hz
Sets the modulation amount of LFO speed
(Amount) –20.00...+20.00Hz
Sets the modulation amount of LFO speed BPM/MIDI Sync Off, On
Switches between using the frequency of the LFO speed and using
BPM/MIDI Sync Off, On the tempo and notes ☞ Fx:09,
Switches between using the frequency of the LFO speed and using
the tempo and notes ☞ Fx:09, BPM MIDI, 40...240
d Selects MIDI Clock and assigns tempo ☞ Fx:09
BPM MIDI, 40...240
d Selects MIDI Clock and assigns tempo ☞ Fx:09 Base (Base Note) !" #$" #" %$" %" &$" &" '
☞ Fx:09
!" #$" #" %$" %" &$" &" '
Selects the type of notes that specify the LFO speed
Base (Base Note)
Selects the type of notes that specify the LFO speed ☞ Fx:09 Times 1...16
Sets the number of notes that specify the LFO speed ☞ Fx:09
Times 1...16
Sets the number of notes that specify the LFO speed ☞ Fx:09 Dly (Delay Time) 0.0...50.0ms
Sets the delay time from the original sound
L Dly (L Pre Delay) 0.0...50.0ms e
Sets the delay time for the left channel ☞ Hi/Lo Split (High/Low Split Point) 1...100
e Sets the frequency split point between the high and low range ☞
R Dly (R Pre Delay) 0.0...50.0ms
Sets the delay time for the right channel ☞ Depth 0...100
Sets the depth of LFO modulation

Effect
Depth 0...100
Sets the depth of LFO modulation (Source) Off...Tempo
f
Selects the modulation source of the LFO modulation depth
(Source) Off...Tempo
f
Selects the modulation source of the LFO modulation depth (Amount) –100...+100
Sets the modulation amount of the LFO modulation depth
(Amount) –100...+100
Sets the modulation amount of the LFO modulation depth Feedback –100...+100
Sets the feed back amount of the chorus block ☞
Pre EQ Trim 0...100 g
g
Sets the EQ input level HiDamp (High Damp) 0...100%
Sets the high range damping amount of the chorus block
LoEQ (Pre Low EQ Gain) –15.0...+15.0dB
Sets the gain of Low EQ Lo Level (Low Level) 0...100
h Sets the low range output level
HiEQ (Pre High EQ Gain) –15.0...+15.0dB h
Sets the gain of High EQ Hi Level (High Level) 0...100
Sets the high range (chorus) output level
W/D (Wet/Dly) –Wet...–1:99, Dry, 1:99...Wet
Sets the balance between the effect and dry sounds W/D (Wet/Dly) Dry, 1:99...99:1, Wet
☞ Fx:10, Sets the balance between the effect and dry sounds
i (Source) Off...Tempo (Source) Off...Tempo
i
Selects the modulation source of the effect balance Selects the modulation source of the effect balance
(Amount) –100...+100 (Amount) –100...+100
Sets the modulation amount of the effect balance Sets the modulation amount of the effect balance

e: Hi/Lo Split
This parameter sets the frequency that splits the high and low
range. Only the high range will be sent to the chorus block.

173
g: Feedback
Sets the feedback amount of the chorus block. Increasing the feed-
19: Ensemble
back will allow you to use the effect as a flanger. This Ensemble effect has three chorus blocks that use LFO to
create subtle shimmering, and gives three dimensional depth
and spread to the sound, because the signal is output from the
left, right, and center.
18: MltTap ChoDly
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
(Multitap Chorus/ Delay) Left
Wet / Dry

This effect has four chorus blocks with a different LFO phase.
You can create a complex stereo image by setting each block’s + Ensemble
delay time, depth, output level, and pan individually. You can
also fix some of the chorus blocks to combine the chorus and
delay effects.
Right
Wet / Dry
Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out Shimmer
Left
Feedback Wet / Dry LFO

Tap1 Delay
Level Pan
Tap2 Delay
Level
+ Pan
Speed 1...100
Tap3 Delay
Level Pan Sets the LFO speed
Tap4 Delay
Level Pan (Source) Off...Tempo
a
Right
Selects the modulation source of LFO speed
0 [degree] Wet / Dry
180 [degree]
90 [degree] (Amount) –100...+100
270 [degree] Sets the modulation amount of LFO speed
LFO: Triangle
Depth 0...100
Sets the depth of LFO modulation
LFO Freq (LFO Frequency) 0.02...13.00Hz (Source) Off...Tempo
a b
Sets the LFO speed Selects the modulation source of the LFO modulation depth
T1(000) (Tap1 Delay) 0...570ms (Amount) –100...+100
Sets the Tap1 (LFO phase=0 degrees) delay time Sets the modulation amount of the LFO modulation depth
D (Depth) 0...30 Shimmer 0...100
c
Sets the Tap1 chorus depth Sets the amount of shimmering of the LFO waveform ☞
b
L (Level) 0...30 W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the Tap1 output level Sets the balance between the effect and dry sounds
P (Pan) L6...L1, C, R1...R6 (Source) Off...Tempo
d
Sets the Tap1 stereo image Selects the modulation source of the effect balance
T2(180) (Tap2 Delay) 0...570ms (Amount) –100...+100
Sets the Tap2 (LFO phase=180 degrees) delay time Sets the modulation amount of the effect balance
D (Depth) 0...30
Sets the Tap2 chorus depth c: Shimmer
c
L (Level) 0...30 This parameter sets the amount of shimmering of the LFO wave-
Sets the Tap2 output level form. Increasing this value adds more shimmering, making the
P (Pan) L6...L1, C, R1...R6 chorus effect more complex and richer.
Sets the Tap2 stereo image Ensemble LFO
Level
T3(090) (Tap3 Delay) 0…570ms
Sets the Tap3 (LFO phase=90 degrees) delay time Shimmer

D (Depth) 0...30
Sets the Tap3 chorus depth
d
L (Level) 0...30 Time
Sets the Tap3 output level
P (Pan) L6...L1, C, R1...R6
Sets the Tap3 stereo image
T4(270) (Tap4 Delay) 0...570ms
Sets the Tap4 (LFO phase=270 degrees) delay time
D (Depth) 0...30
Sets the Tap4 chorus depth
e
L (Level) 0...30
Sets the Tap4 output level
P (Pan) L6...L1, C, R1...R6
Sets the Tap4 stereo image
T1 Fb (Tap1 Feedback) –100...+100
Sets the Tap1 feedback amount
(Source) Off...Tempo
f Selects the modulation source of Tap1 feedback amount and effect
balance
(Amount) –100...+100
Sets the Tap1 feedback amount and modulation amount
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds
g
(Amount) –100...+100
Sets the modulation amount of the effect balance

174
20: St.Flanger both “Feedback” and “W/D”, and if you set a negative value for
both “Feedback” and “W/D”.
(Stereo Flanger) h: High Damp
This effect gives a significant swell and movement of pitch to This parameter sets the amount of damping of the feedback in the
the sound. It is more effective when applied to a sound with a high range. Increasing the value will cut high-range harmonics.
lot of harmonics. This is a stereo flanger. You can add spread
to the sound by offsetting the phase of the left and right LFOs
from each other.
21: St.Rndm Flang
Stereo In - Stereo Out

Left
(Stereo Random Flanger)
Wet / Dry

Flanger
The stereo effect uses a step-shape waveform and random
LFO for modulation, creating a unique flanging effect.
Feedback

High Damp Stereo In - Stereo Out


Flanger Left
Wet / Dry

Right Flanger
Wet / Dry
LFO Phase
LFO: Tri / Sine LFO Shape Feedback

High Damp
Flanger

LFO Wave (LFO Waveform) Tri, Sine Right


Selects LFO Waveform LFO Phase
Wet / Dry
a
Shape (LFO Shape) –100...+100 LFO: Step-Tri/Random

Determines how much the LFO waveform is changed ☞


LFO Phase –180...+180deg
b
Sets the LFO phase difference between the left and right ☞ Fx:10 LFO Wave (LFO Waveform) Step-Tri, Random
a
Freq (LFO Frequency) 0.02...20.00Hz Selects LFO Waveform ☞ Fx:10
Sets the LFO speed ☞ Fx:09, LFO Phase –180...+180deg
b
(Source) Off...Tempo Sets the LFO phase difference between the left and right ☞ Fx:10
c
Selects the modulation source of LFO speed Freq (LFO Frequency) 0.02...20.00Hz
(Amount) –20.00...+20.00Hz Sets the LFO speed ☞ Fx:10,
Sets the modulation amount of LFO speed (Source) Off...Tempo
BPM/MIDI Sync Off, On c Selects the modulation source used for both LFO speed and step
Switches between using the frequency of the LFO speed and using speed
the tempo and notes ☞ Fx:09, (Amount) –20.00...+20.00Hz
BPM MIDI, 40...240 Sets the modulation amount of LFO speed
d Selects MIDI Clock and assigns tempo ☞ Fx:09 Step (LFO Step Frequency) 0.05...50.00Hz
Base (Base Note) !" #$" #" %$" %" &$" &" ' Sets the LFO step speed (speed that changes in steps)
Selects the type of notes that specify the LFO speed ☞ Fx:09 d ☞ Fx:10,
Times 1...16 (Amount) –50.00...+50.00Hz
Sets the number of notes that specify the LFO speed ☞ Fx:09 Sets the modulation amount of LFO step speed

Delay (Delay Time) 0.0...50.0ms Delay (Delay Time) 0.0...50.0ms


e Sets the delay time from the original sound
Sets the delay time from the original sound e
Depth 0...100 Depth 0...100
f Sets the depth of LFO modulation
Sets the depth of LFO modulation
Feedback –100...+100 BPM/MIDI Sync Off, On
g Switches between using the frequency of the LFO speed and using
Sets the feedback amount ☞
the tempo and notes ☞ Fx:09,
High Damp 0...100%
h BPM MIDI, 40...240
Sets the feedback damping amount in the high range ☞
f Selects MIDI Clock and assigns tempo ☞ Fx:09, 10

Effect
!" #$" #" %$" %" &$" &" '
W/D (Wet/Dly) –Wet...–1:99, Dry, 1:99...Wet
Sets the balance between the effect and dry sounds Base (Base Note)
☞ Fx:10, Selects the type of notes that specify the LFO speed ☞ Fx:09
i (Source) Off...Tempo Times 1...16
Selects the modulation source of the effect balance Sets the number of notes that specify the LFO speed ☞ Fx:09
(Amount) –100...+100 Step Base (Step Base Note) (" !$" !" #$" #" %$" %" &$" &" '
Sets the modulation amount of the effect balance Selects the type of notes to specify the LFO step speed
g ☞ Fx:10,
Times 1...32
a: Shape
Sets the number of notes to specify the LFO step speed ☞ Fx:10
Changing the LFO waveform shape controls the peak sweep of
Feedback –100...+100
flanging effects. Sets the feedback amount ☞ Fx:20
LFO Shape h
HiDamp (High Damp) 0...100%
LFO Shape = 0...+100 LFO Shape = 0...–100
Sets the feedback damping amount in the high range ☞ Fx:20
W/D (Wet/Dly) –Wet...–1:99, Dry, 1:99...Wet
Sets the balance between the effect and dry sounds
LFO Waveform=Sine
☞ Fx:10, 20,
i (Source) Off...Tempo
Selects the modulation source of the effect balance
g: Feedback, i: W/D (Amount) –100...+100
Sets the modulation amount of the effect balance
The peak shape of the positive and negative “Feedback” value is
different. The harmonics will be emphasized when the effect
sound is mixed with the dry sound if you set a positive value for

175
22: St.Env.Flanger 23: St.Phaser
(Stereo Envelope Flanger) (Stereo Phaser)
This Flanger uses an envelope generator for modulation. You This effect creates a swell by shifting the phase. It is very
will obtain the same pattern of flanging each time you play. effective on electric piano sounds. You can add spread to the
You can also control the Flanger directly using the modula- sound by offsetting the phase of the left and right LFOs from
tion source. each other.
Stereo In - Stereo Out Stereo In - Stereo Out
Left Left
Wet / Dry Wet / Dry

Flanger Phaser

Feedback Resonance

High Damp High Damp


Flanger Phaser

Right Right
Wet / Dry Wet / Dry
D-mod
D-mod LFO Phase
EG Attack/Decay Sweep Mode LFO: Tri / Sine LFO Shape
EG

L Dly Bottom (L Delay Bottom) 0.0...50.0ms LFO Wave (LFO Waveform) Tri, Sine
a
Sets the lower limit of the delay time on the left channel ☞ Fx:09 Selects LFO Waveform
a
L Dly Top (L Delay Top) 0.0...50.0ms Shape (LFO Shape) –100...+100
b
Sets the upper limit of the delay time on the left channel ☞ Fx:09 Determines how much the LFO waveform is changed ☞ Fx:20
R Dly Bottom (R Delay Bottom) 0.0...50.0ms LFO Phase –180...+180deg
c b
Sets the lower limit of the delay time on the right channel ☞ Fx:09 Sets the LFO phase difference between the left and right ☞ Fx:10
R Dly Top (R Delay Top) 0.0...50.0ms Freq (LFO Frequency) 0.02...20.00Hz
d
Sets the upper limit of the delay time on the right channel ☞ Fx:09 Sets the LFO speed ☞ Fx:09,
Swp Mode (Sweep Mode) EG, Dmod (Source) Off...Tempo
c
Determines whether the flanger is controlled by the envelope gener- Selects the modulation source of LFO speed
ator or by the modulation source ☞,
(Amount) –20.00...+20.00Hz
e Src (Source) Off...Tempo Sets the modulation amount of LFO speed
Selects the modulation source that triggers the EG (when EG is
selected for Swp Mode), or modulation source that causes the BPM/MIDI Sync Off, On
flanger to sweep (when Dmod is selected for Swp Mode) ☞ Switches between using the frequency of the LFO speed and using
the tempo and notes ☞ Fx:09,
EG Attack 1...100
f BPM MIDI, 40...240
Sets the EG attack speed ☞
d Selects MIDI Clock and assigns tempo ☞ Fx:09
!" #$" #" %$" %" &$" &" '
EG Decay 1...100
g Base (Base Note)
Sets the EG decay speed ☞
Selects the type of notes that specify the LFO speed ☞ Fx:09
Feedback –100...+100
h Times 1...16
Sets the feedback amount ☞ Fx:20
Sets the number of notes that specify the LFO speed ☞ Fx:09
High Damp 0...100%
i Manual 0...100
Sets the feedback damping amount in the high range ☞ Fx:20 e
Sets the frequency to which the effect is applied
W/D (Wet/Dly) –Wet...–1:99, Dry, 1:99...Wet
Sets the balance between the effect and dry sounds Depth 0...100
☞ Fx:10, 20, Sets the depth of LFO modulation

j (Source) Off...Tempo (Source) Off...Tempo


f
Selects the modulation source of the effect balance Selects the modulation source for the LFO modulation depth

(Amount) –100...+100 (Amount) –100...+100


Sets the modulation amount of the effect balance Sets the modulation amount of the LFO modulation depth
Resonance –100...+100
g
e: Swp Mode, e: Src
Sets the resonance amount ☞
This parameter switches the flanger control mode. With “Swp High Damp [%] 0...100%
h
Sets the resonance damping amount in the high range ☞
Mode” = EG, the flanger will sweep using the envelope generator.
This envelope generator is included in the envelope flanger, and W/D (Wet/Dly) –Wet...–1:99, Dry, 1:99...Wet
Sets the balance between the effect and dry sounds
not related to the Pitch EG, Filter EG, or Amp EG.
☞ Fx:10,
The “Src” parameter selects the source that starts the envelope
generator. If you select, for example, Gate, the envelope generator i (Source) Off...Tempo
Selects the modulation source of the effect balance
will start when the note-on message is received.
When “Swp Mode” = Dmod, the modulation source can control (Amount) –100...+100
Sets the modulation amount of the effect balance
the flanger directly. Select the modulation source using the “Src”
parameter.
g: Resonance, i: W/D
The effect is off when a value for the modulation source The peak shape of the positive and negative Feedback value is dif-
specified for the “Src” parameter is smaller than 64, and the ferent. The harmonics will be emphasized when the effect sound
effect is on when the value is 64 or higher. The Envelope is mixed with the dry sound, if you set a positive value for both
Generator is triggered when the value changes from 63 or “Resonance” and “W/D”, and if you set a negative value for both
smaller to 64 or higher. “Resonance” and “W/D”.
f: EG Attack, g: EG Decay h: High Damp
Attack and Decay speed are the only adjustable parameters on This parameter sets the amount of damping of the resonance in
this EG. the high range. Increasing the value will cut high-range harmon-
ics.

176
24: St.Rndm Phasr 25: 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 Wave (LFO Waveform) Step-Tri, Step-Sin, Random


a
Selects LFO Waveform ☞ Fx:10 L Manu Bottom (L Manual Bottom) 0...100
LFO Phase –180...+180deg a Sets the lower limit of the frequency range for the effect on the left
b channel ☞ Fx:09
Sets the LFO phase difference between the left and right ☞ Fx:10
Freq (LFO Frequency) 0.02...20.00Hz L Manu Top (L Manual Top) 0...100
Sets the LFO speed ☞ Fx:10, b Sets the upper limit of the frequency range for the effect on the left
channel ☞ Fx:09
(Source) Off...Tempo
c Selects the modulation source commonly used for LFO speed and R Manu Bottom (R Manual Bottom) 0...100
step speed c Sets the lower limit of the frequency range for the effect on the right
channel ☞ Fx:09
(Amount) –20.00...+20.00Hz
Sets the modulation amount of LFO speed R Manu Top (R Manual Top) 0...100
d Sets the upper limit of the frequency range for the effect on the right
Freq (LFO Step Frequency) 0.05...50.00Hz channel ☞ Fx:09
Sets the LFO step speed ☞ Fx:10,
d Swp Mode (Sweep Mode) EG, Dmod
(Amount) –50.00...+50.00Hz Determines whether the flanger is controlled by the envelope gener-
Sets the modulation amount of LFO step speed ator or by the modulation source ☞ Fx:22,
Manual 0...100 e Src (Source) Off...Tempo
Sets the frequency to which the effect is applied Selects the modulation source that triggers the EG (when EG is
e selected for Swp Mode), or modulation source that causes the
Depth 0...100
flanger to sweep (when Dmod is selected for Swp Mode)
Sets the depth of LFO modulation
EG Attack 1...100
BPM/MIDI Sync Off, On f
Switches between using the frequency of the LFO speed and using
Sets the EG attack speed ☞ Fx:22
the tempo and notes ☞ Fx:09, EG Decay 1...100
g
BPM MIDI, 40...240
Sets the EG decay speed ☞ Fx:22
f Selects MIDI Clock and assigns tempo Fx:09, 10 Resonance –100...+100
h
Base (Base Note) !" #$" #" %$" %" &$" &" ' Sets the resonance amount ☞ Fx:23
Selects the type of notes that specify the LFO speed ☞ Fx:09 High Damp 0...100%
i
Times 1...16
Sets the resonance damping amount in the high range ☞ Fx:23
Sets the number of notes that specify the LFO speed ☞ Fx:09 W/D (Wet/Dly) –Wet...–1:99, Dry, 1:99...Wet
Step Base (Step Base Note (" !$" !" #$" #" %$" %" &$" &" ' Sets the balance between the effect and dry sounds
Selects the type of notes to specify the LFO step speed
☞ Fx:10, 23,
g ☞ Fx:10, j (Source) Off...Tempo
Selects the modulation source of the effect balance
Times 1...32

Effect
Sets the number of notes to specify the LFO step speed ☞ Fx:10 (Amount) –100...+100
Sets the modulation amount of the effect balance
Resonanc (Resonance) –100...+100
Sets the resonance amount ☞ Fx:23
h
HiDamp (High Damp) 0...100%
Sets the resonance damping amount in the high range ☞ Fx:23
W/D (Wet/Dly) –Wet...–1:99, Dry, 1:99...Wet
Sets the balance between the effect and dry sounds
☞ Fx:10, 23,
i (Source) Off...Tempo
Selects the modulation source of the effect balance
(Amount) –100...+100
Sets the modulation amount of the effect balance

177
26: St.BiphaseMod 27: St.Vibrato
(Stereo Biphase Modulation) (Stereo Vibrato)
This stereo chorus effect adds two different LFOs together. This effect causes the pitch of the input signal to shimmer.
You can set the Frequency and Depth parameters for each Using the AutoFade allows you to increase or decrease the
LFO individually. Depending on the setting of these LFOs, shimmering speed.
very complex waveforms will create an analog-type, unstable
Stereo In - Stereo Out
modulated sound. Left
Wet / Dry
Stereo In - Stereo Out
Vibrato
Left
Wet / Dry

Chorus/Flanger
High Damp
Feedback Vibrato

High Damp
Right
Chorus/Flanger Wet / Dry
LFO: Tri / Sine LFO Shape
Right AutoFade Fade-In Delay LFO Frequency
Wet / Dry
180 [degree]
LFO1: Tri / Sine
LFO2: Tri / Sine

LFO Wave (LFO Waveform) Triangle, Sine


Selects LFO Waveform
a
LFO1 Wave (LFO1 Waveform) Triangle, Sine Shape (LFO Shape) –100...+100
a
Selects LFO1 waveform Determines how much the LFO waveform is changed ☞ Fx:20
LFO2 Wave (LFO2 Waveform) Triangle, Sine LFO Freq Mod (LFO Frequency Mod) Dmod, AUTOFADE
b
Selects LFO2 waveform b Switches between Dmod and AUTOFADE for the LFO frequency
modulation ☞
LFO Phase Sw 0, 180degree
c
Switches the LFO phase difference between left and right Freq (LFO Frequency) 0.02...20.00Hz
Sets the LFO speed ☞ Fx:09,
F1 (LFO1 Frequency) 0.02...30.00Hz
Sets the LFO1 speed (Source) Off...Tempo
c
Selects the modulation source of LFO speed
(Source) Off...Tempo
d
Selects the modulation source of LFO1&2 speed (Amount) –20.00...+20.00Hz
Sets the modulation amount of LFO speed
(Amount) –30.00...+30.00
Sets the modulation amount of LFO1 speed BPM/MIDI Sync Off, On
Switches between using the frequency of the LFO speed and using
F2 (LFO2 Frequency) 0.02...30.00Hz the tempo and notes ☞ Fx:09,
Sets the LFO2 speed
e BPM MIDI, 40...240
(Amount) –30.00...+30.00 Selects MIDI Clock and assigns tempo ☞ Fx:09
Sets the modulation amount of LFO2 speed d
Base (Base Note) !" #$" #" %$" %" &$" &" '
L Dly (L Pre Delay) 0.0...50.0ms Selects the type of notes that specify the LFO speed ☞ Fx:09
Sets the delay time for the left channel ☞ Fx:16
f Times 1...16
R Dly (R Pre Delay) 0.0...50.0ms Sets the number of notes that specify the LFO speed ☞ Fx:09
Sets the delay time for the right channel ☞ Fx:16
Depth 0...100
Depth1 0...100 Sets the depth of LFO modulation
Sets the depth of LFO1 modulation
(Source) Off...Tempo
(Source) Off...Tempo e
g Selects the modulation source of the LFO modulation depth
Selects the modulation source of LFO1&2 modulation depth
(Amount) –100...+100
(Amount) –100...+100 Sets the modulation amount of the LFO modulation depth
Sets the modulation amount of LFO1 modulation depth
AUTOFADE Src (AUTOFADE Source) Off...Tempo
Depth2 0...100 f
Selects the modulation source that starts AutoFade ☞,
Sets the depth of LFO2 modulation
h Fade Rate (Fade-In Rate) 1...100
(Amount) –100...+100 Sets the rate of fade-in ☞
Sets the modulation amount of LFO2 modulation depth g
Dly (Fade-In Delay) 00...2000ms
Feedback –100...+100 Sets the fade-in delay time ☞
Sets the feedback amount ☞ Fx:17
i W/D (Wet/Dly) Dry, 1:99...99:1, Wet
HiDamp (High Damp) 0...100% Sets the balance between the effect and dry sounds
Sets the damping amount in the high range
(Source) Off...Tempo
W/D (Wet/Dly) –Wet...–1:99, Dry, 1:99...Wet h
Selects the modulation source of the effect balance
Sets the balance between the effect and dry sounds
☞ Fx:10, (Amount) –100...+100
Sets the modulation amount of the effect balance
j (Source) Off...Tempo
Selects the modulation source of the effect balance
b: LFO Freq Mod, f: AUTOFADE Src, g: Fade Rate, g: Dly
(Amount) –100...+100
Sets the modulation amount of the effect balance When “LFO Freq Mod” is set to AUTOFADE, you can use the
modulation source selected in “AUTO FADE Src” as a trigger to
automatically fade in the modulation amount. When “BPM/MIDI
Bi-Phase Modulation LFO
Sync” is set to On, you cannot use this.
The “Fade Rate” parameter specifies the rate of fade-in. The “Dly”
LFO1
Depth1 parameter determines the time from AutoFade modulation source
+
LFO2
ON until the fade-in starts.
Depth2
The following is an example of fade-in where the LFO speed is
increased from “1.0Hz” to “4.0Hz” when a note-on message is
received.
“AUTOFADE Src”=Gate1, “Freq”=1.00 Hz

178
“LFO Freq Mod”=AUTOFADE, “(Amount)”=+3.00 W/D Mod (Wet/Dry Mod) D-mod, AUTOFADE
i Switches between D-mod and AUTOFADE for the effect balance
The effect is off when a value for the dynamic modulation modulation ☞ Fx:27
source specified for the “AUTOFADE Src” parameter is
W/D (Wet/Dly) –Wet...–1:99, Dry, 1:99...Wet
smaller than 64, and the effect is on when the value is 64 or Sets the balance between the effect and dry sounds
higher. The AutoFade function is triggered when the value ☞ Fx:10, 20,
changes from 63 or smaller to 64 or higher.
j (Source) Off...Tempo
AUTOFADE AutoFade Selects the modulation source of the effect balance
AUTOFADE Src=Gate1
LFO Frequency[Hz]=1.00 (Amount) –100...+100
Gate1 Signal LFO Freq. Mod=AUTOFADE Sets the modulation amount of the effect balance
Amt=+3.00

Note On All Note Off

LFO Frequency
Fade-In Rate
AUTOFADE
Fade-In Dealy
=1.0+3.0=4.0Hz

LFO Frequency
29: 2Voice Reso
=1.0Hz
(2Voice Resonator)
This effect resonates the input signal at a specified pitch. You
can set the pitch, output level, and pan settings for two reso-
28: St.AutoFd Mod nators individually. You can control the resonance intensity
via an LFO.
(Stereo Auto Fade Modulation)
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
This stereo chorus/flanger effect enables you to control the Left
Wet / Dry
LFO speed and effect balance using auto fade, and you can High Damp
Resonator
spread the sound by offsetting the phase of the left and right Trim Level Pan

LFOs from each other. + Resonance

Stereo In - Stereo Out Resonator


Trim Level Pan
Left High Damp
Wet / Dry
Right
Wet / Dry
Delay
Invert: On/Off
D-mod
Feedback LFO Pitch, Fine [cent]
Control Mode
High Damp Manual
Delay

Right
Wet / Dry
LFO Phase
Ctrl (Control Mode) Manual, LFO, Dmod
LFO: Tri / Sine LFO Shape
Switches the controls of resonance intensity ☞,
AutoFade LFO Frequency a Invert (LFO/Dmod Invert) Off, On
Wet / Dry
Reverses the Voice 1 and 2 control when LFO/Dmod is selected

lfoF (LFO Frequency) 0.02...20.00Hz
LFO Wave (LFO Waveform) Tri, Sine Sets the LFO speed
Selects LFO Waveform b
a Dmod (Dmod Source) Off...Tempo
Shape (LFO Shape) –100...+100 Selects the modulation source that controls resonance intensity
Determines how much the LFO waveform is changed ☞ Fx:20
Mod Dep (Mod Depth) –100...+100
LFO Phase –180...+180deg Sets the amount of resonance intensity control via LFO/Dmod
b
Sets the LFO phase difference between the left and right ☞ Fx:10 c
Trim 0...100
Freq (LFO Frequency) 0.02...20.00Hz Sets the input level at the resonator
Sets the LFO speed
V1 Pitch (Voice1 Pitch) C0...B8
(Source) Off...Tempo Sets the voice1 Pitch for resonance
c
Selects the modulation source of LFO speed d
Fine –50...+50cent
(Amount) –20.00...+20.00Hz Fine-adjusts the voice 1 pitch for resonance

Effect
Sets the modulation amount of LFO speed
V1 Reso (Voice1 Resonance) –100...+100
L Dly (L Pre Delay) 0.0...500.0ms Sets the intensity of resonance when Control Mode = Manual ☞
Sets the left channel delay time e
d HiDamp (High Damp) 0...100%
R Dly (R Pre Delay) 0.0...500.0ms Sets the damping amount of resonant sound in the high range ☞
Sets the right channel delay time
V1 Level (Voice1 Level) 0...100
Dep (Depth) 0...200 Sets the Voice1 output level
Sets the depth of LFO modulation f
Pan L6...R6
Fb (Feedback) –100...+100 Sets the Voice1 stereo image
e
Sets the feedback amount ☞ Fx:20
V2 Pitch (Voice2 Pitch) C0...B8
HD (High Damp) 0...100% Sets the Voice2 Pitch for resonance
Sets the feedback damping amount in the high range ☞ Fx:20 g
Fine –50...+50cent
AUTOFADE Src (AUTOFADE Source) Off...Tempo Fine-adjusts the voice 2 pitch for resonance
f Selects the modulation source that starts AutoFade
☞ Fx:27, V2 Reso (Voice2 Resonance) –100...+100
Sets the intensity of resonance when Control Mode = Manual ☞
Fade Rate (Fade-In Rate) 1...100 h
Sets the rate of fade-in ☞ Fx:27 HiDamp (High Damp) 0...100%
g Sets the damping amount of resonant sound in the high range ☞
Dly (Fade-In Delay) 00...2000ms
Sets the fade-in delay time ☞ Fx:27 V2 Level (Voice2 Level) 0...100
Sets the Voice2 output level
Freq Mod (LFO Frequency Mod) D-mod, AUTOFADE i
h Switches between D-mod and AUTOFADE for the LFO frequency Pan L6...R6
modulation ☞ Fx:27 Sets the Voice2 stereo image

179
W/D (Wet/Dly) Dry, 1:99...99:1, Wet BPM/MIDI Sync Off, On
Sets the balance between the effect and dry sounds Switches between using the frequency of the LFO speed and using
the tempo and notes ☞ Fx:09,
(Source) Off...Tempo
j
Selects the modulation source of the effect balance BPM MIDI, 40...240
d Selects MIDI Clock and assigns tempo ☞ Fx:09
(Amount) –100...+100
Sets the modulation amount of the effect balance Base (Base Note) !" #$" #" %$" %" &$" &" '
Selects the type of notes that specify the LFO speed ☞ Fx:09
a: Ctrl, e: V1 Reso, h: V2 Reso Times 1...16
This parameter determines the resonance intensity. Sets the number of notes that specify the LFO speed ☞ Fx:09
When “Ctrl” = Manual, the “Reso” parameter sets the intensity of Pitch Dep (Pitch Depth) 0...100
resonance. If the “Reso” parameter has a negative value, harmon- Sets the pitch variation of the moving sound ☞,
ics will be changed, and resonance will occur at a pitch one octave (Source) Off...Tempo
e
lower. Selects the modulation source of pitch variation
When “Ctrl” = LFO, the intensity of resonance varies according to (Amount) –100...+100
the LFO. The LFO sways between positive and negative values, Sets the modulation amount of pitch variation
causing resonance to occur between specified pitches an octave Pan Dep (Pan Depth) –100...+100
apart in turn. Sets the panning of the moving sound ☞,
When “Ctrl” = Dmod, the resonance is controlled by the dynamic (Source) Off...Tempo
modulation source. If JS X or Rbn#16 is assigned as the modula- f
Selects the modulation source of panning
tion source, the pitch an octave higher and lower can be con- (Amount) –100...+100
trolled, similar to when LFO is selected for Control Mode. Sets the modulation amount of panning

a: Invert W/D (Wet/Dly) Dry, 1:99...99:1, Wet


Sets the balance between the effect and dry sounds
When “Ctrle” = LFO or Dmod, the controlled phase of either
Voice 1 or 2 will be reversed. When the resonance pitch is set for (Source) Off...Tempo
g
Selects the modulation source of the effect balance
Voice 1 (Resonance has a positive value), Voice 2 will resonate at a
pitch an octave below (Resonance has a negative value). (Amount) –100...+100
Sets the modulation amount of the effect balance
d: V1 Pitch, d: Fine, g: V2 Pitch, g: Fine
The Pitch parameter specifies the pitch of resonance by note a: Mode, a: Src, b: LFO Sync
name. The “Fine” parameter allows for fine adjustment in steps of The “Mode” parameter switches LFO operation mode. When
cents. Loop is selected, the Doppler effect will be created repeatedly. If
“LFO Sync” is set to On, the LFO will be reset when the modula-
e: HiDamp, h: HiDamp tion source specified with the “Src” parameter is turned on.
This parameter sets the damping amount of resonant sound in the When “Mode” is set to 1-Shot, the Doppler effect is created only
high range. Lower values will make a metallic sound with a once when the modulation source specified in the “Src” field is
higher range of harmonics. turned on. At this time if you do not set the “Src” parameter, the
Doppler effect will not be created, and no effect sound will be out-
put.

30: Doppler The effect is off when a value for the modulation source
specified for the “Src” parameter is smaller than 64, and the
This effect simulates the “Doppler effect” of a moving sound effect is on when the value is 64 or higher. The Doppler
with a changing pitch, similar to the siren of an passing effect is triggered when the value changes from 63 or
ambulance. Mixing the effect sound with the dry sound will smaller to 64 or higher.
create a unique chorus effect.
e: Pitch Dep
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
Left
With the Doppler effect, the pitch is raised when the sound
Wet / Dry
approaches, and the pitch is lowered when the sound goes away.
This parameter sets this pitch variation.
+ Doppler f: Pan Dep
Pan Depth
This parameter sets the width of the stereo image of the effect
sound. With larger values, the sound seems to come and go from
Right much further away. With positive values, the sound moves from
Wet / Dry
LFO left to right; with negative values, the sound moves from right to
D-mod Trigger LFO Mode = 1-Shot left.
Doppler - Pitch / Pan Depth
Pitch
Higher

Pan Depth Pan Depth


Mode (LFO Mode) Loop, 1-Shot = (+) value = (–) value
Switches LFO operation mode ☞, Original Pitch Pitch Depth
Lower

a Src (Source) Off...Tempo


When LFO Mode is set to 1-Shot, this modulation source triggers the
LFO ☞ Left Center Right

Pan Depth
LFO Sync Off, On < < < < < <<<<<< >>>>>> > > > > >
Louder Volume Louder
b Switches between LFO reset on and off when LFO Mode is set to
Loop ☞
Freq (LFO Frequency) 0.02...20.00Hz
Sets the LFO speed ☞ Fx:09,
(Source) Off...Tempo
c
Selects the modulation source of LFO speed
(Amount) –20.00...+20.00Hz
Sets the modulation amount of LFO speed

180
31: 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 W/D 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
D-mod
D-mod Envelope Control
Input
Envelope Select
D-mod

Scratch Source Off...Tempo


a
Selects the modulation source for simulation control ☞,
Response(Scratch) 0...100
b
Sets the speed of the response to the Scratch Source ☞
Envelope (Envelope Select) Dmod, Input
Selects whether the start and end of recording is controlled via the
modulation source or the input signal level ☞,
c
Src (Source) Off...Tempo
Selects the modulation source that controls recording when Enve-
lope is set to Dmod ☞
Threshold 0...100
d
Sets the recording start level when Envelope is set to Input ☞
Response(Env) 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 ☞
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds
(Source) Off...Tempo
g
Selects the modulation source of the effect balance
(Amount) –100...+100
Sets the modulation amount of the effect balance

a: Scratch Source, b: Response(Scratch)


The Scratch Source parameter enables you to select the modula-
tion source that controls simulation. The value of the modulation
source corresponds to the playback position. The
Response(Scratch) parameter enables you to set the speed of the
response to the modulation source.
Scratch Source

Start Playback Position End

Recorded Sound

Effect
Scratch Source Scratch!
JS X
D-mod Rbn#16 – Max Zero + Max

JS+Y#1
JS–Y#2 Zero + Max
etc…

c: Envelope, c:Src, d: Threshold


When “Envelope” is set to Dmod, the input signal will be
recorded only when the modulation source value is 64 or higher.
When “Envelope” 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(Env)
This parameter enables you to set the speed of the response to the
end of recording. Set a smaller value when you are recording a
phrase or rhythm pattern, and set a higher value if you are record-
ing only one note.

181
b: LFO Phase
Mod./ P.Shift This parameter determines the difference between the left and
right LFO phases. A higher value will simulate the auto-pan effect
in which the sound is panned between left and right.
Other modulation and pitch shift effects

32: St.Tremolo 33: St.Env.Tremlo


(Stereo Tremolo) (Stereo Envelope Tremolo)
This effect uses the input signal level to modulate a stereo
This effect modulates the volume level of the input signal.
tremolo. You can simulate a tremolo effect that becomes
The effect is stereo, and offsetting the LFO of the left and right
deeper as it fades out while the level gets lower.
phases from each other produces a tremolo effect between left
and right. Stereo In - Stereo Out
Left
Wet / Dry
Stereo In - Stereo Out
Left Tremolo
Wet / Dry

Tremolo

Tremolo

Tremolo Right
Wet / Dry
LFO Phase

Right LFO: Tri/Sin/Vintage LFO Shape


Wet / Dry
LFO Phase
LFO: Tri/Sin/Vintage/Up/Down LFO Shape + Envelope Envelope Shape
Envelope Sens

LFO Wave (LFO Waveform) Tri, Sine, Vintg, Up, Down


Selects LFO Waveform ☞ Envelope Sens (Envelope Sensitivity) 0...100
a
a Sets the envelope sensitivity of the input signal
Shape (LFO Shape) –100...+100
Determines how much the LFO waveform is changed ☞ Fx:20 Envelope Shape –100...+100
b Sets the envelope curve shape of the input sig-
LFO Phase –180...+180deg nal
b
Sets the LFO phase difference between the left and right ☞
LFO Wave (LFO Waveform) Tri, Sine, Vintg
Freq (LFO Frequency) 0.02...20.00Hz Selects LFO Waveform
Sets the LFO speed ☞ Fx:09, c
Shape (LFO Shape) –100...+100
c
(Source) Off...Tempo Determines how much the LFO waveform is changed ☞ Fx:20
Selects the modulation source of LFO speed
LFO Phase –180...+180deg
d
(Amount) –20.00...+20.00Hz Sets the LFO phase difference between the left and right ☞ Fx:32
Sets the modulation amount of LFO speed
Freq (LFO Frequency) 0.02...20.00Hz
BPM/MIDI Sync Off, On Sets the LFO speed ☞
Switches between using the frequency of the LFO speed and using e
the tempo and notes ☞ Fx:09, (Envelope Amount) –20.00...+20.00Hz
Sets the changes of the LFO speed according to the input signal
BPM MIDI, 40...240 level ☞
d Selects MIDI Clock and assigns tempo ☞ Fx:09
Depth 0...100
Note (Base Note) !" #$" #" %$" %" &$" &" ' Sets the depth of LFO modulation ☞
Selects the type of notes that specify the LFO speed ☞ Fx:09 f (Envelope Amount) –100...+100
Times 1...16 Sets the changes of the modulation depth according to the input sig-
Sets the number of notes that specify the LFO speed ☞ Fx:09 nal level ☞
Depth 0...100 W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the depth of LFO modulation Sets the balance between the effect and dry sounds
(Source) Off...Tempo (Source) Off...Tempo
e g
Selects the modulation source of the depth of modulation Selects the modulation source of the effect balance
(Amount) –100...+100 (Amount) –100...+100
Sets the modulation amount of the depth of modulation Sets the modulation amount of the effect balance
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds e: Freq, e: (Envelope Amount), f: Depth, f: (Envelope Amount)
(Source) Off...Tempo These parameters set the modulation via an envelope (input sig-
f
Selects the modulation source of the effect balance nal level).
(Amount) –100...+100 The “LFO speed” is obtained by adding the “Freq” value to the
Sets the modulation amount of the effect balance “(Envelope Amount)” value multiplied by the input signal. The
LFO modulation depth is obtained by adding the Depth value to
a:LFO Wave the “(Envelope Amount)” value multiplied by the input signal
This parameter selects the LFO waveform. Vintg (Vintage) wave level.
simulates the characteristics of the tremolo created on a guitar • The following example indicates that the “Depth” is 0 with an
amplifier. Combining this effect with the Amp Simulation will LFO Frequency of 1.0Hz and the maximum input, and that
make a realistic, vintage tremolo amplifier sound. the “Depth” is 100 with a Frequency of 8.0 Hz with zero
Tremolo - LFO Waveform input.
“Freq”=8.00 Hz, “Envelope Amount”=–7.00
Triangle Sine Vintage Up Down
“Depth”=100, “Envelope Amount”=–100
Shimmer
Level Dry Envelope LFO Frequency[Hz]=8.00 Hz
Envelope Amount= –7.00
Depth=100
Louder

Envelope Amount= –100

Time

182
34: St.Auto Pan Stereo Auto Pan - LFO Phase

LFO Phase = 0 degrees LFO Phase = 90 degrees LFO Phase = 180 degrees
(Stereo Auto Pan) L-In L-In L-In

This Auto Pan effect pans sound between left and right. It is R-In R-In R-In

L-In
stereo, and shifting the left and right LFO phases from each L-In L-In

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

L-In L-In L-In


Stereo In - Stereo Out
Left R-In R-In R-In
Wet / Dry
L-In L-In L-In
Pan R-In R-In R-In

Left Center Right


Depth Output Stereo Image

Pan

Right
Wet / Dry

LFO: Tri / Sin LFO Shape


LFO Phase 35: St.Phasr+Trml
(Stereo Phaser + Tremolo)
LFO Wave (LFO Waveform) Tri, Sine
This effect has a stereo phaser and tremolo LFOs linked
Selects LFO Waveform together. Swelling phaser modulation and tremolo effects
a synchronize with each other, creating a soothing modulation
Shape (LFO Shape) –100...+100
Determines how much the LFO waveform is changed ☞ effect. It is suitable for electric piano type sounds.
LFO Phase –180...+180deg Stereo In - Stereo Out
b
Sets the LFO phase difference between the left and right ☞ Left
Wet / Dry
Freq (LFO Frequency) 0.02...20.00Hz
Phaser Tremolo
Sets the LFO speed ☞ Fx:09, Phaser Wet / Dry

(Source) Off...Tempo Resonance


c
Selects the modulation source of LFO speed Phaser Wet / Dry
Phaser Tremolo
(Amount) –20.00...+20.00Hz
Sets the modulation amount of LFO speed
Right
Wet / Dry
BPM/MIDI Sync Off, On LFO Type
Switches between using the frequency of the LFO speed and using LFO LFO Shape
the tempo and notes ☞ Fx:09, LFO Phase

BPM MIDI, 40...240


d Selects MIDI Clock and assigns tempo ☞ Fx:09
!" #$" #" %$" %" &$" &" '
Type: Phs - Trml...Phs LR - Trml LR
Base (Base Note) a
Selects the type of the tremolo and phaser LFOs ☞
Selects the type of notes that specify the LFO speed ☞ Fx:09
LFO Phase –180...+180deg
Times 1...16 b Sets the phase difference between the tremolo and phaser LFOs
Sets the number of notes that specify the LFO speed ☞ Fx:09 ☞
Depth 0...100 Freq (LFO Frequency) 0.02...20.00Hz
Sets the depth of LFO modulation Sets the LFO speed ☞ Fx:09,
(Source) Off...Tempo (Source) Off...Tempo
e Selects the modulation source of the depth of modulation c
Selects the modulation source of LFO speed
(Amount) –100...+100 (Amount) –20.00...+20.00Hz
Sets the modulation amount of the depth of mod- Sets the modulation amount of LFO speed
ulation
BPM/MIDI Sync Off, On
W/D (Wet/Dly) Dry, 1:99...99:1, Wet Switches between using the frequency of the LFO speed and using
Sets the balance between the effect and dry sounds the tempo and notes ☞ Fx:09,

Effect
(Source) Off...Tempo BPM MIDI, 40...240
f
Selects the modulation source of the effect balance Selects MIDI Clock and assigns tempo ☞ Fx:09
d
(Amount) –100...+100 Base (Base Note) !" #$" #" %$" %" &$" &" '
Sets the modulation amount of the effect balance Selects the type of notes that specify the LFO speed ☞ Fx:09
Times 1...16
a: Shape Sets the number of notes that specify the LFO speed ☞ Fx:09
You can change the panning curve by modifying the LFO wave- P Manu (Phaser Manual) 0...100
form. Sets the phaser frequency range
e
b: LFO Phase Resonanc (Resonance) –100...+100
Sets the phaser resonance amount
This parameter determines the difference in the left and right LFO
phases. When you change the value gradually from 0, the sound P Dep (Phaser Depth) 0...100
Sets the phaser modulation depth
from the left and right channels will chase each other around. If
you set the parameter to +180 or –180, the sound from each chan- (Source) Off...Tempo
f
Selects the modulation source for the phaser modulation depth
nel will cross over each other.
You need to input different sounds to each channel in order for (Amount) –100...+100
Sets the modulation amount for the phaser modulation depth
this parameter to be effective.
P W/D (Phaser W/D) –Wet...–2:99, Dry, 2:99...Wet
Sets the balance between the phaser effect and dry sounds ☞
g
T Shape (Tremolo Shape) –100...+100
Sets the degree of the tremolo LFO shaping ☞ Fx:20

183
T Dep (Tremolo Depth) 0...100 lfoF (LFO Frequency) 0.02...20.00Hz
Sets the tremolo modulation depth Sets the LFO speed of the oscillator frequency modulation
☞ Fx:09,
(Source) Off...Tempo
h
Selects the modulation source for the tremolo modulation depth e (Source) Off...Tempo
Selects the modulation source of LFO speed
(Amount) –100...+100
Sets the modulation amount of the tremolo modulation depth (Amount) –20.00...+20.00Hz
Sets the modulation amount of LFO speed
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds ☞, BPM/MIDI Sync Off, On
Switches between using the frequency of the LFO speed and using
(Source) Off...Tempo the tempo and notes ☞ Fx:09,
i
Selects the modulation source of the effect balance
BPM MIDI, 40...240
(Amount) –100...+100 Selects MIDI Clock and assigns tempo ☞ Fx:09
Sets the modulation amount of the effect balance f
Base (Base Note) !" #$" #" %$" %" &$" &" '
a: Type, b: LFO Phase Selects the type of notes that specify the LFO speed ☞ Fx:09
Select the type of phaser LFO and tremolo LFO for the “Type” Times 1...16
parameter. How the effect sound moves or rotates depends on the Sets the number of notes that specify the LFO speed ☞ Fx:09
type of LFO. Selecting “LFO Phase” enables you to offset the tim- Depth (LFO Depth) 0...100
ing of the phaser peak and control a subtle movement and rota- Sets the depth of LFO modulation for the oscillator frequency
tion of the sound.
g (Source) Off...Tempo
f: P W/D, i: W/D Selects the modulation source of the depth of modulation
The “P W/D” parameter sets the balance between the phaser out- (Amount) –100...+100
put and the dry sound. The “W/D” parameter sets the balance Sets the modulation amount of the depth of modulation
between the final phaser and tremolo output level and the dry W/D (Wet/Dly) Dry, 1:99...99:1, Wet
sound. Sets the balance between the effect and dry sounds
(Source) Off...Tempo
h
Selects the modulation source of the effect balance
(Amount) –100...+100
36: St.Ring Mod Sets the modulation amount of the effect balance

(Stereo Ring Modulator) a: Pre LPF


This effect creates a metallic sound by applying the oscillators This parameter enables you to set the damping amount of the
to the input signal. Use the LFO or Dynamic Modulation to high range sound input to the ring modulator. If the input sound
modulate the oscillator to create a radical modulation. Match- contains lots of harmonics, the effect may sound dirty. In this case,
ing the oscillator frequency with a note number will produce cut a certain amount of high range.
a ring modulation effect in specific key ranges. b: OSC Mode
This parameter determines whether or not the oscillator fre-
Stereo In - Stereo Out
Left quency follows the note number.
Wet / Dry
Pre LPF
Ring Modulator c: F
This parameter sets the oscillator frequency when “OSC Mode” is
set to Fixed.
Pre LPF
Ring Modulator d: Note Offset, d: Fine
Right
These parameters for the oscillator are used when “OSC Mode” is
Wet / Dry
Fixed Frequency
Fixed Sine Oscillator set to Note (Key Follow). The “Note Offset” sets the pitch differ-
OSC Mode Pitch ence from the original note in semitone steps. The “Fine” parame-
Note No. Note Offset, Fine
Note (Key Follow) ter fine-adjusts the pitch in cent steps. Matching the oscillator
LFO
frequency with the note number produces a ring modulation
effect in the correct key.

Pre LPF 0...100


a Sets the damping amount of the high range input to the ring modula-
tor ☞
OSC Mode Fixed, Note (Key Follow)
b Switching between specifying the oscillator frequency and using a
note number ☞
F (Fixed Frequency) 0...12.00kHz
Sets the oscillator frequency when OSC Mode is set to Fixed
☞,
(Source) Off...Tempo
c Selects the modulation source for the oscillator frequency when OSC
Mode is set to Fixed
(Amount) –12.00...+12.00kHz
Sets the modulation amount of the oscillator frequency when OSC
Mode is set to Fixed
Note Offset –48...+48
Sets the pitch difference from the original note when OSC Mode is
d set to Note (Key Follow) ☞
Fine (Note Fine) –100...+100
Fine-adjusts the oscillator frequency ☞

184
37: Detune a
Mode Slow, Medium, Fast
Switches Pitch Shifter mode ☞
Using this effect, you can obtain a detune effect that offsets Shift (Pitch Shift) –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 (Source) Off...Tempo
sound thickness will be created. b
Selects the modulation source of pitch shift amount ☞
(Amount) –24...+24
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Sets the modulation amount of pitch shift amount ☞
Left
Wet / Dry
Fine –100...+100cent
Input Level
Sets the pitch shift amount by steps of a cent ☞,
High Damp
c
(Amount) –100...+100cent
+ Detune Delay
Sets the modulation amount of pitch shift amount ☞
Feedback Delay (Delay Time) 0...1000ms
Input Level d
Sets the delay time
Right
Wet / Dry Feedback Position Pre, Post
e
Switches the feedback connection. ☞
Feedback –100...+100
Sft (Pitch Shift) –100...+100cent Sets the feedback amount ☞
Sets the pitch difference from the input signal f
HiDamp (High Damp) 0...100%
(Source) Off...Tempo Sets the damping amount in the high range
a
Selects the modulation source of the pitch shift
InLvl Mod (Input Level Dmod [%]) –100...+100
(Amount) –100...+100cent Sets the modulation amount of the input level ☞ Fx:37,
Sets the modulation amount of the pitch shift g
Src (Source) Off...Tempo
b
Delay (Delay Time) 0...1000ms Selects the modulation source for the input level ☞ Fx:37
Sets the delay time
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Feedback –100...+100 Sets the balance between the effect and dry sounds
c
Sets the feedback amount
(Source) Off...Tempo
High Damp 0...100% h
d Selects the modulation source of the effect balance
Sets the damping amount in the high range
(Amount) –100...+100
InLvl Mod (Input Level Dmod [%]) –100...+100 Sets the modulation amount of the effect balance
Sets the modulation amount of the input level ☞,
e
Src (Source) Off...Tempo a: Mode
Selects the modulation source for the input level ☞ This parameter switches the pitch shifter operating mode. With
W/D (Wet/Dly) 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
(Source) Off...Tempo change the tone. Medium is in between these two. If you do not
f
Selects the modulation source of the effect balance need to set too much pitch shift amount, set this parameter to
(Amount) –100...+100 Slow. If you wish to change the pitch significantly, use Fast.
Sets the modulation amount of the effect balance
b: Shift, b: (Source), b: (Amount), c: Fine, c: (Amount)
e: InLvl Mod, e: Src The amount of pitch shift will use the value of the “Shift” plus the
“Fine” value. The amount of modulation will use the c: (Amount)
This parameter sets the dynamic modulation of the input level.
value plus d: “(Amount).”
Input Level D-mod
Input Level Input Level Modulation Source is used both for “Shift” and “Fine.”
x1.0 Amt= +50 x1.0 Amt= –50
Amt= +100 Amt= –100
e: Feedback Position, f: Feedback
When “Feedback Position” is set to Pre, the pitch shifter output is
Louder

Louder

x0.5 x0.5

again input to the pitch shifter. Therefore, if you specify a higher


D-mod D-mod value for the Feedback parameter, the pitch will be raised (or low-
Higher Higher
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

Effect
pass through the pitch shifter again. Even if you specify a higher
value for the Feedback parameter, the pitch-shifted sound will be
38: 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

185
39: PitchShft Mod 40: Rotary SP
(Pitch Shift Modulation) (Rotary Speaker)
This effect modulates the detuned pitch shift amount using an This effect simulates a rotary speaker, and obtains a more real-
LFO, adding a clear spread and width to the sound by pan- istic sound by simulating the rotor in the low range and the
ning the effect sound and dry sound to the left and right. This horn in the high range separately. The effect also simulates the
is especially effective when the effect sound and dry sound stereo microphone settings.
output from stereo speakers are mixed.
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
Left
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Wet / Dry
Left
Wet / Dry Horn

+ Rotary Speaker Horn/Rotor Mic Distance


Balance Mic Spread
+ Pitch Shifter Rotor

Speaker Simulation
Pan Right
Wet / Dry
Right
Wet / Dry
D-mod Mode Switch: Rotate/Stop

D-mod Speed Switch: Slow/Fast


LFO: Tri / Sqr
D-mod Manual Speed Control

Pitch Shift –100...+100cent


a Mode (Mode Switch) Rotate, Stop
Sets the pitch difference from the input signal ☞
Switches between speaker rotation and stop
LFO Wave (LFO Waveform) Triangle, Square
b (Source) Off...Tempo
Selects LFO Waveform
Selects the modulation source that toggles between rotation and
Freq (LFO Frequency) 0.02...20.00Hz a
stop
Sets the LFO speed ☞ Fx:09,
(Sw) Tggl, Mmnt
(Source) Off...Tempo Selects switching mode of the modulation source that toggles
c
Selects the modulation source of LFO speed between rotation and stop ☞
(Amount) –20.00...+20.00Hz Speed (Speed Switch) Slow, Fast
Sets the modulation amount of LFO speed Switches the speaker rotation speed between slow and fast
BPM/MIDI Sync Off, On (Source) Off...Tempo
Switches between using the frequency of the LFO speed and using b Selects the modulation source that toggles between slow and fast
the tempo and notes ☞ Fx:09,
(Sw) Tggl, Mmnt
BPM MIDI, 40...240 Selects switching mode of the modulation source that toggles
d Selects MIDI Clock and assigns tempo ☞ Fx:09 between slow and fast ☞
Base (Base Note) !" #$" #" %$" %" &$" &" ' H/R.Bal (Horn/Rotor Balance) Rot, 1...99, Hrn
Selects the type of notes that specify the LFO speed ☞ Fx:09 Sets the level balance between the high-range horn and low-range
rotor
Times 1...16 c
Sets the number of notes that specify the LFO speed ☞ Fx:09 ManuSp (Manual Speed Control) Off...Tempo
Selects the modulation source in case the rotation speed is changed
Depth –100...+100
Sets the LFO modulation depth for pitch shift amount ☞, directly ☞,
Horn Accel (Horn Acceleration) 0...100
(Source) Off...Tempo
e How quickly the horn rotation speed in the high range is switched
Selects the modulation source of the depth of modulation

(Amount) –100...+100 d
Ratio (Horn Ratio) Stop, 0.50...2.00
Sets the modulation amount of the depth of modulation
Adjusts the (high-range side) horn rotation speed. Standard value is
Pan L, 1:99...99:1, R 1.00. Selecting “Stop” will stop the rotation
f
Sets the panning effect sound and dry sound separately ☞ Rotor Accel (Rotor Acceleration) 0...100
W/D (Wet/Dly) Dry, 1:99...99:1, Wet Determines how quickly the rotor rotation speed in the low range is
Sets the balance between the effect and dry sounds ☞, switched ☞
e
(Source) Off...Tempo Ratio (Rotor Ratio) Stop, 0.50...2.00
g Adjusts the (low-range side) rotor rotation speed. Standard value is
Selects the modulation source of the effect balance
1.00. Selecting “Stop” will stop the rotation
(Amount) –100...+100
Sets the modulation amount of the effect balance MicDistance 0...100
Sets the distance between the microphone and rotary speaker ☞
f
a: Pitch Shift [cent], e: Depth Spread (Mic Spread) 0...100
Sets the angle of left and right microphones ☞
These parameters set the amount of pitch shift and amount of
modulation by means of the LFO. W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds
Pitch Shift Mod - Pitch Shift / Depth
Pitch (Source) Off...Tempo
g
LFO Waveform=Triangle Selects the modulation source of the effect balance
Higher

Depth (+value)
(Amount) –100...+100
Original Pitch
Pitch Shift (+ value) Sets the modulation amount of the effect balance
Lower

LFO Waveform=Square
Depth (–value)
a: (Sw)
This parameter sets how the modulation source switches between
rotation and stop.
f: Pan, g: W/D
When “Sw” = Tggl (Toggle), the speaker rotates or stops alter-
The Pan parameter pans the effect sound and dry sound to the left
nately each time you press the pedal or operate the joystick.
and right. With L, the effect sound is panned left, and the dry
sound is panned right. With a W/D = Wet setting, the effect and Each time the value for the modulation source exceeds 64,
dry sound will be output in a proportion of 1:1. the speaker rotates or stops alternately.

186
When “(Sw)” = Mmnt (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 41: Early Reflect
switched via the modulation source.
When “(Sw)” = Tggl (Toggle), the speed is switched between (Early Reflections)
slow and fast each time you press the pedal or operate the joy-
This effect is only the early reflection part of a reverberation
stick.
sound, and adds presence to the sound. You can select one of
Slow/fast will alternate each time the value of the modula- the four decay curves.
tion source exceeds 64.
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

When “(Sw)” = Mmnt (Moment), the speed is usually slow. It Left


Wet / Dry

becomes fast only when you press the pedal or operate the joy-
EQ Trim
stick. LEQ HEQ
+ Pre Delay Early Reflections
When a value for the modulation source is less than 64,
“slow” speed is selected, and when the value is 64 or higher,
EQ Trim
“fast” is selected.
Right
Wet / Dry
c: ManuSp
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 “ManuSp” field. If manual control is not necessary, set this a
Selects the decay curve for the early reflection ☞
field to Off.
ER Time 10...800ms
b
Sets the time length of early reflection
d: Horn Accel, e: Rotor Accel
On a real rotary speaker, the rotation speed is accelerated or decel- Pre Delay 0...200ms
c
Sets the time taken from the original sound to the first early reflection
erated gradually after you switch the speed. The “Horn Accel”
parameter sets the speed at which the rotation is accelerated or Pre EQ Trim 0...100
d
Sets the input level of EQ applied to the effect sound
decelerated.
LoEQ (Pre Low EQ Gain) –15.0...+15.0dB
f: MicDistance, f: Spread Sets the gain of Low EQ
e
This is a simulation of stereo microphone settings. HiEQ (Pre High EQ Gain) –15.0...+15.0dB
Rotary Speaker - Mic Placement Sets the gain of High EQ
Mic Spread
Microphone Microphone W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds
Mic Distance Mic Distance (Source) Off...Tempo
f
Selects the modulation source of the effect balance
(Amount) –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

Effect
Loose

Modulated

Reverse

Dry Pre Delay ER Time

187
42: Auto Reverse only when its level exceeds the Threshold level.
When recording is completed, reverse playback starts immedi-
This effect records the input signal and automatically plays it ately.
in reverse (the effect is similar to a tape reverse sound).
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Left
Wet / Dry 43: LCR Delay
Direct
(L/ C/ R Delay)
+ Auto Reverse Mix
Rec/Reverse Play
Control
This multitap delay outputs three Tap signals to the left, right,
and center respectively. You can also adjust the left and right
Right
D-mod
Wet / Dry spread of the delay sound.
D-mod Envelope Control
Input
Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out
Envelope Select
Left
Wet / Dry

Input Level D-mod L Delay


Level
Rec Mode Single, Multi
a
Sets the recording mode ☞ + High Damp Low Damp
C Delay Spread
Level
Reverse Time 20...1320ms Feedback
b
Sets the maximum duration of the reverse playback ☞ Input Level D-mod R Delay
Level

Envelope (Envelope Select) Dmod, Input Right


Wet / Dry
Selects whether the start and end of recording is controlled via the
modulation source or the input signal level ☞,
c
Src (Source) Off...Tempo
L Delay (L Delay Time) 0...1360ms
Selects the modulation source that controls recording when Enve-
Sets the delay time of TapL
lope is set to Dmod ☞ a
Level 0...50
Threshold 0...100
d Sets the output level of TapL
Sets the recording start level when Envelope is set to Input ☞
C Delay (C Delay Time) 0...1360ms
Response 0...100
e Sets the delay time of TapC
Sets the speed of the response to the end of recording ☞ Fx:31 b
Level 0...50
Direct Mix Always On, Always Off, Cross Fade
f Sets the output level of TapC
Selects how a dry sound is mixed ☞ Fx:31
R Delay (R Delay Time) 0...1360ms
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the delay time of TapR
Sets the balance between the effect and dry sounds c
Level 0...50
(Source) Off...Tempo
g Sets the output level of TapR
Selects the modulation source of the effect balance
C Fb (C Delay Feedback) –100...+100
(Amount) –100...+100
Sets the feedback amountof TapC
Sets the modulation amount of the effect balance
(Source) Off...Tempo
d
Selects the modulation source of the TapC feedback amount
a: Rec Mode, b: Reverse Time
When ”Rec Mode“ is set to Single, you can set up to 1320msec for (Amount) –100...+100
Sets the modulation amount of the TapC feedback amount
“Reverse Time.” If recording starts during the reverse playback,
the playback will be interrupted. HiDamp (High Damp) 0...100%
Sets the damping amount in the high range ☞
When “Rec Mode” is set to Multi, you can make another record- e
ing during the reverse playback. However, the maximum Reverse LoDamp (Low Damp) 0...100%
Time is limited to 660msec. Sets the damping amount in the low range ☞
If you wish to record a phrase or rhythm pattern, set “Rec Mode” InLvl Mod (Input Level Dmod [%]) –100...+100
to Single. If you record only one note, set “Rec Mode” to Multi. Sets the modulation amount of the input level ☞ Fx:37,
f
The “Reverse Time” parameter specifies the maximum duration Src (Source) Off...Tempo
of the reverse playback. The part in excess of this limit will not be Selects the modulation source for the input level ☞ Fx:37
played in reverse. If you wish to add short pieces of the reverse g
Spread 0...50
playback of single notes, make the “Reverse Time” shorter. Sets the width of the stereo image of the effect sound ☞
Rec Mode/Reverse Time W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Rec Reverse Rec Reverse Envelope Select = Input Sets the balance between the effect and dry sounds
(Source) Off...Tempo
h
Input Selects the modulation source of the effect balance

Time
(Amount) –100...+100
Sets the modulation amount of the effect balance
Rec Mode = Single

e: HiDamp, e: LoDamp
These parameters set the damping amount of high range and low
Rec Mode = Multi range. The tone of the delayed sound becomes darker and lighter
as it feeds back.

g: Spread
Reverse Time Reverse Time
This parameter sets the pan width of the effect sound. The stereo
image is widest with a value of 50, and the effect sound of both
c: Envelope, c: Src, d: Threshold
channels is output from the center with a value of 0.
These parameters select the source to control the start and end of
recording.
When “Envelope” is set to Dmod, the input signal will be
recorded only when the value of the modulation source selected
by the Src parameter is 64 or higher.
When “Envelope” is set to Input, the input signal will be recorded

188
44: St/ Cross Dly 45: St.MltTap Dly
(Stereo/ Cross Delay) (Stereo Multitap Delay)
This is a stereo delay, and can by used as a cross-feedback The left and right Multitap Delays have two taps respectively.
delay effect in which the delay sounds cross over between the Changing the routing of feedback and tap output allows you
left and right by changing the feedback routing. to create various patterns of complex effect sounds.

Stereo In - Stereo Out Stereo In - Stereo Out


Left Left
Wet / Dry Wet / Dry
High Damp Low Damp Feedback
Delay Delay
Input Level D-mod (2)
Input Level D-mod High Damp Low Damp (1)
Stereo/Cross Feedback Mode Tap1 Level Mode Spread Tap1=(1)
Spread
Tap2=(2)
Input Level D-mod High Damp Low Damp (1)
Input Level D-mod High Damp Low Damp (2)
Delay
Delay
Stereo/Cross
Feedback
Right Right
Wet / Dry Wet / Dry

Mode: Normal Mode: Cross Feedback Mode: Cross Pan1 Mode: Cross Pan2

Stereo/Cross Stereo, Cross


a
Switches between stereo delay and cross-feedback delay
L Delay (L Delay Time) 0.0...680.0ms
b
Sets the delay time for the left channel
Mode Normal, Cross Feedback, Cross Pan1, Cross Pan2
a
c
R Delay (R Delay Time) 0.0...680.0ms Switches the left and right delay routing ☞
Sets the delay time for the right channel
Tap1 Time 0.0...680.0ms
L Fb (L Feedback) –100...+100 b
Sets the Tap1 delay time
Sets the feedback amount for the left channel
Tap2 Time 0.0...680.0ms
(Source) Off...Tempo c
d Sets the Tap2 delay time
Selects the modulation source of feedback amount
Tap1 Level 0...100
d
(Amount L) –100...+100 Sets the Tap1 output level ☞
Sets the modulation amount of the left channel feedback
Fb(T2) (Tap2 Feedback) –100...+100
R Fb (R Feedback) –100...+100 Sets the Tap2 feedback amount
Sets the feedback amount for the right channel
e (Source) Off...Tempo
(Amount R) –100...+100 e
Selects the modulation source of the Tap2 feedback amount
Sets the modulation amount of the right channel feedback
(Amount) –100...+100
HiDamp (High Damp) 0...100% Sets the modulation amount of the Tap2 feedback amount
f
Sets the damping amount in the high range ☞ Fx:43
HiDamp (High Damp) 0...100%
g
LoDamp (Low Damp) 0...100% Sets the damping amount in the high range ☞ Fx:43
Sets the damping amount in the low range ☞ Fx:43 f
LoDamp (Low Damp) 0...100%
InLvl Mod (Input Level Dmod [%]) –100...+100 Sets the damping amount in the low range ☞ Fx:43
Sets the modulation amount of the input level ☞ Fx:37,
h InLvl Mod (Input Level Dmod [%]) –100...+100
Src (Source) Off...Tempo Sets the modulation amount of the input level ☞ Fx:37,
Selects the modulation source for the input level ☞ Fx:37 g
Src (Source) Off...Tempo
i
Spread –50...+50 Selects the modulation source for the input level ☞ Fx:37
Sets the width of the stereo image of the effect sound ☞ Fx:43
Spread –100...+100
W/D (Wet/Dly) Dry, 1:99...99:1, Wet Sets the width of the stereo image of the effect sound
Sets the balance between the effect and dry sounds ☞ Fx:43,
(Source) Off...Tempo (Source) Off...Tempo
j h
Selects the modulation source of the effect balance Selects the modulation source of the effect sound’s stereo image
(Amount) –100...+100 width
Sets the modulation amount of the effect balance (Amount) –100...+100
Sets the modulation amount of the effect sound’s stereo image width

Effect
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds
(Source) Off...Tempo
i
Selects the modulation source of the effect balance
(Amount) –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.

189
46: St.Mod. Delay e: LFO Sync, e: Src, f: L Phase, f: R Phase
The LFO can be reset via a modulation source.
(Stereo Modulation Delay) The “Src” parameter sets the modulation source that resets the
LFO. For example, you can assign Gate as a modulation source so
This stereo delay uses an LFO to sweep the delay time. The that the sweep always starts from the specified point.
pitch also varies. You will obtain a delay sound with swell “L Phase” and “R Phase” set the phase obtained when the left and
and shimmering. You can also control the delay time using a right LFOs are reset. In this way, you can create changes in pitch
modulation source. sweep for the left and right channels individually.
Stereo In - Stereo Out
The effect is off when a value of the modulation source spec-
Left
Wet / Dry ified in the “Src” parameter is 63 or smaller, and the effect is
Delay on when the value is 64 or higher. The LFO is triggered and
reset to the “L Phase” and “R Phase” settings when the
Feedback
value changes from 63 or smaller to 64 or higher.
Delay

Right

D-mod
Wet / Dry
47: St.DynamicDly
D -mod Response L/R: +/+ +/–

LFO Sync LFO: Tri / Sine LFO Shape


LFO
(Stereo Dynamic Delay)
LFO Phase Modulation Mode
This stereo delay controls the level of delay according to the
input signal level. You can use this as a ducking delay that
Mod Mode (Modulation Mode) LFO, Dmod
applies delay to the sound only when you play keys at a high
Switches between LFO modulation control and modulation source velocity or only when the volume level is low.
a control
Stereo In - Stereo Out
Src (Source) Off...Tempo Left
Wet / Dry
Selects the modulation source that controls delay time High Damp Low Damp
Delay
Dmod L/R:+/+, L/R:+/–
Reversed L/R control by modulation source ☞,
b Feedback Spread
Respons (Response) 0...30 High Damp Low Damp
Sets the rate of response to the modulation source Delay

LFO Wave (LFO Waveform) Tri, Sine


Right
Selects LFO Waveform FB Out Wet / Dry
c
Shape (LFO Shape) –100...+100 + Envelope Attack, Release Control Target
Threshold
Determines how much the LFO waveform is changed ☞ Fx:20
LFO Freq (LFO Frequency) 0.02...20.00Hz
d
Sets the LFO speed Ctrl Target (Control Target) None, Out, FB
LFO Sync Off, On Selects from no control, output, and feedback ☞
Switches LFO reset off/on ☞, a
e Pol (Polarity) +, –
Src (Source) Off...Tempo Reverses level control ☞
Selects the modulation source that resets the LFO Threshold 0...100
L Phase (L LFO Phase) –180...+180 Sets the level to which the effect is applied ☞
Sets the phase obtained when the left LFO is reset ☞ b
f Offset 0...100
R Phase (R LFO Phase) –180...+180 Sets the offset of level control ☞
Sets the phase obtained when the right LFO is reset ☞ Attack 1...100
L Depth 0...200 Sets the attack time of level control ☞
Sets the depth of the left LFO modulation c
g Release 1...100
R Depth 0...200 Sets the release time of level control ☞
Sets the depth of the right LFO modulation L Delay (L Delay Time) 0.0...680.0ms
d
L Dly (L Delay Time) 0.0...500.0 Sets the delay time for the left channel
Sets the left delay time R Delay (R Delay Time) 0.0...680.0ms
h e
R Dly (R Delay Time) 0.0...500.0 Sets the delay time for the right channel
Sets the right delay time Feedback –100...+100
f
L Fb (L Feedback) –100...+100 Sets the feedback amount
Sets the feedback amount of left delay HiDamp (High Damp) 0...100%
i
R Fb (R Feedback) –100...+100 Sets the damping amount in the high range ☞ Fx:43
Sets the feedback amount of right delay g
LoDamp (Low Damp) 0...100%
W/D (Wet/Dly) –Wet...–1:99, Dry, 1:99...Wet Sets the damping amount in the low range ☞ Fx:43
Sets the balance between the effect and dry sounds Spread –100...+100
☞ Fx:10, h
Sets the width of the stereo image of the effect sound ☞ Fx:43
j (Source) Off...Tempo W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Selects the modulation source of the effect balance Sets the balance between the effect and dry sounds
(Amount) –100...+100 (Source) Off...Tempo
Sets the modulation amount of the effect balance i
Selects the modulation source of the effect balance
(Amount) –100...+100
b: Dmod Sets the modulation amount of the effect balance
When the modulation source is used for control, this parameter
reverses the left and right modulation direction. a: Ctrl Target
This parameter selects no level control, delay output control
(effect balance), or feedback amount control.

190
a: Pol, b: Threshold, b: Offset, c: Attack, d: Release
Pan Dep (Panning Depth) 0...100
The “Offset” parameter specifies the value for the “Ctrl Target” Sets the panning width
parameter (that is set to None), expressed as the ratio relative to (Source) Off...Tempo
the parameter value (the “W/D” value with “Ctrl Target”=Out, or i
Selects the modulation source for the panning width
the “Feedback” value with “Ctrl Target”=FB).
(Amount) –100...+100
When “Pol” is positive, the “Ctrl Target” value is obtained by Set the modulation amount of the panning width
multiplying the parameter value by the “Offset” value (if the
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
input level is below the threshold), or equals the parameter value Sets the balance between the effect and dry sounds
if the input level exceeds the threshold.
(Source) Off...Tempo
When “Pol” is negative, Ctrl Target value equals the parameter j
Selects the modulation source of the effect balance
value if the input level is below the threshold, or is obtained by
(Amount) –100...+100
multiplying the parameter value by the “Offset” value if the level Sets the modulation amount of the effect balance
exceeds the threshold.
The “Attack” and “Release” parameters specify attack time and
release time of delay level control.
Level
Dynamic Delay 49: LCR BPM Delay
Dry (L/ C/ R BPM Delay)
Threshold

The L/C/R delay enables you to match the delay time with
Release
Envelope
Attack the song tempo. You can also synchronize the delay time with
the arpeggiator or sequencer. If you program the tempo
Wet (Ducking Delay)
before performance, you can achieve a delay effect that syn-
Control Target=Out chronizes with the song in real-time. Delay time is set by
Polarity= (–)
notes.
Delay Time
Wet
Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out
Control Target=Out Left
Polarity= (+) Wet / Dry
Time
Input Level D-mod L Delay
Level

+ High Damp Low Damp C Delay Spread


Level
Feedback
Input Level D-mod R Delay
48: St.AutoPanDly Right
Level

Wet / Dry
(Stereo Auto Panning Delay) Tempo
BPM
BPM Base Note x Times
This stereo delay effect pans the delay sound left and right Base Note x Times
Base Note x Times
using the LFO.
Stereo In - Stereo Out
Left BPM MIDI, 40...240
Wet / Dry
a
High Damp Low Damp Selects MIDI Clock and assigns tempo ☞,
Pan
!" #$" #" %$" %" &$" &" '
Delay
L Bs (L Delay Base Note)
Feedback Depth Selects the type of notes to specify the delay time for TapL
☞,
Delay Pan b Times 1...16
High Damp Low Damp
Sets the number of notes to specify the delay time for TapL ☞
Right
Wet / Dry
Level 0...50
LFO Phase
Sets the output level of TapL
LFO: Tri / Sin
!" #$" #" %$" %" &$" &" '
LFO Shape
C Bs (C Delay Base Note)
Selects the type of notes to specify the delay time for TapC
☞,
L Delay (L Delay Time) 0.0...680.0ms
a c Times 1...16
Sets the delay time for the left channel

Effect
Sets the number of notes to specify the delay time for TapC ☞
R Delay (R Delay Time) 0.0...680.0ms
b Level 0...50
Sets the delay time for the right channel
Sets the output level of TapC
!" #$" #" %$" %" &$" &" '
L Feedback –100...+100
c R Bs (R Delay Base Note)
Sets the feedback amount for the left channel
Selects the type of notes to specify the delay time for TapR
d
R Feedback –100...+100 ☞,
Sets the feedback amount for the right channel
d Times 1...16
HiDamp (High Damp) 0...100% Sets the number of notes to specify the delay time for TapR ☞
Sets the damping amount in the high range ☞ Fx:43
e Level 0...50
LoDamp (Low Damp) 0...100% Sets the output level of TapR
Sets the damping amount in the low range ☞ Fx:43
C Fb (C Delay Feedback) –100...+100
LFO Wave (LFO Waveform) Tri, Sine Sets the feedback amount of TapC
Selects LFO Waveform
f (Source) Off...Tempo
e
Shape (LFO Shape) –100...+100 Selects the modulation source for the TapC feedback
Determines how much the LFO waveform is changed ☞ Fx:20
(Amount) –100...+100
LFO Phase –180...+180deg Sets the modulation amount of the TapC feedback
g
Sets the LFO phase difference between the left and right ☞ Fx:34
Time Over? > ----, OVER!
Pan Freq (Panning Frequency) 0.02...20.00Hz f Displays an error message when the delay time exceeds the upper
h
Sets the panning speed limit ☞
HiDamp (High Damp) 0...100%
Sets the damping amount in the high range ☞ Fx:43
g
LoDamp (Low Damp) 0...100%
Sets the damping amount in the low range ☞ Fx:43

191
InLvl Mod (Input Level Dmod [%]) –100...+100 Time Over? L > ----, OVER!
Sets the modulation amount of the input level ☞ Fx:37, Display the error message if the left channel delay time exceeds the
h upper limit ☞
Src (Source) Off...Tempo f
Selects the modulation source for the input level ☞ Fx:37 R> ----, OVER!
Display the error message if the right channel delay time exceeds the
Spread 0...50 upper limit ☞
i
Sets the width of the stereo image of the effect sound ☞ Fx:43
HiDamp (High Damp) 0...100%
W/D (Wet/Dly) Dry, 1:99...99:1, Wet Sets the damping amount in the high range ☞ Fx:43
Sets the balance between the effect and dry sounds g
LoDamp (Low Damp) 0...100%
(Source) Off...Tempo Sets the damping amount in the low range ☞ Fx:43
j
Selects the modulation source of the effect balance
InLvl Mod (Input Level Mod [%]) –100...+100
(Amount) –100...+100 Sets the modulation amount of the input level ☞ Fx:37,
Sets the modulation amount of the effect balance h
Src (Source) Off...Tempo
a: BPM, b: L Bs, b: Times, c: C Bs, c: Times, d: R Bs, d: Times Selects the modulation source for the input level ☞ Fx:37
The delay time is the length of the note obtained by multiplying W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds
the “Bs” parameter by the Times value, in relation to the tempo
specified by the “BPM” parameter (or the MIDI Clock tempo if i
(Source) Off...Tempo
“BPM” is set to MIDI). Selects the modulation source of the effect balance
(Amount) –100...+100
f: Time Over? > Sets the modulation amount of the effect balance
You can set the delay time up to 1365msec. If the delay time
exceeds this limit, the error message “OVER!” appears in the dis- f: Time Over? L >, f: R >
play. Set the delay time parameters so that this message will not You can set the delay time up to 682msec. If the delay time
appear. “Time Over?>” is only a display parameter. exceeds this limit, the error message “OVER!” appears in the dis-
play. Set the delay time parameters so that this message will not
appear. "Time Over?>" is only a display parameter.

50: St.BPM Delay


(Stereo BPM Delay) 51: Sequence Dly
This stereo delay enables you to set the delay time to match (Sequence Delay)
the song tempo.
This four-tap delay enables you to select a tempo and rhythm
Stereo In - Stereo Out
Left pattern to set up each tap.
Wet / Dry
High Damp Low Damp
Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out
Delay
Input Level D-mod Left
Wet / Dry
Pan
Feedback

Input Level D-mod High Damp Low Damp Input Level D-mod
Delay

Right + Delay
Wet / Dry
Tempo
High Damp Low Damp
BPM
BPM Base Note x Times Adjust [%]
Feedback
Base Note x Times Adjust [%] Input Level D-mod

Right
Wet / Dry
Tempo
BPM
BPM MIDI, 40...240 BPM
a
Selects MIDI Clock and assigns tempo ☞ Fx:49,
Rythm Pattern
L Bs (L Delay Base Note) !" #$" #" %$" %" &$" &" '
Selects the type of notes to specify the left channel delay time
☞ Fx:49,
Times 1...16 BPM MIDI, 44...240
b Selects MIDI Clock and assigns tempo ☞,
Sets the number of notes to specify the left channel delay time
a
☞ Fx:49 Rhythm (Rhythm Pattern) ! – – – ... # # # 3
Adj (Adjust) –2.50...+2.50% Selects a rhythm pattern ☞,
Fine-adjust the left channel delay time
Tap1 Pan L, 1...99, R
!" #$" #" %$" %" &$" &" '
b
R Bs (R Delay Base Note) Sets the panning of Tap1
Selects the type of notes to specify the right channel delay time
Tap2 Pan L, 1...99, R
☞ Fx:49, c
Sets the panning of Tap2
Times 1...16
c Tap3 Pan L, 1...99, R
Sets the number of notes to specify the right channel delay time d
Sets the panning of Tap3
☞ Fx:49
Tap4 Pan L, 1...99, R
Adj (Adjust) –2.50...+2.50% e
Sets the panning of Tap4
Fine-adjust the right channel delay time
Fb (Feedback) –100...+100
L Fb (L Feedback) –100...+100
Sets the feedback amount
Sets the feedback amount for the left channel
(Source) Off...Tempo
(Source) Off...Tempo f
d Selects the modulation source of feedback amount
Selects the modulation source of feedback amount
(Amount) –100...+100
(Amount L) –100...+100
Sets the modulation amount of the feedback
Sets the modulation amount of the left channel feedback
HiDamp (High Damp) 0...100%
R Fb (R Feedback) –100...+100
Sets the feedback amount for the right channel
Sets the damping amount in the high range ☞ Fx:43
g
e LoDamp (Low Damp) 0...100%
(Amount R) –100...+100
Sets the modulation amount of the right channel feedback
Sets the damping amount in the low range ☞ Fx:43

192
InLvl Mod (Input Level Mod [%]) –100...+100

h
Sets the modulation amount of the input level ☞ Fx:37, Reverb
Src (Source) Off...Tempo
Selects the modulation source for the input level ☞ Fx:37 Reverb effects
W/D (Wet/Dly) Dry, 1:99...99:1, Wet These effects simulate the ambience of reverberation in con-
Sets the balance between the effect and dry sounds
cert halls.
(Source) Off...Tempo
i
Selects the modulation source of the effect balance
(Amount) –100...+100 52: Rev Hall
Sets the modulation amount of the effect balance
(Reverb Hall)
a: BPM, a: Rhythm This hall-type reverb simulates the reverberation of mid-size
With the tempo specified by the “BPM” parameter (or the MIDI concert halls or ensemble halls.
Clock tempo if “BPM” is set to MIDI), the length of one beat
equals the feedback delay time, and the interval between taps
becomes equal. Selecting a rhythm will automatically turn the tap 53: Rev Smth. Hall
outputs on and off. When “BPM” is set to MIDI, the lower limit of
(Reverb Smooth Hall)
the “BPM” is 44.
This hall-type reverb simulates the reverberation of larger
halls and stadiums, and creates a smooth release.

54: Rev Wet Plate


(Reverb Wet Plate)
This plate reverb simulates warm (dense) reverberation.

55: Rev Dry Plate


(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 0.1...10.0s


a
Sets the reverberation time
High Damp 0...100%
b
Sets the damping amount in the high range
Pre Delay 0...200ms
c
Sets the delay time from the dry sound ☞
Pre Delay Thru 0...100%
d
Sets the mix ratio of non-delay sound ☞

Effect
Pre EQ Trim 0...100
e
Sets the EQ input level
LoEQ (Pre Low EQ Gain) –15...+15dB
Sets the gain of Low EQ
f
HiEQ (Pre High EQ Gain) –15...+15dB
Sets the gain of High EQ
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds
(Source) Off...Tempo
g
Selects the modulation source of the effect balance
(Amount) –100...+100
Sets the modulation amount of the effect balance

c: Pre Delay, d: Pre Delay Thru


The “Pre Delay” sets the delay time to the reverb input, allowing
you to control spaciousness.

193
Using the “Pre Delay Thru” parameter, you can mix the dry sound g: ER Level, h: Reverb Level
without delay, emphasizing the attack of the sound. These parameters set the early reflection level and reverb level.
Reverb - Hall / Plate Type
Changing these parameter values allows you to simulate the type
Level Dry of walls in the room. That is, a larger “ER Level” simulates a hard
wall, and a larger “Reverb Level” simulates a soft wall.
Reverb - Room Type

Louder
Reverb
Level Dry ER
Pre Delay Thru
(Early Reflections)
Time

Louder
Reverb
Pre Delay Reverb Time

Time

Pre Delay Thru


Pre Delay Reverb Time

56: Rev Room


(Reverb Room)
This room-type reverb emphasizes the early reflections that
make the sound tighter. Changing the balance between the
early reflections and reverb sound allows you to simulate
nuances, such as the type of walls of a room.

57: Rev Brt. Room


(Reverb Bright Room)
This room-type reverb emphasizes the early reflections that
make the sound brighter. See 56: Reverb Room.

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


Left
Wet / Dry
ER Level
ERs
EQ Trim
Pre Delay Thru
LEQ HEQ
+ Pre Delay Reverb Reverb Level

ERs
EQ Trim ER Level

Right
Wet / Dry

Reverb Time 0.1...3.0sec


a
Sets the reverberation time
High Damp 0...100%
b
Sets the damping amount in the high range
Pre Delay 0...200ms
c
Sets the delay time from the dry sound ☞ Fx:52
Pre Delay Thru 0...100%
d
Sets the mix ratio of non-delay sound ☞ Fx:52
Pre EQ Trim 0...100
e
Sets the EQ input level
LoEQ (Pre Low EQ Gain) –15...+15dB
Sets the gain of Low EQ
f
HiEQ (Pre High EQ Gain) –15...+15dB
Sets the gain of High EQ
ER Level 0...100
g
Sets the level of early reflections ☞
Reverb Level 0...100
h
Sets the reverberation level ☞
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds
(Source) Off...Tempo
i
Selects the modulation source of the effect balance
(Amount) –100...+100
Sets the modulation amount of the effect balance

194
59: P4EQ–Wah
Mono → Mono Chain
(Parametric 4-Band EQ – Wah/ Auto Wah)
Effects that combine two mono effects connected in This effect combines a mono-type four-band parametric
series equalizer and a wah. You can change the order of the connec-
tion.
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

58: P4EQ–Exciter Left


Routing
Wet / Dry
Parametric 4Band EQ Wah/Auto Wah
(Parametric 4-Band EQ – Exciter)
+ Wah
This effect combines a mono-type four-band parametric Trim
equalizer and an exciter.

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


Sweep Mode Wet / Dry
Left Envelope
Wet / Dry Auto
D-mod
Parametric 4Band EQ Exciter D -mod
LFO
LFO

+ Exciter
Trim

[PEQ] Trim 0...100


a
Sets the parametric EQ input level
Right
Wet / Dry B1 (Band1 Cutoff) 20...1.00kHz
Sets the center frequency of Band 1
Q 0.5...10.0
b
a
[PEQ] Trim 0...100 Sets the bandwidth of Band 1 ☞ Fx:06
Sets the parametric EQ input level
G (Gain) –18...+18dB
B1 (Band1 Cutoff) 20...1.00kHz Sets the gain of Band 1
Sets the center frequency of Band 1
B2 (Band2 Cutoff) 50...5.00kHz
Q 0.5...10.0 Sets the center frequency of Band 2
b
Sets the bandwidth of Band 1 ☞ Fx:06
Q 0.5...10.0
c
G (Gain) –18...+18dB Sets the bandwidth of Band 2 ☞ Fx:06
Sets the gain of Band 1
G (Gain) –18...+18dB
B2 (Band2 Cutoff) 50...5.00kHz Sets the gain of Band 2
Sets the center frequency of Band 2
B3 (Band3 Cutoff) 300...10.00kHz
Q 0.5...10.0 Sets the center frequency for Band 3
c
Sets the bandwidth of Band 2 ☞ Fx:06
Q 0.5...10.0
d
G (Gain) –18...+18dB Sets the bandwidth of Band 3 ☞ Fx:06
Sets the gain of Band 2
G (Gain) –18...+18dB
B3 (Band3 Cutoff) 300...10.00kHz Sets the gain of Band 3
Sets the center frequency for Band 3
B4 (Band4 Cutoff) 500...20.00kHz
Q 0.5...10.0 Sets the center frequency for Band 4
d
Sets the bandwidth of Band 3 ☞ Fx:06
Q 0.5...10.0
e
G (Gain) –18...+18dB Sets the bandwidth of Band 4 ☞ Fx:06
Sets the gain of Band 3
G (Gain) –18...+18dB
B4 (Band4 Cutoff) 500...20.00kHz Sets the gain of Band 4
Sets the center frequency for Band 4
[WAH] FreqBtm (Frequency Bottom) 0...100
e
Q 0.5...10.0 Sets the lower limit of the wah center frequency ☞ Fx:09
Sets the bandwidth of Band 4 ☞ Fx:06 f
Top (Frequency Top) 0...100
G (Gain) –18...+18dB Sets the upper limit of the wah center frequency ☞ Fx:09
Sets the gain of Band 4

Effect
Swp Mode (Sweep Mode) Auto, Dmod, LFO
[XCT] Blend (Exciter Blend) –100...+100 Selects the control from auto-wah, modulation source, and LFO
f
Sets the intensity (depth) of the Exciter effect ☞ Fx:11 ☞ Fx:09,
g
Emphatic Point 0...70 Src (Source) Off...Tempo
g
Sets the frequency range to be emphasized ☞ Fx:11 Selects the modulation source for the wah when Sweep Mode=D-
mod
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds lfoF (LFO Frequency) 0.02...20.00Hz
Sets the LFO speed
(Source) Off...Tempo
h
Selects the modulation source of the effect balance Res (Resonance) 0...100
h
Sets the resonance amount
(Amount) –100...+100
Sets the modulation amount of the effect balance LPF (Low Pass Filter) Of, On
Switches the wah low pass filter on and off
[Routing] PEQ → WAH, WAH → PEQ
i
Changes the order of the parametric equalizer and wah connection
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds
(Source) Off...Tempo
j
Selects the modulation source of the effect balance
(Amount) –100...+100
Sets the modulation amount of the effect balance

195
60: P4EQ–Cho/ Fl 61: P4EQ–Phaser
(Parametric 4-Band EQ – Chorus/ Flanger) (Parametric 4-Band EQ – Phaser)
This effect combines a mono-type four-band parametric This effect combines a mono-type four-band parametric
equalizer and a chorus/flanger. equalizer and a phaser.

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

+ Chorus/Flanger + Phaser
Trim Normal Trim Normal
+ Output Mode + Output Mode
– –
Feedback Wet Invert Wet Invert
Resonance
Cho/Flng Wet / Dry Phaser Wet / Dry
Right Right
Wet / Dry Wet / Dry
LFO: Tri / Sine LFO: Tri / Sine

[PEQ] Trim 0...100


a [PEQ] Trim 0...100
Sets the parametric EQ input level a
Sets the parametric EQ input level
B1 (Band1 Cutoff) 20...1.00kHz
B1 (Band1 Cutoff) 20...1.00kHz
Sets the center frequency of Band 1
Sets the center frequency of Band 1
Q 0.5...10.0
b Q 0.5...10.0
Sets the bandwidth of Band 1 ☞ Fx:06 b
Sets the bandwidth of Band 1 ☞ Fx:06
G (Gain) –18...+18dB
G (Gain) –18...+18dB
Sets the gain of Band 1
Sets the gain of Band 1
B2 (Band2 Cutoff) 50...5.00kHz
B2 (Band2 Cutoff) 50...5.00kHz
Sets the center frequency of Band 2
Sets the center frequency of Band 2
Q 0.5...10.0
c Q 0.5...10.0
Sets the bandwidth of Band 2 ☞ Fx:06 c
Sets the bandwidth of Band 2 ☞ Fx:06
G (Gain) –18...+18dB
G (Gain) –18...+18dB
Sets the gain of Band 2
Sets the gain of Band 2
B3 (Band3 Cutoff) 300...10.00kHz
B3 (Band3 Cutoff) 300...10.00kHz
Sets the center frequency for Band 3
Sets the center frequency for Band 3
Q 0.5...10.0
d Q 0.5...10.0
Sets the bandwidth of Band 3 ☞ Fx:06 d
Sets the bandwidth of Band 3 ☞ Fx:06
G (Gain) –18...+18dB
G (Gain) –18...+18dB
Sets the gain of Band 3
Sets the gain of Band 3
B4 (Band4 Cutoff) 500...20.00kHz
B4 (Band4 Cutoff) 500...20.00kHz
Sets the center frequency for Band 4
Sets the center frequency for Band 4
Q 0.5...10.0
e Q 0.5...10.0
Sets the bandwidth of Band 4 ☞ Fx:06 e
Sets the bandwidth of Band 4 ☞ Fx:06
G (Gain) –18...+18dB
G (Gain) –18...+18dB
Sets the gain of Band 4
Sets the gain of Band 4
[CH/FL] LFO (LFO Waveform) Tri, Sine
[PHS] LFO (LFO Waveform) Tri, Sine
Selects the LFO waveform of the chorus/flanger
f Selects the LFO waveform of the phaser
F (LFO Frequency) 0.02...20.00Hz f
F (LFO Frequency) 0.02...20.00Hz
Sets the LFO speed
Sets the LFO speed
Dly (Delay Time) 0.0...50.0ms
Manu (Manual) 0...100
Sets the delay time
Sets the frequency to which the effect is applied
Dep (Depth) 0...100
g Dep (Depth) 0...100
Sets the depth of LFO modulation g
Sets the depth of LFO modulation
Fb (Feedback) –100...+100
Res (Resonance) –100...+100
Sets the feedback amount ☞ Fx:20 Sets the resonance amount ☞ Fx:23
C/F W/D (Cho/Flng Wet/Dry) –Wet...–2:98, Dry, 2:98...Wet
Phs W/D (Phaser Wet/Dry) –Wet...–2:98, Dry, 2:98...Wet
Sets the effect balance of the chorus/flanger ☞ Fx:10, 20 Sets the phaser effect balance ☞ Fx:10, 23
h
Out (Output Mode) Normal, Wet Inv h
Output Mode Normal, Wet Inv
Selects the output mode for the chorus/flanger ☞ Selects the phaser output mode ☞ Fx:60
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds
Sets the balance between the effect and dry sounds
(Source) Off...Tempo
i (Source) Off...Tempo
Selects the modulation source of the effect balance i
Selects the modulation source of the effect balance
(Amount) –100...+100
(Amount) –100...+100
Sets the modulation amount of the effect balance
Sets the modulation amount of the effect balance

h: Out
When Wet Inv is selected, the right channel phase of the chorus/
flanger effect sound is inverted. This creates pseudo-stereo effects
and adds spread.
However, if a mono-input type effect is connected after this effect,
the left and right sounds may cancel each other, eliminating the
chorus/flanger effects.

196
62: P4EQ–M.Dly 63: Comp–Wah
(Parametric 4-Band EQ – Multitap Delay) (Compressor – Wah/ Auto Wah)
This effect combines a mono-type four-band parametric This effect combines a mono-type compressor and a wah. You
equalizer and a multitap delay. can change the order of the connection.

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

Left Left
Wet / Dry Routing Wet / Dry
Parametric 4Band EQ Multitap Delay Compressor Wah/Auto Wah

Feedback EQ Trim LEQ HEQ


+ Delay + Comp Wah
(2)
Trim High Damp (1) Output Level
Mt.Dly Wet / Dry

Right Right
Sweep Mode Wet / Dry
Wet / Dry Envelope - Control Envelope
Auto
D-mod
D -mod
LFO
LFO
[PEQ] Trim 0...100
a
Sets the parametric EQ input level
B1 (Band1 Cutoff) 20...1.00kHz [CMP] Sensitivity 1...100
Sets the center frequency of Band 1 a
Sets the sensitivity ☞ Fx:02
Q 0.5...10.0 Attack 1...100
b
Sets the bandwidth of Band 1 ☞ Fx:06 Sets the attack level ☞ Fx:02
b
G (Gain) –18...+18dB Level (Output Level) 0...100
Sets the gain of Band 1 Sets the compressor output level ☞ Fx:02
B2 (Band2 Cutoff) 50...5.00kHz Pre EQ Trim 0...100
Sets the center frequency of Band 2 c
Sets the EQ input level
Q 0.5...10.0 LoEQ (Pre Low EQ Gain) –15...+15dB
c
Sets the bandwidth of Band 2 ☞ Fx:06 Sets the gain of Low EQ
d
G (Gain) –18...+18dB HiEQ (Pre High EQ Gain) –15...+15dB
Sets the gain of Band 2 Sets the gain of High EQ
B3 (Band3 Cutoff) 300...10.00kHz [WAH] FreqBtm (Frequency Bottom) 0...100
Sets the center frequency for Band 3 Sets the lower limit of the wah center frequency ☞ Fx:09
e
Q 0.5...10.0 Top (Frequency Top) 0...100
d
Sets the bandwidth of Band 3 ☞ Fx:06 Sets the upper limit of the wah center frequency ☞ Fx:09
G (Gain) –18...+18dB Swp Mode (Sweep Mode) Auto, Dmod, LFO
Sets the gain of Band 3 Selects the control from auto-wah, modulation source, and LFO
B4 (Band4 Cutoff) 500...20.00kHz f ☞ Fx:09,
Sets the center frequency for Band 4 Src (Source) Off...Tempo
Q 0.5...10.0 Selects the modulation source for the wah when Swp Mode=Dmod
e
Sets the bandwidth of Band 4 ☞ Fx:06 lfoF (LFO Frequency) 0.02...20.00Hz
G (Gain) –18...+18dB Sets the LFO speed
Sets the gain of Band 4 Res (Resonance) 0...100
g
[DLY] T1 (Tap1 Delay) 0...680ms Sets the resonance amount
Sets the Tap1 delay time LPF (Low Pass Filter) Of, On
f
T2 (Tap2 Delay) 0...680ms Switches the wah low pass filter on and off
Sets the Tap2 delay time [Routing] CMP → WAH, WAH → CMP
h
T1 Level (Tap1 Level) 0...100 Switches the order of the compressor and wah connection
Sets the Tap1 output level ☞ Fx:45 W/D (Wet/Dly) Dry, 1:99...99:1, Wet
g
T2 Fb (Tap2 Feedback) –100...+100 Sets the balance between the effect and dry sounds
Sets the Tap2 feedback amount (Source) Off...Tempo

Effect
i
Dly W/D (Delay Wet/Dry) Dry, 2:98...98:2, Wet Selects the modulation source of the effect balance
Sets the multitap delay effect balance (Amount) –100...+100
h
HiDamp (High Damp) 0...100% Sets the modulation amount of the effect balance
Sets the damping amount in the high range ☞ Fx:43
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds
(Source) Off...Tempo
i
Selects the modulation source of the effect balance
(Amount) –100...+100
Sets the modulation amount of the effect balance

197
64: Comp–AmpSim Level (Output Level) 0...50
Sets the overdrive output level ☞ Fx:06,
(Compressor – Amp Simulation) (Source) Off...Tempo
d
Selects the modulation source for the overdrive output level
This effect combines a mono-type compressor and an amp
simulation. You can change the order of the effect connection. (Amount) –50...+50
Sets the modulation amount of the overdrive output level

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Lo (Low Cutoff) 20...1.00kHz
Left Sets the center frequency for Low EQ (shelving type)
Routing Wet / Dry e
Compressor Amp Simulation G (Gain) –18...+18dB
Sets the gain of Low EQ
EQ Trim LEQ HEQ
+ Comp Amp Simulation Filter M1 (Mid1 Cutoff) 300...10.00kHz
Output Level Sets the center frequency for Mid/High EQ 1 (peaking type)
Q 0.5...10.0
f
Right
Sets the band width of Mid/High EQ 1 ☞ Fx:06
Wet / Dry
Envelope - Control G (Gain) –18...+18dB
Sets the gain of Mid/High EQ 1
M2 (Mid2 Cutoff) 500...20.00kHz
[CMP] Sensitivity 1...100 Sets the center frequency for Mid/High EQ 2 (peaking type)
a
Sets the sensitivity ☞ Fx:02 Q 0.5...10.0
g
Attack 1...100 Sets the band width of Mid/High EQ 2 ☞ Fx:06
Sets the attack level ☞ Fx:02 G (Gain) –18...+18dB
b Sets the gain of Mid/High EQ 2
Level (Output Level) 0...100
Sets the compressor output level ☞ Fx:02 [Routing] CMP → OD, OD → CMP
h
Pre EQ Trim 0...100 Switches the order of the compressor and overdrive connection
c
Sets the EQ input level W/D (Wet/Dly) Dry, 1:99...99:1, Wet
LoEQ (Pre Low EQ Gain) –15...+15dB Sets the balance between the effect and dry sounds
Sets the gain of Low EQ (Source) Off...Tempo
d i
HiEQ (Pre High EQ Gain) –15...+15dB Selects the modulation source of the effect balance
Sets the gain of High EQ (Amount) –100...+100
[AMP] Amplifier Type SS, EL84, 6L6 Sets the modulation amount of the effect balance
e
Selects the type of guitar amplifier
[Routing] CMP → AMP, AMP → CMP
f Switches the order of the compressor and amp simulation connec-
tion 66: Comp–P4EQ
W/D (Wet/Dly) Dry, 1:99...99:1, Wet (Compressor – Parametric 4-Band EQ)
Sets the balance between the effect and dry sounds
(Source) Off...Tempo This effect combines a mono-type compressor and a four-
g
Selects the modulation source of the effect balance band parametric equalizer. You can change the order of the
(Amount) –100...+100 effect connection.
Sets the modulation amount of the effect balance
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Left
Routing Wet / Dry
Compressor Parametric 4Band EQ
65: Comp–OD/ HG
+ Comp
(Compressor – Overdrive/ Hi.Gain) Output Level
Trim

This effect combines a mono-type compressor and an over-


drive/high-gain distortion. You can change the order of the Right
Wet / Dry
Envelope - Control
effect connection.

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


Left
Wet / Dry [CMP] Sensitivity 1...100
Routing a
Compressor Overdrive / Hi-Gain Sets the sensitivity ☞ Fx:02
3 Band PEQ
Attack 1...100
+ Comp Driver Sets the attack level ☞ Fx:02
Output Level
b
Output Level
Level (Output Level) 0...100
Mode: Overdrive / Hi-Gain
Drive
Sets the compressor output level ☞ Fx:02
Right [PEQ] Trim 0...100
Wet / Dry c
Envelope - Control Sets the parametric EQ input level
[Routing] CMP → PEQ, PEQ → CMP
d
Switches the order of the compressor and parametric EQ connection
[CMP] Sensitivity 1...100 B1 (Band1 Cutoff) 20...1.00kHz
a
Sets the sensitivity ☞ Fx:02 Sets the center frequency of Band 1
Attack 1...100 Q 0.5...10.0
e
Sets the attack level ☞ Fx:02 Sets the bandwidth of Band 1 ☞ Fx:06
b
Level (Output Level) 0...100 G (Gain) –18...+18dB
Sets the compressor output level ☞ Fx:02 Sets the gain of Band 1
[OD] Mode (Drive Mode) OverD, Hi-Gain B2 (Band2 Cutoff) 50...5.00kHz
Switches between overdrive and high-gain distortion Sets the center frequency of Band 2
c
Drive 1...100 Q 0.5...10.0
f
Sets the degree of distortion ☞ Fx:06 Sets the bandwidth of Band 2 ☞ Fx:06
G (Gain) –18...+18dB
Sets the gain of Band 2

198
g: Out, h: [Routing]
C/F W/D (Cho/Flng Wet/Dry) 300...10.00kHz
Sets the center frequency for Band 3 When Wet Inv is selected, the right channel phase of the chorus/
Q 0.5...10.0
flanger effect sound is inverted. This creates pseudo-stereo effects
g and adds spread.
Sets the bandwidth of Band 3 ☞ Fx:06
However, if a mono-input type effect is connected after this effect,
G (Gain) –18...+18dB
Sets the gain of Band 3 the left and right sounds may cancel each other, eliminating the
chorus/flanger effects.
B4 (Band4 Cutoff) 500...20.00kHz
Sets the center frequency for Band 4 When “[Routing]” is set to CH/FL→CMP, “Out” will be set to
Normal.
Q 0.5...10.0
h
Sets the bandwidth of Band 4 ☞ Fx:06
G (Gain) –18...+18dB
Sets the gain of Band 4
68: Comp–Phaser
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds (Compressor – Phaser)
(Source) Off...Tempo
i This effect combines a mono-type compressor and a phaser.
Selects the modulation source of the effect balance
(Amount) –100...+100
You can change the order of the effect connection.
Sets the modulation amount of the effect balance
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
Left
Routing Wet / Dry
Compressor Phaser

67: Comp–Cho/ Fl EQ Trim LEQ HEQ


+ Comp Phaser
(Compressor – Chorus/ Flanger) Output Level +
Normal
Output Mode

Resonance Wet Invert
This effect combines a mono-type compressor and a chorus/ Phaser Wet / Dry

flanger. You can change the order of the effect connection. Right
Wet / Dry
Envelope - Control LFO: Tri / Sine

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


Left
Routing Wet / Dry
Compressor Chorus/Flanger [CMP] Sensitivity 1...100
a
Sets the sensitivity ☞ Fx:02
EQ Trim LEQ HEQ
+ Comp Chorus/Flanger Attack 1...100
Output Level +
Normal
Output Mode
Sets the attack level ☞ Fx:02
– b
Wet Invert
Feedback
Cho/Flng Wet / Dry
Level (Output Level) 0...100
Sets the compressor output level ☞ Fx:02
Right
Wet / Dry
Envelope - Control LFO: Tri / Sine Pre EQ Trim 0...100
c
Sets the EQ input level
LoEQ (Pre Low EQ Gain) –15...+15dB
Sets the gain of Low EQ
[CMP] Sensitivity 1...100 d
a
Sets the sensitivity ☞ Fx:02 HiEQ (Pre High EQ Gain) –15...+15dB
Sets the gain of High EQ
Attack 1...100
Sets the attack level ☞ Fx:02 [PHS] LFO (LFO Waveform) Tri, Sine
b Selects the LFO waveform of the phaser
Level (Output Level) 0...100 e
Sets the compressor output level ☞ Fx:02 F (LFO Frequency) 0.02...20.00Hz
Sets the LFO speed
Pre EQ Trim 0...100
c
Sets the EQ input level Manu (Manual) 0...100
Sets the frequency to which the effect is applied
LoEQ (Pre Low EQ Gain) –15...+15dB
Sets the gain of Low EQ Dep (Depth) 0...100
d f
Sets the depth of LFO modulation
HiEQ (Pre High EQ Gain) –15...+15dB
Sets the gain of High EQ Res (Resonance) –100...+100
Sets the resonance amount ☞ Fx:23

Effect
[CH/FL] LFO (LFO Waveform) Tri, Sine
Selects the LFO waveform of the chorus/flanger Phs W/D (Phaser Wet/Dry) –Wet...–2:98, Dry, 2:98...Wet
e Sets the phaser effect balance ☞ Fx:10, 23
F (LFO Frequency) 0.02...20.00Hz g
Sets the LFO speed Out (Output Mode) Normal, Wet Inv
Selects the phaser output mode ☞ Fx:67
Dly (Delay Time) 0.0...50.0ms
Sets the delay time [Routing] CMP→PHS, PHS→CMP
h Switches the order of the compressor and phaser connection
Dep (Depth) 0...100
f ☞ Fx:67
Sets the depth of LFO modulation
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Fb (Feedback) –100...+100
Sets the balance between the effect and dry sounds
Sets the feedback amount ☞ Fx:20
(Source) Off...Tempo
[F] Cho/Flng W/D –Wet...–2:98, Dry, 2:98...Wet i
Selects the modulation source of the effect balance
Sets the effect balance of the chorus/flanger ☞ Fx:10, 20
g (Amount) –100...+100
Out (Output Mode) Normal, Wet Inv
Sets the modulation amount of the effect balance
Selects the output mode for the chorus/flanger ☞
[Routing] CMP → CF/FL, CH/FL → CMP
h Switches the order of the compressor and chorus/flanger connection

W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds
(Source) Off...Tempo
i
Selects the modulation source of the effect balance
(Amount) –100...+100
Sets the modulation amount of the effect balance

199
69: Comp–M.Dly 70: Limit–P4EQ
(Compressor – Multitap Delay) (Limiter – Parametric 4-Band EQ)
This effect combines a mono-type compressor and a multitap This effect combines a mono-type limiter and a four-band
delay. You can change the order of the effect connection. parametric equalizer. You can change the order of the effect
connection.
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Left
Routing Wet / Dry Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Compressor Multitap Delay Left
Routing Wet / Dry
Limiter Parametric 4Band EQ
EQ Trim LEQ HEQ Feedback
+ Comp Delay
(2)
High Damp (1)
Output Level Mt.Dly Wet / Dry + Limiter
Trim
Gain Adjust

Right
Wet / Dry
Envelope - Control
Right
Wet / Dry
Envelope - Control

[CMP] Sensitivity 1...100


a
Sets the sensitivity ☞ Fx:02 [LMT] Ratio 1.0:1...50.0:1, Inf:1
a
Attack 1...100 Sets the signal compression ratio ☞ Fx:03
Sets the attack level ☞ Fx:02 Threshld (Threshold) –40...0dB
b
Level (Output Level) 0...100 Sets the level above which the compressor is applied ☞ Fx:03
b
Sets the compressor output level ☞ Fx:02 G.Adj (Gain Adjust) –Inf, –38...+24dB
Pre EQ Trim 0...100 Sets the limiter output gain ☞ Fx:03
c
Sets the EQ input level Attack 1...100
LoEQ (Pre Low EQ Gain) –15...+15dB Sets the attack time ☞ Fx:03
c
Sets the gain of Low EQ Release 1...100
d
HiEQ (Pre High EQ Gain) –15...+15dB Sets the release time ☞ Fx:03
Sets the gain of High EQ [PEQ] Trim 0...100
d
[DLY] T1 (Tap1 Delay) 0...680msec Sets the parametric EQ input level
Sets the Tap1 delay time [Routing] LMT→PEQ, PEQ→LMT
e e
T2 (Tap2 Delay) 0...680msec Switches the order of the limiter and parametric EQ connection
Sets the Tap2 delay time B1 (Band1 Cutoff) 20...1.00kHz
T1 Level (Tap1 Level) 0...100 Sets the center frequency of Band 1
Sets the Tap1 output level ☞ Fx:45 Q 0.5...10.0
f f
T2 (Tap2 Delay) –100...+100 Sets the bandwidth of Band 1 ☞ Fx:06
Sets the Tap2 feedback amount G (Gain) –18...+18dB
Dly W/D (Delay Wet/Dry) Dry, 1:99...99:1, Wet Sets the gain of Band 1
Sets the multitap delay effect balance B2 (Band2 Cutoff) 50...5.00kHz
g
HiDamp (High Damp) 0...100% Sets the center frequency of Band 2
Sets the damping amount in the high range ☞ Fx:43 Q 0.5...10.0
g
[Routing] CMP→DLY, DLY→CMP Sets the bandwidth of Band 2 ☞ Fx:06
h
Switches the order of the compressor and multitap delay connection G (Gain) –18...+18dB
W/D (Wet/Dly) Dry, 1:99...99:1, Wet Sets the gain of Band 2
Sets the balance between the effect and dry sounds B3 (Band3 Cutoff) 300...10.00kHz
(Source) Off...Tempo Sets the center frequency for Band 3
i
Selects the modulation source of the effect balance Q 0.5...10.0
h
(Amount) –100...+100 Sets the bandwidth of Band 3 ☞ Fx:06
Sets the modulation amount of the effect balance G (Gain) –18...+18dB
Sets the gain of Band 3
B4 (Band4 Cutoff) 500...20.00kHz
Sets the center frequency for Band 4
Q 0.5...10.0
i
Sets the bandwidth of Band 4 ☞ Fx:06
G (Gain) –18...+18dB
Sets the gain of Band 4
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds
(Source) Off...Tempo
j
Selects the modulation source of the effect balance
(Amount) –100...+100
Sets the modulation amount of the effect balance

200
71: Limit–Cho/ Fl 72: Limit–Phaser
(Limiter – Chorus/ Flanger) (Limiter – Phaser)
This effect combines a mono-type limiter and a chorus/ This effect combines a mono-type limiter and a phaser. You
flanger. You can change the order of the effect connection. can change the order of the effect connection.

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
Left Left
Wet / Dry Routing Wet / Dry
Routing
Limiter Chorus/Flanger Limiter Phaser

+ Limiter Chorus/Flanger + Limiter Phaser


EQ Trim LEQ HEQ Normal Normal
+ Gain Adjust + Output Mode
Output Mode
Gain Adjust – –
Feedback Wet Invert Resonance Wet Invert
Cho/Flng Wet / Dry Phaser Wet / Dry

Right Right
Wet / Dry Wet / Dry
Envelope - Control LFO: Tri / Sine Envelope - Control LFO: Tri / Sine

[LMT] Ratio 1.0:1...50.0:1, Inf:1 [LMT] Ratio 1.0:1...50.0:1, Inf:1


a a
Sets the signal compression ratio ☞ Fx:03 Sets the signal compression ratio ☞ Fx:03
Threshld (Threshold) –40...0dB Threshld (Threshold) –40...0dB
Sets the level above which the compressor is applied ☞ Fx:03 Sets the level above which the compressor is applied ☞ Fx:03
b b
G.Adj (Gain Adjust) –Inf, –38...+24dB G.Adj (Gain Adjust) –Inf, –38...+24dB
Sets the limiter output gain ☞ Fx:03 Sets the limiter output gain ☞ Fx:03
Attack 1...100 Attack 1...100
Sets the attack time ☞ Fx:03 Sets the attack time ☞ Fx:03
c c
Release 1...100 Release 1...100
Sets the release time ☞ Fx:03 Sets the release time ☞ Fx:03
[CH/FL] LFO (LFO Waveform) Tri, Sine [PHS] LFO (LFO Waveform) Tri, Sine
Selects the LFO waveform of the chorus/flanger Selects the LFO waveform of the phaser
d d
F (LFO Frequency) 0.02...20.00Hz F (LFO Frequency) 0.02...20.00Hz
Sets the LFO speed Sets the LFO speed
Dly (Delay Time) 0.0...50.0ms Manu (Manual) 0...100
Sets the delay time Sets the frequency to which the effect is applied
Dep (Depth) 0...100 Dep (Depth) 0...100
e e
Sets the depth of LFO modulation Sets the depth of LFO modulation
Feedback –100...+100 Resonance –100...+100
Sets the feedback amount ☞ Fx:20 Sets the resonance amount ☞ Fx:23
[F] EQ Trim 0...100 [P] Phaser W/D –Wet...–2:98, Dry, 2:98...Wet
f
Sets the EQ input level Sets the phaser effect balance ☞ Fx:10, 23
f
[F] Pre LEQ Gain [dB] –15...+15dB Output Mode Normal, Wet Inv
Sets the gain of Low EQ Selects the phaser output mode ☞ Fx:67
g
Pre HEQ Gain [dB] –15...+15dB Routing LMT→PHS, PHS→LMT
g
Sets the gain of High EQ Switches the order of the limiter and phaser connection ☞ Fx:67
[F] Cho/Flng W/D –Wet...–2:98, Dry, 2:98...Wet W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the effect balance of the chorus/flanger ☞ Fx:10, 20 Sets the balance between the effect and dry sounds
h
Output Mode Normal, Wet Inv (Source) Off...Tempo
h
Selects the output mode for the chorus/flanger ☞ Fx:67 Selects the modulation source of the effect balance
Routing LMT→CH/FL, CH/FL→LMT (Amount) –100...+100
i Switches the order of the limiter and chorus/flanger connection Sets the modulation amount of the effect balance
☞ Fx:67

Effect
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds
(Source) Off...Tempo
j
Selects the modulation source of the effect balance
(Amount) –100...+100
Sets the modulation amount of the effect balance

201
73: Limit–M.Dly c
Pre EQ Trim 0...100
Sets the EQ input level
(Limiter – Multitap Delay) LoEQ (Pre Low EQ Gain) –15...+15dB
Sets the gain of Low EQ
This effect combines a mono-type limiter and a multitap d
delay. You can change the order of the effect connection. HiEQ (Pre High EQ Gain) –15...+15dB
Sets the gain of High EQ
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out [CMP] Sensitivity 1...100
e
Left
Wet / Dry
Sets the sensitivity ☞ Fx:02
Routing
Limiter Multitap Delay Attack 1...100
Sets the attack level ☞ Fx:02
Feedback f
+ Limiter Delay Level (Output Level) 0...100
(2)
Gain Adjust High Damp (1)
Mt.Dly Wet / Dry
Sets the compressor output level ☞ Fx:02
[Routing] XCT→CMP, CMP→XCT
g
Right
Switches the order of the exciter and compressor connection
Wet / Dry
Envelope - Control W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds
(Source) Off...Tempo
h
Selects the modulation source of the effect balance
[LMT] Ratio 1.0:1...50.0:1, Inf:1
a
Sets the signal compression ratio ☞ Fx:03 (Amount) –100...+100
Sets the modulation amount of the effect balance
Threshld (Threshold) –40...0dB
Sets the level above which the compressor is applied ☞ Fx:03
b
G.Adj (Gain Adjust) –Inf, –38...+24dB
Sets the limiter output gain ☞ Fx:03
Attack 1...100
75: Exct–Limiter
Sets the attack time ☞ Fx:03 (Exciter – Limiter)
c
Release 1...100
Sets the release time ☞ Fx:03 This effect combines a mono-type exciter and a limiter. You
[DLY] T1 (Tap1 Delay) 0...680ms
can change the order of the effect connection.
Sets the Tap1 delay time
d Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
T2 (Tap2 Delay) 0...680ms Left
Sets the Tap2 delay time Routing Wet / Dry
Exciter Limiter
T1 Level (Tap1 Level) 0...100
Sets the Tap1 output level ☞ Fx:45 EQ Trim LEQ HEQ
e + Exciter Limiter
T2 Fb (Tap2 Feedback) –100...+100 Gain Adjust
Sets the Tap2 feedback amount
Dly W/D (Delay Wet/Dry) Dry, 1:99...99:1, Wet
Right
Sets the multitap delay effect balance Wet / Dry
f Envelope - Control
HiDamp (High Damp) 0...100%
Sets the damping amount in the high range ☞ Fx:43
[Routing] LMT→DLY, DLY→LMT [XTC] Blend (Exciter Blend) –100...+100
g a
Switches the order of the limiter and multitap delay connection Sets the intensity (depth) of the Exciter effect ☞ Fx:11
W/D (Wet/Dly) Dry, 1:99...99:1, Wet Emphatic Point 0...70
b
Sets the balance between the effect and dry sounds Sets the frequency range to be emphasized ☞ Fx:11
(Source) Off...Tempo Pre EQ Trim 0...100
h c
Selects the modulation source of the effect balance Sets the EQ input level
(Amount) –100...+100 LoEQ (Pre Low EQ Gain) –15...+15dB
Sets the modulation amount of the effect balance Sets the gain of Low EQ
d
HiEQ (Pre High EQ Gain) –15...+15dB
Sets the gain of High EQ
[LMT] Ratio 1.0:1...50.0:1, Inf:1
74: Exct–Comp e
Sets the signal compression ratio ☞ Fx:03
(Exciter – Compressor) Threshld (Threshold) –40...0dB
Sets the level above which the compressor is applied ☞ Fx:03
f
This effect combines a mono-type exciter and a compressor. G.Adj (Gain Adjust) –Inf, –38...+24dB
You can change the order of the effect connection. Sets the limiter output gain ☞ Fx:03
Attack 1...100
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Sets the attack time ☞ Fx:03
Left g
Routing Wet / Dry Release 1...100
Exciter Compressor Sets the release time ☞ Fx:03
EQ Trim LEQ HEQ [Routing] XCT→LMT, LMT→XCT
+ h
Exciter Comp Switches the order of the exciter and limiter connection
Output Level
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds
Right (Source) Off...Tempo
Wet / Dry
Envelope - Control i
Selects the modulation source of the effect balance
(Amount) –100...+100
Sets the modulation amount of the effect balance
[XTC] Blend (Exciter Blend) –100...+100
a
Sets the intensity (depth) of the Exciter effect ☞ Fx:11
Emphatic Point 0...70
b
Sets the frequency range to be emphasized ☞ Fx:11

202
76: Exct–Cho/ Fl LoEQ (Pre Low EQ Gain) –15...+15dB
Sets the gain of Low EQ
(Exciter – Chorus/ Flanger) d
HiEQ (Pre High EQ Gain) –15...+15dB
Sets the gain of High EQ
This effect combines a mono-type limiter and a chorus/
flanger. [PHS] LFO (LFO Waveform) Tri, Sine
Selects the LFO waveform of the phaser
e
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out F (LFO Frequency) 0.02...20.00Hz
Left Sets the LFO speed
Wet / Dry

Exciter Chorus/Flanger Manu (Manual) 0...100


Sets the frequency to which the effect is applied
EQ Trim LEQ HEQ
+ Exciter Chorus/Flanger Dep (Depth) 0...100
Normal f
+ Output Mode
Sets the depth of LFO modulation

Wet Invert
Feedback
Cho/Flng Wet / Dry
Res (Resonance) –100...+100
Sets the resonance amount ☞ Fx:23
Right
Wet / Dry
LFO: Tri / Sine Phs W/D (Phaser Wet/Dry) –Wet...–2:98, Dry, 2:98...Wet
Sets the phaser effect balance ☞ Fx:10, 23
g
Out (Output Mode) Normal, Wet Inv
[XCT] Blend (Exciter Blend) –100...+100 Selects the phaser output mode ☞ Fx:60
a
Sets the intensity (depth) of the Exciter effect ☞ Fx:11 W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Emphatic Point 0...70 Sets the balance between the effect and dry sounds
b
Sets the frequency range to be emphasized ☞ Fx:11 (Source) Off...Tempo
h
Pre EQ Trim 0...100 Selects the modulation source of the effect balance
c
Sets the EQ input level
(Amount) –100...+100
LoEQ (Pre Low EQ Gain) –15...+15dB Sets the modulation amount of the effect balance
Sets the gain of Low EQ
d
HiEQ (Pre High EQ Gain) –15...+15dB
Sets the gain of High EQ
[CH/FL] LFO (LFO Waveform) Tri, Sine
78: Exct–M.Dly
Selects the LFO waveform of the chorus/flanger
e (Exciter – Multitap Delay)
F (LFO Frequency) 0.02...20.00Hz
Sets the LFO speed This effect combines a mono-type exciter and a multitap
Dly (Delay Time) 0.0...50.0ms delay.
Sets the delay time
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Dep (Depth) 0...100
f Left
Sets the depth of LFO modulation Wet / Dry
Exciter Multitap Delay
Fb (Feedback) –100...+100
Sets the feedback amount ☞ Fx:20 EQ Trim LEQ HEQ Feedback
+ Exciter Delay
(2)
C/F W/D (Cho/Flng Wet/Dry) –Wet...–2:98, Dry, 2:98...Wet High Damp (1)
Sets the effect balance of the chorus/flanger ☞ Fx:10, 20 Mt.Dly Wet / Dry
g
Out (Output Mode) Normal, Wet Inv
Selects the output mode for the chorus/flanger ☞ Fx:60 Right
Wet / Dry

W/D (Wet/Dly) Dry, 1:99...99:1, Wet


Sets the balance between the effect and dry sounds
(Source) Off...Tempo [XCT] Blend (Exciter Blend) –100...+100
h a
Selects the modulation source of the effect balance Sets the intensity (depth) of the Exciter effect ☞ Fx:11
(Amount) –100...+100 Emphatic Point 0...70
b
Sets the modulation amount of the effect balance Sets the frequency range to be emphasized ☞ Fx:11
Pre EQ Trim 0...100
c
Sets the EQ input level
LoEQ (Pre Low EQ Gain) –15...+15dB
77: Exct–Phaser

Effect
Sets the gain of Low EQ
d
HiEQ (Pre High EQ Gain) –15...+15dB
(Exciter – Phaser) Sets the gain of High EQ
This effect combines a mono-type limiter and a phaser. [DLY] T1 (Tap1 Delay) 0...680ms
Sets the Tap1 delay time
e
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
T2 (Tap2 Delay) 0...680ms
Left
Wet / Dry Sets the Tap2 delay time
Exciter Phaser T1 Level (Tap1 Level) 0...100
EQ Trim LEQ HEQ
Sets the Tap1 output level ☞ Fx:45
+ f
Exciter Phaser T2 Fb (Tap2 Feedback) –100...+100
Normal
+

Output Mode Sets the Tap2 feedback amount
Resonance Wet Invert
Phaser Wet / Dry Dly W/D (Delay Wet/Dry) Dry, 1:99...99:1, Wet
Right Sets the multitap delay effect balance
Wet / Dry g
LFO: Tri / Sine
HiDamp (High Damp) 0...100%
Sets the damping amount in the high range ☞ Fx:43
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
[XCT] Blend (Exciter Blend) –100...+100 Sets the balance between the effect and dry sounds
a
Sets the intensity (depth) of the Exciter effect ☞ Fx:11 (Source) Off...Tempo
h
Emphatic Point 0...70 Selects the modulation source of the effect balance
b
Sets the frequency range to be emphasized ☞ Fx:11 (Amount) –100...+100
Pre EQ Trim 0...100 Sets the modulation amount of the effect balance
c
Sets the EQ input level

203
79: OD/ HG–AmpSim 80: OD/ HG–Cho/ Fl
(Overdrive/ Hi.Gain – Amp Simulation) (Overdrive/ Hi.Gain – Chorus/ Flanger)
This effect combines a mono-type overdrive/high-gain dis- This effect combines a mono-type overdrive/high-gain dis-
tortion and an amp simulation. You can change the order of tortion and a chorus/flanger. You can change the order of the
the effect connection. effect connection.

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
Left Left
Routing Wet / Dry Wet / Dry
Routing
Overdrive / Hi-Gain Amp Simulation Overdrive / Hi-Gain Chorus/Flanger

3 Band PEQ 3 Band PEQ


+ Driver Amp Simulation Filter + Driver Chorus/Flanger
Output Level Normal
Output Level + Output Mode

Mode: Overdrive / Hi-Gain Feedback Wet Invert
Mode: Overdrive / Hi-Gain
Drive Drive Cho/Flng Wet / Dry
Right
Wet / Dry Right
Wet / Dry
LFO: Tri / Sine

[OD] Mode (Drive Mode) OverD, Hi-Gain


Switches between overdrive and high-gain distortion [OD] Mode (Drive Mode) OverD, Hi-Gain
a Switches between overdrive and high-gain distortion
Drive 1...100 a
Sets the degree of distortion ☞ Fx:06 Drive 1...100
Sets the degree of distortion ☞ Fx:06
Level (Output Level) 0...50
Sets the overdrive output level ☞ Fx:06, Level (Output Level) 0...50
Sets the overdrive output level ☞ Fx:06,
(Source) Off...Tempo
b
Selects the modulation source for the overdrive output level (Source) Off...Tempo
b
Selects the modulation source for the overdrive output level
(Amount) –50...+50
Sets the modulation amount of the overdrive output level (Amount) –50...+50
Sets the modulation amount of the overdrive output level
Lo (Low Cutoff) 20...1.00kHz
Sets the center frequency for Low EQ (shelving type) Lo (Low Cutoff) 20...1.00kHz
c Sets the center frequency for Low EQ (shelving type)
G (Gain) –18...+18dB c
Sets the gain of Low EQ G (Gain) –18...+18dB
Sets the gain of Low EQ
M1 (Mid1 Cutoff) 300...10.00kHz
Sets the center frequency for Mid/High EQ 1 (peaking type) M1 (Mid1 Cutoff) 300...10.00kHz
Sets the center frequency for Mid/High EQ 1 (peaking type)
Q 0.5...10.0
d
Sets the band width of Mid/High EQ 1 ☞ Fx:06 Q 0.5...10.0
d
Sets the band width of Mid/High EQ 1 ☞ Fx:06
G (Gain) –18...+18dB
Sets the gain of Mid/High EQ 1 G (Gain) –18...+18dB
Sets the gain of Mid/High EQ 1
M2 (Mid2 Cutoff) 500...20.00kHz
Sets the center frequency for Mid/High EQ 2 (peaking type) M2 (Mid2 Cutoff) 500...20.00kHz
Sets the center frequency for Mid/High EQ 2 (peaking type)
Q 0.5...10.0
e
Sets the band width of Mid/High EQ 2 ☞ Fx:06 Q 0.5...10.0
e
Sets the band width of Mid/High EQ 2 ☞ Fx:06
G (Gain) –18...+18dB
Sets the gain of Mid/High EQ 2 G (Gain) –18...+18dB
Sets the gain of Mid/High EQ 2
[AMP] Amplifier Type SS, EL84, 6L6
f
Selects the type of guitar amplifier [CH/FL] LFO (LFO Waveform) Tri, Sine
Selects the LFO waveform of the chorus/flanger
[Routing] OD→AMP, AMP→OD f
g
Switches the order of the overdrive and amp simulation connection F (LFO Frequency) 0.02...20.00Hz
Sets the LFO speed
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds Dly (Delay Time) 0.0...50.0ms
Sets the delay time
(Source) Off...Tempo
h
Selects the modulation source of the effect balance Dep (Depth) 0...100
g
Sets the depth of LFO modulation
(Amount) –100...+100
Sets the modulation amount of the effect balance Fb (Feedback) –100...+100
Sets the feedback amount ☞ Fx:20
C/F W/D (Cho/Flng Wet/Dry) –Wet...–2:98, Dry, 2:98...Wet
Sets the effect balance of the chorus/flanger ☞ Fx:10, 20
h
Out (Output Mode) Normal, Wet Inv
Selects the output mode for the chorus/flanger ☞ Fx:67
[Routing] OD → CH/FL, CH/FL → OD
i Switches the order of the overdrive and chorus/flanger connection
☞ Fx:67
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds
(Source) Off...Tempo
j
Selects the modulation source of the effect balance
(Amount) –100...+100
Sets the modulation amount of the effect balance

204
81: OD/ HG–Phaser 82: OD/ HG–M.Dly
(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 dis-
tortion 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

Left
Overdrive / Hi-Gain Multitap Delay
Wet / Dry
Routing
Overdrive / Hi-Gain Phaser 3 Band PEQ Feedback
+ Driver Delay
3 Band PEQ (2)
Output Level High Damp (1)
+ Driver Phaser Mt.Dly Wet / Dry
Normal Mode: Overdrive / Hi-Gain
Output Level + Output Mode Drive
– Wet Invert
Mode: Overdrive / Hi-Gain Resonance Right
Drive Phaser Wet / Dry Wet / Dry
Right
Wet / Dry
LFO: Tri / Sine

[OD] Mode (Drive Mode) OverD, Hi-Gain


Switches between overdrive and high-gain distortion
a
[OD] Mode (Drive Mode) OverD, Hi-Gain Drive 1...100
Switches between overdrive and high-gain distortion Sets the degree of distortion ☞ Fx:06
a
Drive 1...100 Level (Output Level) 0...50
Sets the degree of distortion ☞ Fx:06 Sets the overdrive output level ☞ Fx:06,
Level (Output Level) 0...50 (Source) Off...Tempo
Sets the overdrive output level ☞ Fx:06, b
Selects the modulation source for the overdrive output level
(Source) Off...Tempo (Amount) –50...+50
b
Selects the modulation source for the overdrive output level Sets the modulation amount of the overdrive output level
(Amount) –50...+50 Lo (Low Cutoff) 20...1.00kHz
Sets the modulation amount of the overdrive output level Sets the center frequency for Low EQ (shelving type)
c
Lo (Low Cutoff) 20...1.00kHz G (Gain) –18...+18dB
Sets the center frequency for Low EQ (shelving type) Sets the gain of Low EQ
c
G (Gain) –18...+18dB M1 (Mid1 Cutoff) 300...10.00kHz
Sets the gain of Low EQ Sets the center frequency for Mid/High EQ 1 (peaking type)
M1 (Mid1 Cutoff) 300...10.00kHz Q 0.5...10.0
Sets the center frequency for Mid/High EQ 1 (peaking type) d
Sets the band width of Mid/High EQ 1 ☞ Fx:06
Q 0.5...10.0 G (Gain) –18...+18dB
d
Sets the band width of Mid/High EQ 1 ☞ Fx:06 Sets the gain of Mid/High EQ 1
G (Gain) –18...+18dB M2 (Mid2 Cutoff) 500...20.00kHz
Sets the gain of Mid/High EQ 1 Sets the center frequency for Mid/High EQ 2 (peaking type)
M2 (Mid2 Cutoff) 500...20.00kHz Q 0.5...10.0
Sets the center frequency for Mid/High EQ 2 (peaking type) e
Sets the band width of Mid/High EQ 2 ☞ Fx:06
Q 0.5...10.0 G (Gain) –18...+18dB
e
Sets the band width of Mid/High EQ 2 ☞ Fx:06 Sets the gain of Mid/High EQ 2
G (Gain) –18...+18dB [DLY] T1 (Tap1 Delay) 0...680ms
Sets the gain of Mid/High EQ 2 Sets the Tap1 delay time
f
[PHS] LFO (LFO Waveform) Tri, Sine T2 (Tap2 Delay) 0...680ms
Selects the LFO waveform of the phaser Sets the Tap2 delay time
f
F (LFO Frequency) 0.02...20.00Hz T1 Level (Tap1 Level) 0...100
Sets the LFO speed Sets the Tap1 output level ☞ Fx:45
g
Manu (Manual) 0...100 T2 Fb (Tap2 Feedback) –100...+100
Sets the frequency to which the effect is applied Sets the Tap2 feedback amount

Effect
Dep (Depth) 0...100 Dly W/D (Delay Wet/Dry) Dry, 2:98...98:2, Wet
g
Sets the depth of LFO modulation Sets the multitap delay effect balance
h
Res (Resonance) –100...+100 HiDamp (High Damp) 0...100%
Sets the resonance amount ☞ Fx:23 Sets the damping amount in the high range ☞ Fx:43
Phs W/D (Phaser Wet/Dry) –Wet...–2:98, Dry, 2:98...Wet W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the phaser effect balance ☞ Fx:10, 23 Sets the balance between the effect and dry sounds
h
Out (Output Mode) Normal, Wet Inv (Source) Off...Tempo
Selects the phaser output mode ☞ Fx:67 i
Selects the modulation source of the effect balance
[Routing] OD → PHS, PHS → OD (Amount) –100...+100
i Switches the order of the overdrive and phaser connection Sets the modulation amount of the effect balance
☞ Fx:67
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds
(Source) Off...Tempo
j
Selects the modulation source of the effect balance
(Amount) –100...+100
Sets the modulation amount of the effect balance

205
83: Wah–AmpSim e
Level (Output Level) 0...100
Sets the decimator output level ☞ Fx:14
(Wah/ Auto Wah – Amp Simulation) [AMP] Amplifier Type SS, EL84, 6L6
f
Selects the type of guitar amplifier
This effect combines a mono-type wah and an amp simula-
tion. You can change the order of the effect connection. [Routing] DECI→AMP, AMP→DECI
g
Switches the order of the wah and amp simulation connection
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Left
Wet / Dry
Sets the balance between the effect and dry sounds
Routing
Wah/Auto Wah Amp Simulation (Source) Off...Tempo
h
Selects the modulation source of the effect balance
+ Wah Amp Simulation Filter (Amount) –100...+100
Sets the modulation amount of the effect balance

Right
Sweep Mode Wet / Dry
Envelope

D
Auto
-mod D-mod
LFO
85: Deci–Comp
LFO
(Decimator – Compressor)
This effect combines a mono-type decimator and a compres-
[WAH] Freq Btm (Frequency Bottom) 0...100 sor. You can change the order of the effect connection.
Sets the lower limit of the wah center frequency ☞ Fx:09
a
Top (Frequency Top) 0...100 Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Sets the upper limit of the wah center frequency ☞ Fx:09 Left
Wet / Dry
Routing
Swp Mode (Sweep Mode) Auto, Dmod, LFO Decimator Compressor
Selects the control from auto-wah, modulation source, and LFO
Resolution Output Level
b ☞ Fx:09, + Decimator Comp
Pre LPF High Damp
Src (Source) Off...Tempo Output Level

Selects the modulation source for the wah when Swp Mode=Dmod
lfoF (LFO Frequency) 0.02...20.00Hz Right
c Wet / Dry
Sets the LFO speed Envelope - Control

Resonance 0...100
Sets the resonance amount
d
LPF (Low Pass Filter) Off, On [DECI] Pre LPF Off, On
Switches the wah low pass filter on and off Turn the harmonic noise caused by lowered sampling on and off
[AMP] Amplifier Type SS, EL84, 6L6 a ☞ Fx:14
e
Selects the type of guitar amplifier High Damp 0...100%
Sets the ratio of high-range damping
[Routing] WAH → AMP, AMP → WAH
f
Switches the order of the wah and amp simulation connection Sampling Freq (Sampling Frequency) 1.00k...48.00kHz
b
Sets the sampling frequency
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds Resolution 4...24
c
(Source) Off...Tempo
Sets the data bit length ☞ Fx:14
g
Selects the modulation source of the effect balance Level (Output Level) 0...100
d
(Amount) –100...+100
Sets the decimator output level ☞ Fx:14
Sets the modulation amount of the effect balance [CMP] Sensitivity 1...100
e
Sets the sensitivity ☞ Fx:02
Attack 1...100
Sets the attack level ☞ Fx:02
84: Deci–AmpSim f
Level (Output Level) 0...100
Sets the compressor output level ☞ Fx:02
(Decimator – Amp Simulation) [Routing] DECI→CMP, CMP→DECI
g
This effect combines a mono-type decimator and an amp sim- Switches the order of the decimator and compressor connection

ulation. You can change the order of the effect connection. W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out (Source) Off...Tempo
h
Left
Wet / Dry
Selects the modulation source of the effect balance
Routing
Decimator Amp Simulation (Amount) –100...+100
Sets the modulation amount of the effect balance
Resolution Output Level
+ Decimator Amp Simulation Filter
Pre LPF High Damp

Right
Wet / Dry

[DECI] Pre LPF Off, On


a Turn the harmonic noise caused by lowered sampling on and off
☞ Fx:14
High Damp 0...100%
b
Sets the ratio of high-range damping
Sampling Freq (Sampling Frequency) 1.00k...48.00kHz
c
Sets the sampling frequency
Resolution 4...24
d
Sets the data bit length ☞ Fx:14

206
86: AmpSim–Trml 87: Cho/ Fl–M.Dly
(Amp Simulation – Tremolo) (Chorus/ Flanger – Multitap Delay)
This effect combines a mono-type amp simulation and a trem- This effect combines a mono-type chorus/flanger and a mult-
olo. 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

[AMP] Amplifier Type SS, EL84, 6L6 [CH/FL] LFO (LFO Waveform) Tri, Sine
a
Selects the type of guitar amplifier Selects the LFO waveform of the chorus/flanger
a
[TRML] LFO Wave (LFO Waveform) Triangle, Sine, Vintage, Up, Down F (LFO Frequency) 0.02...20.00Hz
b
Selects LFO Waveform ☞ Fx:32 Sets the LFO speed
LFO Shape –100...+100 Dly (Delay Time) 0.0...50.0ms
c
Determines how much the LFO waveform is changed ☞ Fx:20 Sets the delay time
Freq (LFO Frequency) 0.02...20.00Hz Dep (Depth) 0...100
d b
Sets the LFO speed Sets the depth of LFO modulation
Depth 0...100 Fb (Feedback) –100...+100
e
Sets the depth of LFO modulation Sets the feedback amount ☞ Fx:20
W/D (Wet/Dly) Dry, 1:99...99:1, Wet Pre EQ Trim 0...100
c
Sets the balance between the effect and dry sounds Sets the EQ input level
(Source) Off...Tempo LoEQ (Pre Low EQ Gain) –15...+15dB
f
Selects the modulation source of the effect balance Sets the gain of Low EQ
d
(Amount) –100...+100 HiEQ (Pre High EQ Gain) –15...+15dB
Sets the modulation amount of the effect balance Sets the gain of High EQ
C/F W/D (Cho/Flng Wet/Dry) –Wet...–2:98, Dry, 2:98...Wet
e
Sets the effect balance of the chorus/flanger ☞ Fx:10, 20
[DLY]T1 (Tap1 Delay) 0...680ms
Sets the Tap1 delay time
f
T2 (Tap2 Delay) 0...680ms
Sets the Tap2 delay time
T1 Level (Tap1 Level) 0...100
Sets the Tap1 output level ☞ Fx:45
g
T2 Fb (Tap2 Feedback) –100...+100
Sets the Tap2 feedback amount
Dly W/D (Delay Wet/Dry) Dry, 1:99...99:1, Wet
Sets the multitap delay effect balance
h
HiDamp (High Damp) 0...100%
Sets the damping amount in the high range ☞ Fx:43
W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds
(Source) Off...Tempo

Effect
i
Selects the modulation source of the effect balance
(Amount) –100...+100
Sets the modulation amount of the effect balance

207
88: Phasr–Cho/ Fl 89: Reverb–Gate
(Phaser – Chorus/ Flanger) This effect combines a mono-type reverb and a gate.

This effect combines a mono-type phaser and a chorus/ Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

flanger. Left
Wet / Dry
Reverb

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out EQ Trim


Left
Wet / Dry
+ Pre Delay Reverb Gate
LEQ HEQ Reverb
Phaser Chorus/Flanger Balance

Right
+ Phaser Chorus/Flanger Wet / Dry
EQ LEQ HEQ Normal
Trim + Output Mode Input Reverb Mix
Phaser –
Resonance Feedback Wet Invert Input
Wet / Dry Envelope - Control
Cho/Flng
Gate+Dmpr D-mod Envelope Select
Wet / Dry Gate
Right
Wet / Dry
LFO: Tri / Sine LFO: Tri / Sine

[REV] Reverb Time 0.1...10.0sec


a
Sets the reverberation time
[PHS] LFO (LFO Waveform) Tri, Sine
Selects the LFO waveform of the phaser HiDamp (High Damp) 0...100%
a Sets the damping amount in the high range
F (LFO Frequency) 0.02...20.00Hz b
Sets the LFO speed Pre Dly (Pre Delay) 0...200ms
Sets the delay time of the reverb sound and gate control signal
Manu (Manual) 0...100
Sets the frequency to which the effect is applied Pre EQ Trim 0...100
c
Sets the EQ input level
Dep (Depth) 0...100
b
Sets the depth of LFO modulation LoEQ (Pre Low EQ Gain) –15...+15dB
Sets the gain of Low EQ
Res (Resonance) –100...+100 d
Sets the resonance amount ☞ Fx:23 HiEQ (Pre High EQ Gain) –15...+15dB
Sets the gain of High EQ
Phs W/D (Phaser Wet/Dry) –Wet...–2:98, Dry, 2:98...Wet
c
Sets the phaser effect balance ☞ Fx:10, 23 Rev Balance (Reverb Balance) Dry, 1:99...99:1, Wet
e
Sets the reverb effect balance
[CH/FL] LFO (LFO Waveform) Tri, Sine
Selects the LFO waveform of the chorus/flanger [GATE] In Rev Mix (Input Reverb Mix) Dry, 1:99...99:1, Wet
d f Sets the balance between the dry and reverb sounds of the gate con-
F (LFO Frequency) 0.02...20.00Hz
Sets the LFO speed
trol signal. ☞
Envelope (Envelope Select) Dmod, Input
Dly (Delay Time) 0.0...50.0ms
Switches between modulation source control and input signal control
Sets the delay time

Dep (Depth) 0...100 g
e Src (Source) Off...G2+Dmp
Sets the depth of LFO modulation
Selects the modulation source that controls the gate when Envelope
Fb (Feedback) –100...+100 is set to Dmod ☞
Sets the feedback amount ☞ Fx:20 Threshold 0...100
Pre EQ Trim 0...100 Sets the gate threshold level ☞
f
Sets the EQ input level h Polarity +, –
LoEQ (Pre Low EQ Gain) –15...+15dB Switches between non-invert and invert of the gate on/off state
Sets the gain of Low EQ ☞ Fx:05
g
HiEQ (Pre High EQ Gain) –15...+15dB Attack 1...100
Sets the gain of High EQ Sets the attack time ☞ Fx:05
i
C/F W/D (Cho/Flng Wet/Dry) –Wet...–2:98, Dry, 2:98...Wet Release 1...100
Sets the effect balance of the chorus/flanger ☞ Fx:10, 20 Sets the release time ☞ Fx:05
h
Out (Output Mode) Normal, Wet Inv W/D (Wet/Dly) Dry, 1:99...99:1, Wet
Selects the output mode for the chorus/flanger ☞ Fx:60 Sets the balance between the effect and dry sounds
W/D (Wet/Dly) Dry, 1:99...99:1, Wet (Source) Off...Tempo
j
Sets the balance between the effect and dry sounds Selects the modulation source of the effect balance
(Source) Off...Tempo (Amount) –100...+100
i Sets the modulation amount of the effect balance
Selects the modulation source of the effect balance
(Amount) –100...+100
Sets the modulation amount of the effect balance g: Envelope, g:Src, f: In Rev Mix, h: Threshold
The “Envelope” parameter enables you to select whether turning
the gate on and off is triggered by the input signal level or con-
trolled directly by the modulation source. You can select from Off
to G2+Dmp for the Source parameter to specify the modulation
source.
When “Envelope” is set to Input, the gate is controlled by the
level of signals that are the combination of the dry sound and the
reverb sound. When the signal level exceeds the threshold, the
gate opens and the reverb sound is output.
Normally, set “In Rev Mix” to Dry (the gate is controlled only by
the dry sound). If you wish to extend the gate time, set the “In Rev
Mix” value higher and adjust the “Threshold” value.

208
Master EQ

Master EQ
Use 7.2: MasterFX MEQ page in Program, Combination
modes and 7.2: Master FX MEQ page in Sequencer mode.
You cannot use the Master EQ in Sampling mode.

You cannot use the Master EQ for the Insert Effect or Master
Effects.

Low Mid High

Left L/Mono
LEQ PEQ HEQ

LEQ PEQ HEQ


Right R

Low Gain Mod. High Gain Mod.


D-mod
Low Gain Mod - Src

D-mod
High Gain Mod - Src

Low Cutoff 20...1.00KHz


Sets the cutoff frequency of Low EQ (shelving type)
a
Gain –18.0...+18.0 (0.5step)dB
Sets the gain of Low EQ
Mid Cutoff 300...10.00KHz
Sets the cutoff frequency of Mid EQ (peaking type)
Q 0.5...10.0 (0.1step)
b Sets the band width of Mid EQ. With a higher value, the band
become narrower.
Gain –18.0...+18.0 (0.5step)dB
Sets the gain of Mid EQ
High Cutoff 500...20.00KHz
Sets the cutoff frequency of High EQ (shelving type)
c
Gain –18.0...+18.0 (0.5step)dB
Sets the gain of High EQ
Low Gain Mod-Src Off...Tempo
d
Selects the modulation source for Low Gain
High Gain Mod-Src Off...Tempo
e
Selects the modulation source for High Gain

a: Gain, b: Gain, c: Gain


These parameters are linked with the “Master EQ Gain [dB]” (7.2–
1c) parameter of the Master FX.

d: Low Gain Mod-Src


For example, when this parameter is set to Kb1#17, you can con-

Effect
trol the EQ gain in the range from –18dB to +18dB during perfor-
mance using the [REALTIME CONTROLS] knob. At this time, set
Knob 1-B to Knob Mod1 (CC#17) for “Knob B-Assign” (Program,
Combination, Sequencer 2.2–1a). The 12 o’clock position of the
knob corresponds to the “Low Gain” value here.

e: High Gain Mod-Src


For example, when this parameter is set to Kb2#19, you can con-
trol the EQ gain in the range from –18dB to +18dB during perfor-
mance using the [REALTIME CONTROLS] knob. At this time, set
Knob 2-B to Knob Mod2 (CC#19) for “Knob B-Assign” (Program,
Combination, Sequencer 2.2–1a). The 12 o’clock position of the
knob corresponds to the High Gain value here.

209
210
8. Appendices
About Alternate Modulation Sources
Alternate Modulation Source
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
modulation to each of the specified destinations.
About Alternate Modulation
Frequently used assignments such as using the joystick (X)
Alternate Modulation can be specified for the following 55 to control pitch are provided as special parameters, so it is
alternate modulation destinations shown in the diagram not necessary to use Alternate Modulation to accomplish
below. (Pitch EG is common to OSC 1 and 2.) this.
The AMS (Alternate Modulation Source) and amount can be
selected independently to apply modulation to each of these
destinations.

Alternate Modulation

Frequency Mod 1 Frequency Mod 1


Frequency Mod 2
LFO1 Frequency Mod 2
LFO2

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

Appendices

211
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 KT +/+ (Filter Keyboard Track +/+) filter keyboard tracking within the same oscillator (☞p.213)
(KT) Flt KT +/– (Filter Keyboard Track +/–) filter keyboard tracking within the same oscillator (☞p.213)
(KT) Flt KT 0/+ (Filter Keyboard Track 0/+) filter keyboard tracking within the same oscillator (☞p.213)
(KT) Flt KT +/0 (Filter Keyboard Track +/0) filter keyboard tracking within the same oscillator (☞p.213)
(KT) Amp KT +/+ (Amp Keyboard Track +/+) amp keyboard tracking within the same oscillator (☞p.213)
(KT) Amp KT +/– (Amp Keyboard Track +/–) amp keyboard tracking within the same oscillator (☞p.213)
(KT) Amp KT 0/+ (Amp Keyboard Track 0/+) amp keyboard tracking within the same oscillator (☞p.213)
(KT) Amp KT +/0 (Amp Keyboard Track +/0) amp keyboard tracking within the same oscillator (☞p.213)
(KT) Note No. (Note Number) note number
(EXT) Velocity velocity
(EXT) Poly After (Poly After Touch) polyphonic after touch (transmitted from this instrument only as sequence data)
(EXT) AfterT (After Touch) after touch (channel after touch)
(EXT) JS X (Joy Stick X) joystick X (horizontal) axis
(EXT) JS+Y #01 (Joy Stick +Y: CC#01) joystick +Y (vertical upward) direction (CC#01)
(EXT) JS–Y #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.213)
(EXT) JS–Y&AT/2 (Joy Stick –Y & After Touch/2) joystick –Y (vertical downward) direction and after touch (☞p.213)
(EXT) Pedal #04 (Foot Pedal: CC#04) assignable foot pedal (CC#04) (☞p.213)
(EXT) Ribbon #16 (Ribbon: CC#16) MIDI CC#16: controller (ribbon controller*)
(EXT) Slider #18 (Value Slider: CC#18) MIDI CC#18: Controller (Value Slider*)
(EXT) KnobM1#17 (Knob Mod1: CC#17) realtime control knob 1 in B-mode (knob modulation 1 CC#17) (☞p.213)
(EXT) KnobM2#19 (Knob Mod2: CC#19) realtime control knob 2 in B-mode (knob modulation 2 CC#19) (☞p.213)
(EXT) KnobM3#20 (Knob Mod3: CC#20) realtime control knob 3 in B-mode (knob modulation 3 CC#20) (☞p.213)
(EXT) KnobM4#21 (Knob Mod4: CC#21) realtime control knob 4 in B-mode (knob modulation 4 CC#21) (☞p.213)
(EXT) KnobM1 [+] (Knob Mod1: CC#17 [+]) realtime control knob 1 in B-mode [+] (☞p.213)
(EXT) KnobM2 [+] (Knob Mod2: CC#19 [+]) realtime control knob 2 in B-mode [+] (☞p.213)
(EXT) KnobM3 [+] (Knob Mod3: CC#20 [+]) realtime control knob 3 in B-mode [+] (☞p.213)
(EXT) KnobM4 [+] (Knob Mod4: CC#21 [+]) realtime control knob 4 in B-mode [+] (☞p.213)
(EXT) Damper#64 (Damper: CC#64) damper pedal (CC#64)
(EXT) Prta.SW#65 (Portamento Switch: CC#65) portamento switch (CC#65)
(EXT) Soste.#66 (Sosutenuto: CC#66) sostenuto pedal (CC#66)
(EXT) Soft #67 (Soft Pedal: CC#67) soft pedal (CC#67)
(EXT) SW 1 #80 (SW1 Mod.: CC#80) Assignable switch 1 (SW1 modulation CC#80) (☞p.213)
(EXT) SW 2 #81 (SW2 Mod.: CC#81) Assignable switch 2 (SW2 modulation CC#81) (☞p.213)
(EXT) FootSW#82 (Foot Switch: CC#82) assignable foot switch (CC#82) (☞p.213)
(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 (Pitch AMS)” value for OSC1 Pitch (PROG 3.1–1a) can be [Off, (FEG, AEG, EXT)] (☞p.10). This means
that you can select Off, and (FEG), (AEG), or (EXT) sources.

CC#: This is the control change number.


*: This indicates a controller or a function assigned to a controller on the TRITON/TRITONpro/TRITONproX. The con-
troller and the type of MIDI messages it transmits will depend on the type of connected MIDI instr ument.

212
Flt KT +/ + (Filter Keyboard Track +/ +) Pedal #04 (Foot Pedal: CC#04)
Flt KT +/ – (Filter Keyboard Track +/ –) If you wish to use the assignable foot pedal as an AMS, set
Flt KT 0/ + (Filter Keyboard Track 0/ +) “Foot Pedal Assign” (GLOBAL 1.1–3a) to Foot Pedal
Flt KT +/ 0 (Filter Keyboard Track +/ 0) (CC#04) (☞p.223 “Foot Pedal Assign”).
Amp KT +/ + (Amp Keyboard Track +/ +) A foot controller etc. connected to the ASSIGNABLE PEDAL
Amp KT +/ – (Amp Keyboard Track +/ –) jack will control the effect.
Amp KT 0/ + (Amp Keyboard Track 0/ +) KnobM1#17 (Knob Mod1: CC#17)
Amp KT +/ 0 (Amp Keyboard Track +/ 0) KnobM2#19 (Knob Mod2: CC#19)
+/+: The direction of the effect will be determined by the KnobM3#20 (Knob Mod3: CC#20)
sign (positive or negative) of the “Ramp Low” or “Ramp KnobM4#21 (Knob Mod4: CC#21)
High” setting. If you wish to use a REALTIME CONTROLS knob [1]–[4] as
+/–: The direction of the effect will be determined by the sign an AMS, make settings in program, combination, or song to
of the “Ramp Low” setting, and by the opposite sign of the set the Ctrls tab parameter “Knobs B Assign” to the follow-
“Ramp High” setting (–50 for a setting of +50, and +50 for a ing settings respectively: “Knob1-B” to Knob Mod.1
setting of –50). (CC#17), “Knob2-B” to Knob Mod.2 (CC#19), “Knob3–B” to
0/+: “Ramp Low” will have no AMS effect. The sign of the Knob Mod.3 (CC#20), or “Knob4-B” to Knob Mod.4
“Ramp High” setting will determine the direction of its (CC#21). (☞p.221 “Knob 1...4 B Assign”)
effect. When you set REALTIME CONTROLS to B-mode and oper-
+/0: The sign of the “Ramp Low” setting will determine the ate knobs [1]–[4], the specified modulation will apply.
direction of its effect. “Ramp High” will have no AMS effect. If AMS intensity is set to a positive (+) value, moving the
knob to the 12 o’clock position will produce an AMS effect of
0. Rotating the knob toward the right will produce a positive
Amp
example of Amp change in the effect, and rotating it toward the left will pro-
Keyboard Track settings
Ramp Low Ramp High
duce a negative change. (With negative (–) settings, the
= +50 = +50 opposite effect will result.)
KnobM1 [+] (Knob Mod1: CC#17 [+] )
KnobM2 [+] (Knob Mod2: CC#19 [+] )
Key Low Key High Note Number
KnobM3 [+] (Knob Mod3: CC#20 [+] )
KnobM4 [+] (Knob Mod4: CC#21 [+] )
These differ from KnobM1#17–KnobM4#21 in the knob
AMS = Amp KT +/+ + max
AMS Intensity = positive (+) value position and direction of the effect. If AMS intensity is set to
a positive (+) value, rotating the knob to the far left will pro-
zero
duce an AMS effect of 0. Rotating the knob toward the right
Depth and direction of modulation will apply an effect only in the positive direction. (With neg-
- max ative (–) settings, the opposite effect will result.)
SW 1 #80 (SW1 Mod.: CC#80)
AMS = Amp KT +/– + max
AMS Intensity = positive (+) value
SW 2 #81 (SW2 Mod.: CC#81)
If you wish to use the [SW1] or[SW2] key as an AMS, make
zero settings in program, combination, or song to set the Ctrls
page parameter “SW1/2 Assign” to the following values
- max
Depth and direction of modulation
respectively: “SW1” to SW1 Mod.(CC#80), or “SW2” to SW2
Mod.(CC#81) (☞p.220 “SW1/2 Assign”).
These are controlled by the [SW1] or [SW2] keys.
AMS = Amp KT 0/+ + max
AMS Intensity = positive (+) value
Foot SW #82 (Foot Switch: CC#82)
zero
If you wish to use an assignable foot switch as an AMS, set
“Foot SW Assign” (GLOBAL 1.1–3a) to Foot SW (CC#82)
Depth and direction of modulation (☞p.222 “Foot Switch Assign”).
- max
The effect will be controlled when you operate a foot switch
etc. connected to the ASSIGNABLE SWITCH jack.
AMS = Amp KT +/0 + max
AMS Intensity = positive (+) value

zero

Appendices
Depth and direction of modulation
- max

JS+Y&AT/ 2 (Joy Stick +Y & After Touch/ 2)


The effect will be controlled by the joystick +Y (vertically
upward) and by after touch. In this case, the effect of after
touch will be only half of the specified intensity.
JS-Y&AT/ 2 (Joy Stick-Y & After Touch/ 2)
The effect will be controlled by the joystick –Y (vertically
downward) and by after touch. In this case, the effect of after
touch will be only half of the specified intensity.

213
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 (PROG 3.1–1a)
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 (Pitch
example by using the pitch/filter/amp EG to control the AMS)” and set “Intensity (AMS Intensity)” to +12.00, the
frequency or intensity of an LFO that modulates the pitch will change up to ±1 octave in synchronization
pitch/filter/amp, or by using LFO2 to control the with the EG.
frequency of LFO1.
• If you select Tempo as the “AMS (Pitch AMS)” and set
• The tone, EG, and LFO etc. can be controlled not only by “Intensity (AMS Intensity)” to +12.00, doubling the
velocity or joystick, but also from a switch, knob, or tempo (based on ! =120) will raise the pitch one octave,
pedal etc. and halving the tempo will lower the pitch one octave.
• Panning can be controlled in realtime from a controller,
Pitch EG Intensity (PROG 3.1–1b)
EG, or LFO etc.
Pitch EG intensity can be controlled by keyboard tracking,
• The filter EG can also be used to control pitch or volume controllers, or tempo.
at the same time as it controls the filter.
• If you select JS+Y#01 as the “AMS (Pitch EG AMS)” and
• Controllers etc. can be used to control EG levels or times. set “Intensity (AMS Intensity)” to +12.00, moving the
This lets you shape the EG in realtime. joystick, in the +Y direction will gradually increase the
• Filter/amp keyboard tracking or note number can be effect of the Pitch EG to a maximum of ±1 octave. If
used to control the EG or LFO according to the keyboard “Intensity (AMS Intensity)” has a negative value, the
effect of the Pitch EG will be inverted.
pitch that is played.
• Pitch, tone, EG or LFO can be controlled by the tempo of Pitch LFO1/ 2 Intensity (PROG 3.1–2a, 3.1–4)
the arpeggiator or sequencer. 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 (LFO1/2 AMS),” the pitch
change width of LFO modulation etc. can be controlled
in synchronization with the level changes of the EG.
With positive (+) settings of “Intensity (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 “Intensity (AMS Intensity),” the
LFO phase will be inverted.
Notes for the table on the lower right
• If you select a controller such as SW1 or 2 as the “AMS
*1 If Note No. is selected as an “AMS,” the base value will
(LFO 1/2 AMS),” you can press the “SW1” or “SW2”
be C4.
button when desired to turn on the vibrato effect.
*2 EXT(+) : Velocity, Poly After, AfterT, JS+Y #01, JS–Y #02,
JS+Y&AT/2, JS –Y&AT/2, Pedal #04, Slider #18, Filter (Cutoff) Frequency (PROG 4.1–3a, 4.1–3b)
KnobM1[+], KnobM2[+], KnobM3[+], KnobM4[+], The cutoff frequency of filter A/B can be controlled by the
Damper #64, Porta.SW #65, Soste. #66, Soft #67, SW 1 pitch/amp EG, controllers, or tempo. Set “AMS 1/2 (Filter
#80, SW 2 #81, MIDI CC#83 A/B AMS1/2)” and “AMS 1/2 Intensity” for Filter A or B.
*3 EXT(+–): KnobM1 #17, KnobM2 #19, KnobM3 #20, • If you set “AMS1 (Filter A AMS1)” to JS X, and set
KnobM4 #21 “Intensity (A AMS1 Intensity)” to a positive (+) value,
*4 If Tempo is selected as an AMS, the base value will be ! moving the joystick toward the right will raise the cutoff
=120. For example if the AMS for “Pitch” is set to frequency, and moving it toward the left will lower the
Tempo, and “AMS Intensity” is set to 12.00, doubling cutoff frequency. Negative (–) settings will have the
the tempo value (! =120 → 240) will raise the pitch one opposite result.
octave, and halving the tempo (! =120 → 60) will lower
the pitch one octave.
*5 A dedicated parameter is also provided.
*6 This will be added to the “Filter Frequency” value. As AMS → PEG/FEG AEG
AMS Value → –99...0...+99 0...+99
the “Filter Frequency” value increases by 10, the cutoff Parameter AMS Intensity
frequency will double (rise one octave). Pitch (+12.00) –1...0...+1[Octave] 0...+1[Octave]
*7 This will be added to the “Pan” setting. Pitch EG Int. (+12.00) – –
Pitch LFO1/2 Int. (+12.00) –1...0...+1[Octave] 0...+1[Octave]
*8 It is possible to control LFO “Frequency” by using Filter Frequency *6 (+99) –99...0...+99 0...+99
Tempo and “AMS Intensity.” However if you use the Resonance (+99) –99...0...+99 0...+99
“Sync. (MIDI/Tempo Sync.)” function (PROG 5.3–1c), Filter EG Int. (+99) – –
Filter LFO1/2 Int. (+99) –99...0...+99 0...+99
the LFO frequency can be synchronized to the tempo
Amp (+99) value x(0...1...8) –
and note value. Amp LFO1/2 Int. (+99) –99...0...+99 0...+99
Pan *7 (+50) –63...0...+63 0...+63
EG Level (+66) – –
EG Time (+49) – –
LFO Frequency (+99) value x(1/64...1...64) value x(1...64)

214
• If you select the same controller for “AMS” and set the Filter LFO 1/ 2 Intensity (PROG 4.1–4a)
Filter A (Low Pass Filter) “Intensity (A AMS 1/2 The LFO 1/2 filter modulation intensity can be controlled by
Intensity)” parameter and Filter B (High Pass Filter) EG, keyboard tracking, controller, or tempo. You can use
“Intensity (B AMS 1/2 Intensity)” parameter to different “Int. to A (LFO1/2 AMS Int. to A)” and “Int. to B (LFO1/2
values, a single controller operation will simultaneously AMS Int. to B)” to independently specify the intensity for
control the cutoff frequencies of the two filters. Filter A and B.
Resonance (PROG 4.1–1b) • If you select EG as the “AMS (LFO1/2 AMS),” the auto-
This can be used when the “Type (Filter1/2 Type)” is Low wah effect produced by LFO modulation will be
Pass Resonance. The resonance level can be controlled by controlled by the changes in EG level. If you set “Int. to
EG, LFO, keyboard tracking, controllers or tempo etc. A (LFO1/2 AMS Int. to A)”/“Int. to B (LFO1/2 AMS Int.
to B)” to a positive (+) value, the wah effect will deepen
• If you select Filter KT or Amp KT as the “Reso.AMS as the EG level rises, and will lessen as the EG level falls.
(Resonance AMS),” you can use the filter or amp With negative (–) values of “Int. to A (LFO1/2 AMS Int.
keyboard tracking settings to control the resonance level. to A)”/“Int. to B (LFO1/2 AMS Int. to B),” the phase of
For example if the amp keyboard tracking parameters the LFO will be inverted.
“Low (KBDTrk Ramp Low)” and “High (KBDTrk Ramp
High)” are set to positive (+) values, Amp KT +/+ is • If you use a controller such as SW1 or 2 as the “AMS
selected as the “Reso.AMS (Resonance AMS),” and (LFO1/2 AMS),” you can apply the auto-wah effect
“Intensity (AMS Intensity)” it set to a positive (+) value, when desired by pressing the [SW1] or [SW2] key.
playing toward either end of the keyboard will cause
Amp (PROG 5.1–2b)
amp keyboard tracking to increase the volume, and
“Reso.AMS (Resonance AMS)” to raise the resonance The volume can be controlled by the pitch/filter EG, con-
level. trollers, or tempo etc.

• You can select a controller as the “Reso.AMS (Resonance • If an EG or controller that changes with a positive (+)
AMS),” and apply resonance when desired by operating value (Amp EG, EXT(+), EXT(SW)) is selected as the
the controller. “AMS (Amp AMS),” setting the “Int (AMS Intensity)” to
+99 will allow you to increase the volume to a maximum
• You can select LFO1 or 2 as the “Reso.AMS (Resonance of eight times that of the current volume.
AMS),” and use the LFO to modulate the resonance
level. • If an EG, LFO, or controller that changes with a ± value
(Pitch EG, Filter EG, LFO, KT, EXT(+–) is selected as the
Filter EG Intensity (PROG 4.1–2b) “AMS (Amp AMS),” setting the “Int (AMS Intensity)” to
Filter EG intensity can be controlled by a controller or tempo +99 will allow you to increase the volume to a maximum
etc. You can use “Int. to A (AMS Int. to A)” and “Int. to B of eight times that of the current volume (for positive (+)
(AMS Int. to B)” to independently specify the intensity for changes of the AMS), or to decrease the volume to zero
Filter A and B. (for negative (–) changes of the AMS).

• If you select JS–Y#02 as the “AMS (Filter EG AMS)” and • In addition to the time-variant changes in volume
set “Int. to A/B (AMS Int. to A/B)” to a positive (+) produced by the amp EG, you can also make the volume
value, moving the joystick, such as this instrument, in change in synchronization with the pitch/filter EG.
the –Y direction will gradually increase the effect of the Select PitchEG or FilterEG as the “AMS (Amp AMS),”
Filter EG. If you set “Int. to A/B (AMS Int. to A/B)” to a and adjust “Int (AMS Intensity).” If you wish to cancel
negative (–) value, the effect of the Filter EG will be the effect of the AmpEG and use the pitch/filter EG to
inverted. control the volume, set all levels of the AmpEG to +99.

• If you select Ribbon#16 as the “AMS (Filter EG AMS)”


and set “Int. to A/B (AMS Int. to A/B)” to a positive (+)
value, operating the ribbon controller on a connected
MIDI instrument, such as the TRITON, toward the right
will gradually increase the effect of the Filter EG.
Operating the ribbon controller on a connected MIDI
instrument, such as the TRITON, toward the left will
gradually increase the effect of the Filter EG with an
inverted phase.

Appendices
LFO1/2 KT(Flt KT, Amp KT) KT(Note No.) *1 JS X/Ribbon#16 EXT(+) *2 EXT(+–) *3 EXT(Tempo) *4
–99...0...+99 –99...0...+99 ...36(C2)...60(C4)...84(C6) –Max...0...+Max 0...127 –Max...0...+Max ( ! ) = ...60...120...240...
...
dedicated parameter –1...0...+1[Octave] dedicated parameter –1...0...+1[Octave] *5 0...+1[Octave] –1...0...+1[Octave] ...–1...0...+1...[Octave]
– –1...0...+1[Octave] ...–1...0...+1...[Octave] –1...0...+1[Octave] 0...+1[Octave] –1...0...+1[Octave] ...–1...0...+1...[Octave]
– –1...0...+1[Octave] ...–1...0...+1...[Octave] –1...0...+1[Octave] 0...+1[Octave] –1...0...+1[Octave] ...–1...0...+1...[Octave]
dedicated parameter – – –99...0...+99 0...+99 –99...0...+99 ...–99...0...+99...
–99x2...0...+99x2 –99...0...+99 ...–99...0...+99... –99...0...+99 0...+99 –99...0...+99 ...–99...0...+99...
– – – –99...0...+99 0...+99 –99...0...+99 ...–99...0...+99...
– –99...0...+99 ...–99...0...+99... –99...0...+99 0...+99 –99...0...+99 ...–99...0...+99...
dedicated parameter – – value x(0...1...8) value x(1...8) value x(0...1...8) value x(0...1...8...)
– –99...0...+99 ...–99...0...+99... –99...0...+99 0...+99 –99...0...+99 ...–99...0...+99...
–127...0...+127 –63...0...+63 ...–63...0...+63... –63...0...+63 0...+63 –63...0...+63 ...–63...0...+63...
– –99...0...+99 –99...0...+99 –99...0...+99 0...+99 –99...0...+99 –99...0...+99
– value x(1/64...1...64) value x(...1/64...1...64...) value x(1/64...1...64) value x(1...64) value x(1/64...1...64) value x(...1/64...1...64...)
value x(1/128...1...128) value x(1/64...1...64) value x(...1/64...1...64...) value x(1/64...1...64) value x(1...64) value x(1/64...1...64) value x(...1/64...1...64...) *8

215
Amp LFO 1/ 2 Intensity (PROG 5.1–2b, 5.2) EG Time – Pitch EG (PROG 3.1–5c)
The amp modulation intensity of LFO 1/2 can be controlled – Filter EG (PROG 4.1–5c)
by EG, keyboard tracking, controllers, or tempo etc. – Amp EG (PROG 5.1–3c)
• If you select EG as the “AMS (LFO1/2 AMS),” the depth EG times can be controlled by keyboard tracking, control-
of the tremolo effect produced by LFO modulation will lers, or tempo etc. Set the “I (AMS Intensity)” value, and
change in synchronization with the changes in EG level. select +/–/0 for each EG segment (“A” attack, D” decay, “S”
If you set “Int. (AMS Intensity)” to a positive (+) value, slope, “R” release) to specify the direction of the effect (if
the tremolo effect will deepen as the EG level rises, and any) on that segment.
lessen as the EG level falls. If “Int. (AMS Intensity)” is +: AMS will function according to the Intensity setting.
set to a negative (–) value, the phase of the LFO will be –: The sign of the Intensity setting will be inverted.
inverted. 0: AMS will have no effect.
• If select a controller such as SW1 or 2 as the “AMS Each EG time is determined by the Alternate Modulation
(LFO1/2 AMS),” you can apply the tremolo effect by value at the moment that the corresponding EG point is
pressing the [SW1]or [SW2] key when desired. reached. For example, the Alternate Modulation value at the
moment that the Attack Level is reached will determine the
Pan (PROG 5.1–1b) Decay Time.
The oscillator pan can be controlled by EG, LFO, keyboard If “I (AMS Intensity)” is set to a value of 8, 17, 25, 33, 41, or
tracking, controllers, or tempo etc. 49, the corresponding time can be multiplied by a maximum
of 2, 4, 8, 16, 32, or 64 times (or divided by 1/2, 1/4, 1/8, 1/
• If you select Note No. as the “AMS (Pan AMS)” and set
16, 1/32, 1/64).
“Intensity” to +50, panning will be controlled by the
keyboard position: center at the C4 note, far right at C6 • Select JS+Y#01 for “AMS,” and set “I (AMS Intensity)”
or above, and far left at C2 or below. to +8, “A” to +, “D” to –, and “S” and “R” to 0. When
you move the joystick in the +Y direction, the Attack
• If EG is selected as the “AMS (Pan AMS),” the oscillator
Time will be lengthened by a maximum of 2 times. The
pan will be controlled in synchronization with the
Decay Time will be shortened by a maximum of 1/2.
changes in EG level. If “Intensity” is set to a positive (+)
The Slope and Release times will not change.
value, the pan will move toward the right as the EG level
increases, and toward the left as the EG level decreases. LFO Frequency (PROG 5.3–1b)
If “Intensity” is set to a negative (–) value, the opposite
The frequency of LFO 1 or 2 can be controlled by EG, key-
effect will occur.
board tracking, controllers, or tempo etc., You can even use
EG Level – Pitch EG (PROG 3.1–5b) the LFO2 frequency to modulate the LFO1 frequency.
– Filter EG (PROG 4.1–5b) If “Int (AMS 1/2 Intensity)” is set to a value of 16, 33, 49, 66,
82, or 99, the corresponding frequency can be multiplied by
– Amp EG (PROG 5.1–3b) a maximum of 2, 4, 8, 16, 32, or 64 times (or divided by 1/2,
EG levels can be controlled by keyboard tracking, control- 1/4, 1/8, 1/16, 1/32, 1/64).
lers, or tempo etc.
• Select JS+Y#01 for “AMS1/2 (Freq. AMS1/2),” and set
Set the “I (AMS Intensity)” value, and select +/–/0 for each “Int (AMS1/2 Intensity)” to +16. When you move the
EG segment (“S” start, “A” attack, “B” break) to specify the joystick in the +Y direction, the LFO frequency will be
direction of the effect (if any) on that segment. increased by a maximum of 2 times. If you set “Int
+: AMS will function according to the Intensity setting. (AMS1/2 Intensity)” to –16 and move the joystick in the
–: The sign of the Intensity setting will be inverted. +Y direction, the LFO frequency will be decreased by up
0: AMS will have no effect. to 1/2.
If “I (AMS Intensity)” is set to +66, the various EG levels can
be controlled over a maximum range of ±99.
• Set “AMS” to Velocity for Amp EG Level Modulation, “I
(AMS Intensity)” to +66, “S” to 0, “A” to +, and “B” to –.
Set all Amp EG levels to +00. As you play with
increasing velocity, the EG levels will change more
greatly. At the maximum velocity, the Start Level will
stay at +00, but the Attack Level will change to +99 and
the Break Level will change to –99.

216
When After Touch is at its maximum, the effect balance will
Dynamic Modulation Source (Dmod) be 60:40.
Dynamic Modulation (Example)
You can control certain effect parameters using the joystick, Wet / Dry
Wet / Dry=10:90
REALTIME CONTROLS knobs, etc. “on the fly.” Controlling Wet Amt= +50

effects in this way is referred to as Dynamic Modulation. Wet / Dry=60:40


For example, you can use After Touch to speed up the LFO Amt= –50

of the chorus and flanger, or you can use the joystick to acti- 60:40

vate the wah effect. In this way, you will be able to take full
advantage of the effects as part of the expressive potential of
your TRITON Le.
Most of the parameters for dynamic modulation consist of
10:90
Dry
D-mod
Zero Higher Max
parameter values for “(Source)” and “(Amount).” The
“(Source)” field selects the modulation source, and
“(Amount)” sets the amount of dynamic modulation effect. The dynamic modulation effect will not be affected if
When the modulation source is set to the maximum value, you modify the “(Amount)” value while dynamic mod-
the actual degree of the effect will be the parameter value ulation is being applied. The change will become effec-
plus the “(Amount)” value. tive when you operate the dynamic modulation source
again.
Example: “W/D (Wet/Dry)” 10:90, “(Source)” AfterT,
“(Amount)” +50 Refer to the corresponding effect section for an explanation
of other dynamic modulation parameters.
In this case, the effect balance is 10:90. As you apply After
In the table of parameters for each effect, dynamic modula-
Touch, the percentage of the effect sound will increase.
tion parameters are marked by a symbol at the right
of the parameter.

Dynamic Modulation Source List


Source name Explanation
Off dynamic modulation is not used
Gate1 note on/off (☞p.218)
G1+Dmp (Gate1+Damper) note on + damper on/off (☞p.218)
Gate2 note on/off (retrigger) (☞p.218)
G2+Dmp (Gate2+Damper) note on + damper on/off (retrigger) (☞p.218)
Note No. (Note Number) note number
Vel (Velocity) Velocity
AfterT (After Touch) after touch (Channel After Touch)
JS X (Joy Stick X) joystick X (horizontal) direction
JS+Y#1 (Joy Stick +Y: CC#01) joystick +Y (away) direction (CC#01)
JS-Y#2 (Joy Stick -Y: CC#02) joystick –Y (toward yourself) direction (CC#02)
Pdl#4 (Foot Pedal: CC#04) assignable foot pedal (CC#04) (☞p.218)
FX1#12 (FX Control1: CC#12) MIDI effect control 1(CC#12)
FX2#13 (FX Control2: CC#13) MIDI effect control 2(CC#13)
Rbn#16 (Ribbon: CC#16) MIDI CC#16: controller (ribbon controller*)
Sld#18 (Value Slider: CC#18) MIDI CC#18: Controller (Value Slider*)
Kb1#17 (Knob Mod1: CC#17) realtime control knob 1 in B-mode (knob modulation 1 CC#17) (☞p.218)
Kb2#19 (Knob Mod2: CC#19) realtime control knob 2 in B-mode (knob modulation 2 CC#19) (☞p.218)
Kb3#20 (Knob Mod3: CC#20) realtime control knob 3 in B-mode (knob modulation 3 CC#20) (☞p.218)
Kb4#21 (Knob Mod4: CC#21) realtime control knob 4 in B-mode (knob modulation 4 CC#21) (☞p.218)
Kb1[+] (Knob Mod1: CC#17 [+]) realtime control knob 1 in B-mode [+] (☞p.218)
Kb2[+] (Knob Mod2: CC#19 [+]) realtime control knob 2 in B-mode [+] (☞p.218)

Appendices
Kb3[+] (Knob Mod3: CC#20 [+]) realtime control knob 3 in B-mode [+] (☞p.218)
Kb4[+] (Knob Mod4: CC#21 [+]) realtime control knob 4 in B-mode [+] (☞p.218)
Dmp#64 (Damper: CC#64) damper pedal (CC#64)
Prt#65 (Portamento Switch: CC#65) portamento switch (CC#65)
Sos#66 (Sosutenuto: CC#66) sostenuto pedal (CC#66)
SW1#80 (SW1 Mod.: CC#80) assignable panel switch 1 (SW1 modulation CC#80) (☞p.218)
SW2#81 (SW2 Mod.: CC#81) assignable panel switch 2 (SW2 modulation CC#81) (☞p.218)
FSW#82 (Foot Switch: CC#82) assignable foot switch (CC#82)
CC#83 MIDI Control Change (CC#83)
Tempo tempo (internal clock or external MIDI clock tempo data) (☞p.218)

CC#: This is the control change number.


*: This indicates a controller or a function assigned to a controller on the TRITON/TRITONpro/TRITONproX. The con-
troller and the type of MIDI messages it transmits will depend on the type of connected MIDI instr ument.

217
In Program mode and Sampling mode (if the EXB- Kb1[+] (Knob Mod1: CC#17 [+] )
SMPL option is installed), dynamic modulation of the Kb2[+] (Knob Mod2: CC#19 [+] )
insert effect and master effects is controlled on the glo- Kb3[+] (Knob Mod3: CC#20 [+] )
bal MIDI channel. (In Sampling mode, only the insert Kb4[+] (Knob Mod4: CC#21 [+] )
effect can be used.) These differ from Kb1#17 (Knob Mod1: CC#17)–Kb4#21
In Combination mode and Sequencer mode, dynamic (Knob Mod4: CC#21) in the knob position and direction of
modulation of the insert effect and master effects are the effect. If “(Amount)” is set to a positive (+) value, rotat-
controlled on the MIDI channel that has been specified ing the knob to the far right will produce an effect of 0 as the
as the “Control Channel” for IFX, MFX1, and MFX2 dynamic modulation source. Rotating the knob toward the
respectively. right will apply an effect only in the positive direction. (With
Gate1, G1+Dmp (Gate1+Damper) negative (–) settings, the opposite effect will result.)
The effect is at maximum during note-on, and will stop SW1#80 (SW1 Mod.: CC#80)
when all keys are released. With G1+Dmp, the effect will SW2#81 (SW2 Mod.: CC#81)
remain at maximum even after the keys are released, as long If you want to use the [SW1] and [SW2] keys as dynamic
as the damper (sustain) pedal is pressed. modulation sources in Program, Combination, Song, or
Gate1, G1+Dmp Sampling (when the EXB-SMPL option is installed) modes,
Note
1 2 1 3 2 3
Dmpr
access the 2.2: Ed-Ctrl/Controller page (or the 5.2: Control-
Damper Pedal ler/Controls page for Sampling mode), and in “SW1/2
Gate1
On
Off
Assign,” set “SW1” to SW1 Mod. (CC#80) and “SW2” to
SW2 Mod. (CC#81). (☞p.220 “SW1/2 Assign”)
G1+Dmp
The effect will be controlled when you operate the [SW1] or
Time
[SW2] key.
FSW#82 (Foot Switch: CC#82)
Gate2, G2+Dmp (Gate2+Damper) If you wish to use an assignable foot switch as a dynamic
This is essentially the same as for Gate 1 or G1+Dmp. How-
modulation source, set “Foot SW Assign” (GLOBAL 6.1–1a)
ever when Gate 2 or G2+Dmp are used as a dynamic modu- to Foot SW (CC#82) (☞p.222 “Foot Switch Assign”).
lation source for the EG of 22: St.Env.Flanger etc. or the
The effect will be controlled when you operate a foot switch
AUTOFADE of 27: St.Vibrato, a trigger will occur at each
etc. connected to the ASSIGNABLE SWITCH jack.
note-on. (In the case of Gate 1 and G1+Dmp, the trigger
occurs only for the first note-on.) Tempo
Gate2, G2+Dmp
Modulation sources other than Tempo are internally pro-
1 2 1 3 2 3
Dmpr
cessed as a value of 0–127 (–128 – +127). In contrast, Tempo
Note
Damper Pedal uses the tempo data (BPM value) of the internal clock or the
On external MIDI clock. This means that when “! ” is 127 (BPM),
Gate2 Off

it will have the same result as the maximum value (+127) of


G2+Dmp other modulation sources.
Time

Pdl#4 (Foot Pedal: CC#04)


If you wish to use the assignable foot pedal as a dynamic
modulation source, set “Foot Pedal Assign” (GLOBAL 1.1–
3a) to Foot Pedal (CC#04). (☞p.223 “Foot Pedal Assign”)
A foot controller etc. connected to the ASSIGNABLE PEDAL
jack can be used to control an effect.
Kb1#17 (Knob Mod1: CC#17)
Kb2#19 (Knob Mod2: CC#19)
Kb3#20 (Knob Mod3: CC#20)
Kb4#21 (Knob Mod4: CC#21)
If you want to use the REALTIME CONTROLS [1]–[4] knobs
as dynamic modulation sources in Pattern, Combination,
Song, or Sampling modes (when the EXB-SMPL option is
installed), access the 2.2: Ed-Ctrl/Control page (or the 5.2:
Controller/Controls page for Sampling mode), and in
“Knob B Assign,” set “Knob1-B” to Knob Mod.1 (CC#17),
“Knob2-B Assign” to Knob Mod.2 (CC#19), “Knob3-B
Assign” to Knob Mod.3 (CC#20), and “Knob4-B Assign” to
Knob Mod.4 (CC#21). (☞p.221 “Knob 1...4 B Assign”)
When you set REALTIME CONTROLS to B-mode and oper-
ate knobs [1]–[4], the effect will be controlled.
Moving the knob to the 12 o’clock position will produce a
effect of 0 as the dynamic modulation source. If “(Amount)”
is a positive (+) value, rotating the knob toward the right
will produce a positive change in the effect, and rotating it
toward the left will produce a negative change. (With nega-
tive (–) values, the opposite effect will result.)

218
About the BPM/ MIDI SYNC function
BPM/MIDI SYNC can be used for most effects that have an
LFO, such as 09:St. Wah/Auto Wah, and for some delay-
type effects such as 49:L/C/R BPM Delay. You can apply
modulation that is synchronized to the tempo, or specify the
delay time in terms of a note value so that the effect will syn-
chronize to the tempo of the arpeggiator or sequencer dur-
ing a live performance even if you change the tempo.
Parameters that allow BPM/MIDI SYNC to be used are
marked by a symbol at their right in the list of param-
eters for each effect.

Example 1. LFO
“BPM/MIDI Sync” On
“Base (Base Note)“ !
“Times” 1
In this case, each cycle of the LFO will be as long as one
quarter note.
BPM/MIDI Sync: LFO
LFO

If “BPM” is set to MIDI, the effect will synchronize to the


tempo of the arpeggiator or sequencer (or to an external
MIDI clock). If “BPM” is in the range of 40–240, the specified
value will be used.

Example 2. Delay Time


“L Bs (Base Note)” "
“Times” 1
“R Bs (Base Note)” #
“Times” 3
In this case, the delay time of the left channel will be the
duration of an eighth note, and the delay time of the right
channel will be the duration of a sixteenth note triplet.

BPM/MIDI Sync: Delay Time


Dry Wet

Lch

Dry Wet

Rch

When “BPM” is set to MIDI, the effect will synchronize to


the tempo of the arpeggiator or sequencer (or to an external
MIDI clock). If “BPM” is in the range of 40–240, the specified
value will be used.
If the tempo, “Bs (Base Note),” and “Times” settings in con-
junction would cause the maximum delay time to be

Appendices
exceeded, the warning “TimeOver? >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.)

219
• In Sampling mode (when the EXB-SMPL option is
SW1/ 2 Assign installed), assign the functions in the 5.2: Controller/
Controls page setting “SW1/2 Assign” (5.2–1b).
The following functions can be assigned to the [SW1] or
This can be set for each program in Program mode,
[SW2] keys.
each combination in Combination mode, and each song
• For a program, combination, or song make the settings in Sequencer mode. For Sampling mode, the settings
in 2.2: Ed-Ctrl/Controller page “SW1/2 Assign” (2.2– apply to the entire mode.
1b).

SW1, SW2 Assign List


Off no function
SW1 Mod.(CC#80) (SW1 Modulation:CC#80) Select this when using the switch as an Alternate Modulation or Effect Dynamic Modulation
SW2 Mod.(CC#81) (SW2 Modulation:CC#81) source. In this case, you must first specify the control destination. Each time the switch is turned
On/Off, a CC#80 (or CC#81) message will be transmitted (Off: 0, On: 127). (☞p.220)
Porta.SW(CC#65) (Portamento Switch:CC#65) When you press SW1 (or SW2) to turn it on (LED lit), portamento will be applied. Each time this is
turned On/Off, CC#65 will be transmitted (Off: 0, On: 127). (☞p.220)
Octave Down Each time you press SW1 (or SW2), the pitch will alternate between 1 octave lower
and the original octave setting (1 octave down when the LED is lit).
Octave Up Each time you press SW1 (or SW2), the pitch will alternate between 1 octave higher
and the original octave setting (1 octave up when the LED is lit).
JS X Lock Lock the effect of the joystick X direction. (☞p.220)
JS+Y Lock Lock the effect of the joystick +Y direction. (☞p.220)
JS-Y Lock Lock the effect of the joystick -Y direction. (☞p.220)
Ribbon Lock :N/A — (☞p.220)
JS X&Rbn Lock :N/A — (☞p.220)
JS+Y&Rbn Lock :N/A — (☞p.220)
JS-Y&Rbn Lock :N/A — (☞p.220)
AfterT Lock Lock the effect of after touch. (☞p.220)

SW1 Mod.(CC#80) (SW1 Modulation:CC#80) JS X Lock, JS+Y Lock, JS-Y Lock, AfterT Lock
SW2 Mod.(CC#81) (SW2 Modulation:CC#81) The state of the selected controller (joystick, after touch) will
This effect differs between SW1 and SW2. SW1 is handled as alternate between Lock and Unlock (Lock when the LED is
CC#80, and SW2 is handled as CC#81. lit).
Porta.SW(CC#65) (Portamento Switch:CC#65) While the joystick or after touch is being operated, turning
When “Mode (Oscillator Mode)” (PROG 2.1–1a) is Single, Lock on will lock (fix) the effect at the current position of
turning the switch on (LED lit) will apply portamento that controller.
regardless of the “Enable (Porta. Enable)” (PROG 3.1–1c) For example if you select JS+Y Lock, move the joystick
setting, and turning the switch off (LED off) will not apply away from yourself, and then turn Lock on, the operation
portamento. produced by the joystick (+Y) will be locked (held) at that
If “Mode (Oscillator Mode)” is Double, and if the “Enable position. Even if you return the joystick to its original posi-
(Porta. Enable)” setting is the same for OSC1 and 2 (i.e., tion, the modulation will continue to apply. At this time you
Enable or Disable for both OSC1 and 2), then portamento can even move the joystick in the –Y direction to apply both
will be applied to OSC1 and 2 when the switch is turned on types of modulation (joystick +Y and –Y) simultaneously.
(LED lit), and portamento will not be applied to OSC1 and 2
When you Lock the joystick or after touch, MIDI trans-
when the switch is turned off (LED off).
mission of the corresponding controller will be halted,
If the “Enable (Porta. Enable)” setting is different for OSC1
but reception will still occur.
and 2 (i.e., OSC1 is Enable and OSC2 is Disable, or OSC1 is
Disable and OSC2 is Enable), then portamento will be Ribbon Lock: N/ A, JS X&Rbn Lock : N/ A,
applied to the OSC whose setting is Enable when the switch
JS+Y&Rbn Lock: N/ A, JS-Y&Rbn Lock: N/ A
is turned on (LED lit), and portamento will be applied to
neither OSC when the switch is turned off (LED off). These values can be specified, but will have no actual effect.
N/A indicates Not Available (i.e., invalid).
Data compatibility is maintained between this instrument
and the TRITON/TRITONpro/TRITONproX (TRITON key-
board models). Programs created on this instrument can be
used on TRITON keyboard models, and the opposite is also
true.
In order to maintain compatibility, it is necessary to specify
these “invalid” parameters on this instrument.

220
• In Sampling mode (when the EXB-SMPL option is
Knob 1...4 B Assign installed), assign the functions in the 5.2: Controller/
Controls page setting “Knob B Assign” (5.2–1a).
The following functions can be assigned to the REALTIME
This can be set for each program in Program mode,
CONTROLS [1]–[4] knobs in B-mode.
each combination in Combination mode, and each song
• For program, combination, or song, make these settings in Sequencer mode. For Sampling mode, the settings
in 2.2: Ed-Ctrl/Controller page “Knob B Assign” (2.2– apply to the entire mode.
1a).

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 KnobM1#17 for “AMS,” or Kb1#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 KnobM2#19 for “AMS,” or Kb2#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 KnobM3#20 for “AMS,” or Kb3#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 KnobM4#21 for “AMS,” or Kb4#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 bal-
ance between tracks or timbres).
Porta. Time (CC#05) Control the portamento time. Simultaneously, CC#5 will be transmitted.
Volume (CC#07) Control the volume. Simultaneously, CC#7 will be transmitted.
IFX Pan (CC#08) Control the panning after the insertion effect. Simultaneously, CC#8 will be transmitted.
Pan (CC#10) Control the oscillator panning. Simultaneously, CC#10 will be transmitted.
Expression (CC#11) Control the expression. Simultaneously, CC#11 will be transmitted.
FX Ctrl 1 (CC#12) Control Effect Dynamic Modulation. When controlling this, set “Dmod Src” to FX1#12. Simultaneously, CC#12 will
be transmitted.
FX Ctrl 2 (CC#13) Control Effect Dynamic Modulation. When controlling this, set “Dmod Src” to FX2#13. Simultaneously, CC#13 will
be transmitted.
Flt Cutoff (CC#74) Control the cutoff frequency of the Filter (low pass filter). Simultaneously, CC#74 will be transmitted.
Flt Reso. (CC#71) Control the resonance of the Filter, or the cutoff frequency of the high pass filter. If the program’s “Type (Filter1/2
Type)” is Low Pass 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.
Flt 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 Sus. (CC#70) Control the EG sustain level of the Filter and Amplifier. Simultaneously, CC#70 will be transmitted.
F/A Rel. (CC#72) Control the EG release time of the Filter and Amplifier. Simultaneously, CC#72 will be transmitted.
P LFO1 Spd (CC#76) Control the frequency of LFO1. Simultaneously, CC#76 will be transmitted.
P LFO1 Dep (CC#77) Control the LFO1 intensity of the pitch. Simultaneously, CC#77 will be transmitted.
P 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 SW 1 #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 SW 2 #81. Simultaneously, CC#81 will be transmitted.
Foot SW (CC#82) General-purpose controller. Alternate Modulation or Effect Dynamic Modulation can be controlled. To use this,
select FootSW#82 for “AMS,” or FSW#82 for “Dmod Src.” Simultaneously, CC#82 will be transmitted.

Appendices
MIDI CC#83 (CC#83) General-purpose controller. Alternate Modulation or Effect Dynamic Modulation can be controlled. To use this,
select MIDI CC#83 for “AMS,” or CC#83 for “Dmod Src.” 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 this instrument is set so as to be controlled by the
control change message, the corresponding control will occur.

221
The A-mode functions of the REALTIME CONTROLS
are fixed. Foot Switch Assign
Knob1-A: LPF Cutoff (Filter LPF Cutoff: CC#74)
You can assign the function of an assignable switch (sepa-
Control the low pass filter cutoff frequency of the filter.
rately sold Korg PS-1 option) connected to the ASSIGN-
Simultaneously, CC#74 will be transmitted.
ABLE SWITCH jack.
Knob2-A: Resonance/ HPF
• This setting is made in GLOBAL 1.1: System Foot page
(Filter Resonance/ HPF Cutoff: CC#71)
“Foot SW Assign” (1.1–3a).
Control the resonance level or the cutoff frequency of the
high pass filter. If the program “Filter Type” is Low Pass If you select a function that includes a CC#, that MIDI
Resonance, the resonance level will be controlled. If “Filter control change message will be transmitted each time
Type” is Low Pass & High Pass, the cutoff frequency of the the switch is turned on/off. (Off: 0, On: 127)
high pass filter will be controlled. Simultaneously, CC#71
will be transmitted.
Knob3-A: EG-Intensity (Filter EG Intensity: CC#79)
Control the filter EG intensity. Simultaneously, CC#79 will
be transmitted.
Knob4-A: EG-Release (Filter, Amplifier EG Release: CC#72)
Control the release time of the filter and amplifier EG.
Simultaneously, CC#72 will be transmitted.

Foot Switch Assign List


Off The connected foot switch will not function.
Foot SW (CC#82) Alternate Modulation or Effect Dynamic Modulation can be controlled. To control these, select Foot SW:#82 for “AMS” or
FSW#82 for “Dmod Src.”
Portamento SW (CC#65) Control portamento on/off.
Sostenuto (CC#66) Control the sostenuto effect (which holds only the keys (Note No.) that were being held at the moment that the pedal
switch was turned on).
Soft (CC#67) Turn the soft pedal effect on/off.
Arpeggio SW Turn the arpeggiator on/off. The NRPN message [Bn 63 00 Bn 62 02 Bn 06 00 (off) or 7F (on)] will be transmitted each
time this is turned on/off.
Program Up The switch can be used to select programs or combinations. When in PROG 1.1: Play, the program that follows the cur-
rently selected program will be selected. When in COMBI 1.1: Play, the combination that follows the currently selected
combination will be selected. Simultaneously, a Bank Select message and Program Change message will be transmit-
ted.
Program Down The switch can be used to select programs or combinations. When in PROG 1.1: Play, the program that precedes the
currently selected program will be selected. When in COMBI 1.1: Play, the combination that precedes the currently
selected combination will be selected. Simultaneously, a Bank Select message and Program Change message will be
transmitted.
Song Start/Stop The switch can be used to start/stop the sequencer. Simultaneously, a MIDI Start or Stop message will be transmitted.
Song Punch In/Out If “REC Setup”(SEQ 1.1–6a) is set to Manual Punch In, the switch can be used to punch-in and punch-out when record-
ing on the sequencer.
Cue Repeat Control This can be used if in Cue List, the “Rep (Cue Edit-Repeat)” (SEQ 2.1–1b) setting of each step has been set to FS. Turn-
ing the pedal switch on while that step is repeating will be the trigger for advancing to the next step. When the end of the
song is reached, this will advance to the next step (song).

Portamento SW (CC#65)
When the “Mode (Oscillator Mode)” (PROG 2.1–1a) is Sin-
gle, turning the switch on will apply portamento regardless
of the “Enable (Porta. Enable)” (PROG 3.1–1c) setting, and
turning the switch off will not apply portamento.
If “Mode (Oscillator Mode)” is Double, and if the “Enable
(Porta. Enable)” setting is the same for OSC1 and 2 (i.e.,
Enable or Disable for both OSC1 and 2), then portamento
will be applied to OSC1 and 2 when the switch is turned on,
and portamento will not be applied to OSC1 and 2 when the
switch is turned off.
If the “Enable (Porta. Enable)” setting is different for OSC1
and 2 (i.e., OSC1 is Enable and OSC2 is Disable, or OSC1 is
Disable and OSC2 is Enable), then portamento will be
applied to the OSC whose setting is Enable when the switch
is turned on, and portamento will be applied to neither OSC
when the switch is turned off.

222
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 1.1: System Foot page
“Foot Pedal Assign” (1.1–3a).
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 tim-
bres or tracks).
Foot Pedal (CC#04) Alternate Modulation or Effect Dynamic Modulation can be controlled. To control these, set “AMS” to Pedal #04 or “Dmod
Src” to pdl#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 mode.
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 mode.
Expression (CC#11) Control the volume of a Program, of a timbre in a Combination, or of a track in Sequencer mode. 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 FX1#12.
FX Control 2 (CC#13) Control Effect Dynamic Modulation. To control this, set Dmod Src to FX2#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
mode. 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
mode. Simultaneously, this will also control the send level to master effect 2 (MFX2) from after the insertion effect of the
matching MIDI channel.

Appendices

223
MIDI transmission when
the TRITON Le‘s controllers are
operated
The following table shows the relation between the MIDI
messages that are transmitted when the TRITON Le’s con-
trollers are operated, and the AMS (alternate modulation
source) or DMS (dynamic modulation source) that corre-
spond to each MIDI message. # indicates a fixed function,
and * indicates an assignable function.
When one of the TRITON Le’s controllers is operated, the
corresponding or the assigned control change will be trans-
mitted. Pitch Bend messages will be transmitted only when
the joystick is moved in the X (horizontal) direction. The
operation in each mode is described below. (Explanations
are given only for control changes, but the same applies to
pitch bend as well.)
Program mode
When one of the TRITON Le’s controllers is operated, a con-
trol change message will be transmitted on the global MIDI
channel.
If a REALTIME CONTROLS B-mode knob [1]–[4] is set
to Master Volume, the universal exclusive message
Master Volume will be transmitted.
Combination mode
When one of the TRITON Le’s controllers is operated, a con-
trol change message will be transmitted on the global MIDI
channel.
Simultaneously, the message will also be transmitted on the
MIDI channel (“MIDI Channel” COMBI 3.1–1a) of any tim-
bre whose “Status”(COMBI 3.1–1a) is EXT or EX2.
When one of the TRITON Le’s controllers is operated, its
effect will apply to any timbre whose “Status” is INT and
whose “MIDI Channel” setting is either Gch or the same as
the global MIDI channel.
In the case of Master Volume, the universal exclusive
message Master Volume will be transmitted only on the
global MIDI channel.
You can make settings for MIDI Filter (COMBI 4.1–4.4)
to enable or disable control changes and controllers for
each timbre. When checked, the above operations will
be enabled.
Effect dynamic modulation can be controlled when the
“Control Ch (Control Channel)” (COMBI 7.1–1b, 7.2–1a, 7.2–
1c) setting for IFX, MFX1, 2, or MEQ is either set to Gch or to
the same channel as the global MIDI channel. (In the case of
All Rt., control is possible on the MIDI channel of any
routed timbre.)

224
Sequencer mode
When one of the TRITON Le’s controllers is operated, its
effect will apply to the track 1–16 that is selected by “Track
Select” (SEQ 1.1–1c).
If the “Status” (SEQ 3.1–1a/2a) of the track selected by
“Track Select” is EXT, EX2, or BTH, a control change mes-
sage will be transmitted on the MIDI channel specified by
“MIDI Channel” (SEQ 3.1–1a/2a).
If the “Status” is INT or BTH, operating one of the
TRITON Le’s controllers will affect only that track. Simulta-
neously, the same effect will also apply to any track with the
same “MIDI Channel” setting.
In the case of Master Volume, the universal exclusive
message Master Volume will be transmitted.
You can make settings for MIDI Filter (SEQ 4.1–4.4) 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
“Control Ch (Control Channel)” (SEQ 7.1–1b, 7.2–1a, 7.2–1c)
setting for IFX, MFX1, 2, or MEQ matches the MIDI channel
of the track selected by “Track Select.” (In the case of All Rt.,
control is possible on the MIDI channel of all routed tracks.)
If one of the TRITON Le’s controllers is operated during
realtime recording, the corresponding or assigned control
change will be recorded.
Sampling mode
When one of the TRITON Le’s controllers is operated, a con-
trol change message will be transmitted on the global MIDI
channel (“MIDI Channel” GLOBAL 2.1–1a).
In the case of Master Volume, the universal exclusive
message Master Volume will be transmitted.
It is not possible to make AMS settings in Sampling
mode.
* Global MIDI channel:
GLOBAL 2.1: MIDI “MIDI Channel” (2.1–1a)

Appendices

225
226
TRITON Le controller Available Available
Joy Stick Realtime Realtime Arp-Gate Arp-Velocity SW1,2 ARP Damper Assign- Assign- for AMS for DMOD
Controls Controls (Realtime (Realtime On/Off able able Pedal
A B Controls C) Controls C) Switch
MIDI channel messages
Note-off
Note-on (note number) * *
Note-on (velocity) * *
Poly after touch *
CC# 0 Bank select (MSB) *
1 Modulation 1 # (+Y) * * *
2 Modulation 2 # (–Y) * * *
3 – *
4 Foot controller * * * *
5 Portamento time *
6 Data entry (MSB) *
7 Volume * *
8 Post insertion effect panpot * *
9 – *
10 Panpot * *
11 Expression * *
12 Effect control 1 * * *
13 Effect control 2 * * *
14...15 *
16 Ribbon controller * * *
17 Knob modulation 1 * * *
18 Controller (CC#18) * * *
19 Knob modulation 2 * * *
20 Knob modulation 3 * * *
21 Knob modulation 4 * * *
22...31 – *
32 Bank select (LSB) *
33...37 – *
38 Data entry (LSB) *
39...63 – *
64 Damper * # * *
65 Portamento On/Off * * * * *
66 Sostenuto On/Off * * * *
67 Soft * * *
68...69 – *
70 Sustain level *
71 Filter resonance level/High pass * (Knob2) *
filter cutoff frequency
72 Release time * (Knob4) *
73 Attack time *
74 Low pass filter cutoff frequency * (Knob1) *
75 Decay time *
76 LFO1 speed *
77 LFO1 depth (pitch) *
78 LFO1 delay *
79 Filter EG intensity * (Knob3) *
80 SW1 modulation On/Off * * (SW1) * *
81 SW2 modulation On/Off * * (SW2) * *
82 Foot switch On/Off * * * *
83 Controller (CC#83) * * *
84...90 - *
91 Effect depth 1 (send 2 level) * *
92 Effect depth 2 (insertion effect *
On/Off )
93 Effect depth 3 (send 1 level) * *
94 Effect depth 4 (master effect 1 *
On/Off)
95 Effect depth 5 (master effect 2 *
On/Off)
96 Data increment
97 Data decrement
98 NRPN(LSB)
2: Arpeggiator on/off switch # *
10: Arpeggiator gate control #
11: Arpeggiator velocity control #

Appendices
99 NRPN(MSB) 0 # # # *
100 RPN(LSB)
0: Bend range
1: Fine tune
2: Coarse tune
101 RPN(MSB) 0
102...127 -
Program change
Channel after touch * *
Bender change # (X) * *
Universal exclusive
Master volume * *
Master balance
Master fine tune
Master coarse tune

227
The following table shows the operations that the
TRITON Le operations TRITON Le will perform when control change messages are
received, and the relation between settings and controller
when control changes are movements on this instrument
transmitted/ received
CC Control Value Function
#
0 Bank select (MSB) 0...127 bank select message MSB *1
1 Modulation 1 0...127 corresponds to joystick movement in the +Y direction (away from yourself)
2 Modulation 2 0...127 corresponds to joystick movement in the -Y direction (toward yourself)
4 Foot controller 0...127 corresponds to when the assignable pedal function is set to Foot Pedal
5 Portamento time 0...127 portamento time
6 Data entry (MSB) 0...127 MSB of RPN and NRPN data *2
7 Volume 0...127 volume *3
8 Post insertion effect panpot 0...127 pan after the insertion effect
10 Panpot 0...127 pan
11 Expression 0...127 volume *3
12 Effect control 1 0...127 for controlling Effect Dynamic Modulation (same as Dmod Src: FX1 #12)
13 Effect control 2 0...127 for controlling Effect Dynamic Modulation (same as Dmod Src: EX2 #13)
16 Controller (CC#16) 0...127 for controlling Modulation, Alternate Modulation (same as AMS: Ribbon #16), Effect
Dynamic Modulation (same as Dmod Src Rbn#16)
17 Knob modulation 1 0...127 corresponds to when Knob Mod.1 is assigned as the B-mode function
of a REALTIME CONTROLS knob
18 Controller (CC#18) 0...127 for controlling Alternate Modulation (same as AMS: Slider #18), Effect Dynamic Modula-
tion (same as Dmod Src: Sld #18)
19 Knob modulation 2 0...127 corresponds to when Knob Mod.2 is assigned as the B-mode function
of a REALTIME CONTROLS knob
20 Knob modulation 3 0...127 corresponds to when Knob Mod.3 is assigned as the B-mode function
of a REALTIME CONTROLS knob
21 Knob modulation 4 0...127 corresponds to when Knob Mod.4 is assigned as the B-mode function
of a REALTIME CONTROLS knob
32 Bank select (LSB) 0...127 LSB of bank select message *1
38 Data entry (LSB) 0...127 LSB of RPN or NRPN data *2
64 Damper 0...127 damper effect
65 Portamento On/Off 0...63(Off), 64...127(On) turn the portamento effect on/off
66 Sostenuto On/Off 0...63(Off), 64...127(On) turn the sostenuto effect on/off
67 Soft 0...127 soft pedal effect
70 Sustain level 0...127 sustain levels of the filter EG and amp EG *4
71 Filter resonance level 0...127 resonance level of the filter *5
High pass filter cutoff frequency cutoff frequency of the high pass filter *4
72 Release time 0...127 release times of the filter EG and amp EG *4
73 Attack time 0...127 attack times of the filter EG and amp EG *4
74 Low pass filter cutoff frequency 0...127 cutoff frequency of the low pass filter *4
75 Decay time 0...127 decay times/slope times of the filter EG and amp EG *4
76 LFO1 speed 0...127 LFO1 speed *4
77 LFO1 depth 0...127 pitch LFO1 intensity *4
78 LFO1 delay 0...127 LFO1 delay *4
79 Filter EG intensity 0...127 filter EG intensity *4
80 SW1 modulation On/Off 0...63(Off), 64...127(On) corresponds to on/off when the SW1 function is set to SW1 Mod.
81 SW2 modulation On/Off 0...63(Off), 64...127(On) corresponds to on/off when the SW2 function is set to SW2 Mod.
82 Foot switch On/Off 0...63(Off), 64...127(On) corresponds to on/off when the function of the assignable foot switch is set to Foot SW
83 Controller (CC#83) 0...127 for controlling Alternate Modulation (same as AMS: MIDI CC#8), Effect Dynamic Modulation
(same as Dmod Src: CC#83)
91 Effect depth 1 (send 2 level) 0...127 send 2 level
92 Effect depth 2 (insertion effect On/Off) 0(Off), 1...127(On) turn insertion effect on/off *6
93 Effect depth 3 (send 1 level) 0...127 send 1 level
94 Effect depth 4 (master effect 1 On/Off) 0(Off), 1...127(On) master effect 1 on/off *6
95 Effect depth 5 (master effect 2 On/Off) 0(Off), 1...127(On) master effect 2 on/off *6
96 Data increment 0
97 Data decrement 0
98 NRPN(LSB) 2 corresponds to the arpeggiator on/off switch *7
10 corresponds to the arpeggiator Gate control knob *7
11 corresponds to the arpeggiator Velocity control knob *7
99 NRPN (MSB) 0 MSB of NRPN
100 RPN(LSB) 0 select the pitch bend range *2
1 select Fine Tune *2
2 select Coarse Tune *2
101 RPN(MSB) 0 MSB of RPN

228
Any control change number (CC#00–95) can be will adjust the effect from the program parameter setting
assigned as the B-mode function of a REALTIME CON- toward the minimum value or maximum value. The
TROLS knob. In this case, the transmitted values will all internal program parameters listed in (*4, *5) will be con-
be 0–127. trolled.
*1 On the TRITON Le’s sequencer, bank select messages *5 If the filter type of the corresponding program is Low
are normally specified as a program change event Pass Resonance, the filter resonance level will be con-
(“Event Edit” SEQ 5.2–1b). However in some cases this trolled. If the filter type is Low Pass & High Pass, the
will be insufficient when you wish to change banks on cutoff frequency of the high pass filter will be controlled.
an external device. In such cases, you can use CC#00 and *4, *5
CC#32 to specify the banks. CC#70–79 correspond to the following program parame-
For information on the relation between bank select ters of the TRITON Le.
numbers and the banks of your external device, refer to In Program mode, when CC#70–79 is received on the
the owner’s manual for your external device. global MIDI channel (“MIDI Channel” GLOBAL 2.1–
*2 Unlike conventional control changes, pitch bend range, 1a), or when a REALTIME CONTROLS [1]–[4] knob is
fine tune, and coarse tune settings are made using RPC operated in A-mode or in B-mode when the function is
(Registered Parameter Control) messages. In Program, assigned to CC#70–79, the corresponding program
Combination, and Sequencer modes, you can use RPC parameter will be edited temporarily. You can execute
messages to control the bend range and tuning for each “Write Program” (PROG 1.1–1c)) to save that state
program, combination (Combination), or track (except for some parameters). When you execute “Write
(Sequencer). The procedure is to use an RPN (Registered Program,” the values of the corresponding program
Parameter Number) message to select the parameter parameters will be rewritten.
that you wish to edit, and then use Data Entry to input a In Sampling mode (if the EXB-SMPL option is installed)
value for that parameter. To select the parameter, use when playing the currently selected multisample on the
CC#100 (with a value of 00–02) and CC#101 (with a keyboard, the same control changes or knob operations
value of 00). use CC#06 and CC#38 to enter the data. as in Program mode will temporarily edit the corre-
The data entry values for each parameter and the corre- sponding program parameters. You can use “Convert
sponding settings are as follows. MS to Program” (SMPL 1.1–3f) to save that state as a
program (except for some parameters).
RPN=0 (Pitch bend range)
In Combination, Sequencer modes, the program param-
CC#06 CC#38 Parameter value (Semitone steps)
eters of the program for the timbre/track of the corre-
00 00 0
sponding MIDI channel will change, but this state can
01 00 +1
not be saved directly in the program.
12 0 +12
CC#70: Sustain level
Corresponds to “Filter/Amp EG Sustain Level” (PROG
RPN=1 (Fine tune)
4.1/2: Ed–Filter1/2, EG page, 5.1/2: Ed–Amp1/2, EG
CC#06 CC#38 Parameter value (1 cent steps) page).
32 00 –50
CC#71: Filter resonance level/ High pass filter cutoff
48 00 –25 frequency
64 00 0 Corresponds to “Filter A Resonance” (PROG 4.1/2: Ed–
Filter1/2, Basic page).
96 00 +50 Corresponds to “Filter B Frequency” (PROG 4.1/2: Ed–
Filter1/2, Basic page).
RPN=2 (Coarse tune)
CC#72: Release time
CC#06 CC#38 Parameter value (Semitone steps) Corresponds to “Filter/Amp EG Release Time” (PROG
40 00 –24 4.1/2: Ed–Filter1/2, EG page, 5.1/2: Ed–Amp1/2, EG
52 00 –12 page).
64 00 0 CC#73: Attack time
Corresponds to Filter/Amp EG Attack Time” (PROG
88 00 +24
4.1/2: Ed–Filter1/2, EG page, 5.1/2: Ed–Amp1/2, EG
page)
For example, if in Sequencer mode you wish to set a Corresponds to “Amp EG Start Level” (PROG 5.1/2: Ed–

Appendices
track that is receiving channel 1 to a transpose (coarse Amp1/2, EG page).
tuning) value of -12, you would first transmit [B0, 64, 02] Corresponds to “Amp EG Attack Level” (PROG 5.1/2:
(64H=CC#100) and [B0, 65, 00] (65H=CC#101) to this Ed–Amp1/2, EG page).
instrument to select the RPN coarse tune. Then you Corresponds to “Amp EG Level Modulation Start”
would set this to –12 by transmitting [B0, 06, 34] (PROG 5.1/2: Ed–Amp1/2, EG page).
(06H=CC#6), 34H=52 (corresponds to –12), and [B0, 26, Corresponds to “Amp EG Time Modulation Attack”
00] (26H=CC#38, 00H=0). (PROG 5.1/2: Ed–Amp1/2, EG page).
*3 The volume of the TRITON Le is determined by sum-
CC#74: Low pass filter cutoff frequency
ming the Volume (CC#07) with the Expression (CC#11).
Corresponds to “Filter A Frequency” (PROG 4.1/2: Ed–
When you select a song in Sequencer mode, the volume
Filter1/2, EG page).
will be set to the values specified for each track, and the
Corresponds to “Filter B Frequency” (PROG 4.1/2: Ed–
expression will be set to the maximum value (127).
Filter1/2, EG page).
*4 A value of 64 will correspond to the value specified by the
program parameter. 0 will be the minimum, and 127 will
be the maximum. Changing from 63–1 or from 65–126

229
CC#75: Decay time
Corresponds to “Filter/Amp EG Decay Time” (PROG
4.1/2: Ed–Filter1/2, EG page, 5.1/2: Ed–Amp1/2, EG
page)
Corresponds to “Filter/Amp EG Slope Time” (PROG
4.1/2: Ed–Filter1/2, EG page, 5.1/2: Ed–Amp1/2, EG
page)
CC#76: LFO1 speed
Corresponds to “LFO 1 Frequency” (PROG 5.3: Ed–
LFOs, OSC1/2, LFO1 page).
CC#77: LFO1 depth (pitch LFO1 intensity)
Corresponds to “Pitch LFO1 Intensity” (PROG 3.1: Ed–
Pitch, OSC1LFO page).
CC#78: LFO1 delay
Corresponds to “LFO1 Delay” (PROG 5.3: Ed–LFOs,
OSC1/2, LFO1 page).
CC#79: Filter EG intensity
Corresponds to “Filter EG Intensity to A, B” (PROG 4.1/
2: Ed–Filter1/2, Mod.1 page).
*6 Controlled on the global MIDI channel.
*7 NRPN (Non Registered Parameter Number) and Data
Entry can be used to control the following parameters.
Arpeggiator on/ off
[Bn 63 00 Bn 62 02 Bn 06 nn] (nn:00–3F off, 40–7F on)
Arpeggiator gate control
[Bn 63 00 Bn 62 0A Bn 06 nn] (nn:00–7F)
Arpeggiator velocity control
[Bn 63 00 Bn 62 0B Bn 06 nn] (nn:00–7F)

230
You can also use a MIDI patch bay to control multiple MIDI
MIDI applications devices.

■ About MIDI TRITON Le


MIDI OUT
MIDI stands for Musical Instrument Digital Interface, and is
a world-wide standard for exchanging various types of MIDI IN MIDI OUT MIDI IN

musical data between electronic musical instruments and


computers. When MIDI cables are used to connect two or MIDI patch bay MIDI OUT

more MIDI devices, performance data can be exchanged


MIDI IN MIDI keyboard
between the devices, even if they were made by different
manufacturers.
MIDI tone generator

■ Connecting MIDI devices/ computers The “Convert Position” setting


(MIDI connectors) On the TRITON Le, the parameters “Key Transpose,”
“Velocity Curve” and “AfterT Curve” (GLOBAL 1.1–1a)
Controlling an external MIDI tone generator allow you to transpose the pitch, adjust the velocity sensitiv-
from this instrument ity, and adjust the after touch sensitivity (☞p.122).

When you wish to use the TRITON Le’s keyboard, control- The effect that these settings will have on the internal
lers, and sequencer etc. to play an external MIDI tone gener- sequencer and on the MIDI data that is transmitted and
ator, use a MIDI cable to connect this instrument’s MIDI received will depend on “Convert Position” (GLOBAL 2.1–
OUT connector to the MIDI IN connector of the external 1a) setting (☞p.127).
MIDI tone generator. • When controlling an external MIDI tone generator from
the TRITON Le, select Pre MIDI. The above-listed
settings will affect the MIDI data that is transmitted.
These settings will also affect the data that is recorded on
MIDI OUT TRITON Le MIDI IN MIDI tone generator the internal sequencer.
Incoming MIDI data will be handled with settings equiv-
alent to “Key Transpose” 0, “Velocity Curve” 4, and
“AfterT Curve” 3.
Controlling this instrument’s tone generator • When controlling the TRITON Le’s tone generator from
from an external MIDI device an external MIDI device, select PostMIDI. The above-
listed settings will affect the MIDI data that is received.
When you wish to play or control the TRITON Le’s tone
These settings will also affect the data that is played back
generator from an external MIDI keyboard or sequencer etc.,
from the internal sequencer.
use a MIDI cable to connect the MIDI OUT connector of the
Outgoing MIDI data will be handled with settings equiv-
external MIDI device to the MIDI IN connector of this
alent to “Key Transpose” 0, “Velocity Curve” 4, and
instrument.
“AfterT Curve” 3.

Connecting an external MIDI sequencer or


MIDI IN TRITON Le MIDI OUT MIDI keyboard
computer etc.
You can play the TRITON Le’s keyboard and record your
performance on an external MIDI sequencer/computer
(connected via a MIDI interface), and then play back the
recorded performance to sound the TRITON Le’s tone gen-
Controlling two or more external MIDI tone
erator (i.e., using this instrument as an input keyboard and
generators from this instrument MIDI tone generator). To do this, connect the MIDI OUT and
You can use the MIDI THRU jack to simultaneously control MIDI IN connectors of the TRITON Le and your external
multiple MIDI devices. (This type of connection should be MIDI sequencer/computer to each other.

Appendices
used to connect no more than three devices. If you wish to
computer
connect a larger number of MIDI devices, we recommend MIDI interface
MIDI OUT

that you use a MIDI patch bay as shown in the second dia-
MIDI OUT MIDI IN
gram below.) MIDI IN

TRITON Le
MIDI IN MIDI tone generator

MIDI THRU
Local Control On settings
When connections are made as shown above, turn on the
Echo Back function of the external MIDI sequencer or com-
MIDI OUT TRITON Le MIDI IN MIDI keyboard
puter (so that data received at MIDI IN will be re-transmit-
ted from MIDI OUT), and turn off the TRITON Le’s Local
Control setting (so that this instrument’s keyboard and tone

231
generator will be internally disconnected). When you play MIDI channel, and will also be transmitted on the MIDI
the keyboard of the TRITON Le, the musical data will be channel of any timbre whose “Status” (COMBI 3.1–1a) is
transmitted to the external MIDI sequencer or computer, set to EXT or EX2.
and then echoed back to play the TRITON Le tone genera- • Channel messages will be received if they match the
tor. In other words, by turning Local Control OFF, you can MIDI channel of a timbre whose “Status” is set to INT
prevent notes from being sounded in duplicate, as would (☞p.36 “Status” and “MIDI Channel”).
otherwise occur if a note were sounded by the TRITON Le’s
own keyboard and again by the data that was echoed-back. Sequencer mode
• The global MIDI channel is used to transmit/receive
If the arpeggiator function is on, playing the TRITON Le’s exclusive data and for messages that switch effects on/
keyboard will not cause the arpeggiator to operate, and only off.
the musical data produced by playing the keyboard will be
transmitted. The arpeggiator will operate only in response • MIDI data of each track is transmitted/received on the
to the notes that are echoed-back and received at MIDI IN. MIDI channel specified for each track (In Sequencer
In this way, turning off Local Control prevents the arpeggia- mode, this will be the settings of SEQ 3.1–1(2)a.)
tor from operating in duplicate. • The MIDI channel specified for the insert effect and
Use this setting when you wish to record on the external master effects (in SEQ 7.1–3b, 7.2–1a, 7.2–1c) is used to
MIDI sequencer or computer only the notes that trigger the control dynamic modulation, and to control the pan and
arpeggiator, and to use the echoed-back notes to operate the send 1/2 after the sound has passed through the insert
arpeggiator while monitoring your recording or during effect.
playback.
• When you operate the keyboard or controllers of the
If you want the note data produced by the arpeggiator TRITON Le, messages will be transmitted on the MIDI
to be recorded on the external sequencer/computer, set channel selected by “Track Select” (SEQ 1.1–1c).
Local Control on, and turn off the Echo Back setting of However, messages will be transmitted only if the track
the external sequencer/computer. selected by “Track Select” has a “Status” of BTH, EXT,
or EX2. ( ☞p.51 “Track Select”– )
To turn off Local Control, the “Local Control On” (GLOBAL
2.1–1a) check box to uncheck it (☞p.128). • When Sequencer is played back, musical data of tracks
whose “Status” is BTH, EXT, or EX2 will be transmitted
When using the TRITON Le by itself, leave Local Control on the specified MIDI channels.
turned on. (If this is off when this instrument is used by
itself, playing the keyboard will not produce sound.) • Tracks whose “Status” is INT or BTH will receive
channel messages of the matching MIDI channel (☞p.62
“Status” and “MIDI Channel”).

■ Messages transmitted and received Note on/ off


by this instrument Note-on [9n, kk, vv]
[...] indicates hexadecimal notation Note-off [8n, kk, vv]
(n: channel, kk: note number, vv: velocity)
MIDI channels When you play a note on the TRITON Le’s keyboard, it will
transmit note-on/off messages. When the arpeggiator is
MIDI messages can be exchanged when the transmitting
running, note-on/off messages will be transmitted by the
and receiving devices are set to the same MIDI channel.
arpeggiator. (If Local Control is off, the arpeggiator will not
MIDI uses sixteen channels, numbered 1–16. The way in
transmit note-on/off data. ☞p.231 “Local Control On set-
which channels are handled will differ depending on the
tings”)
mode.
However, most instruments do not receive or transmit note-
Program mode, Sampling mode (if the EXB-SMPL option (sold off velocity, and neither does the TRITON Le.
separately) is installed) Most devices do not transmit or receive note-off velocity,
• Transmission/reception is performed on the global and the TRITON Le does not transmit or receive this data
MIDI channel*. either.
* The global MIDI channel is the basic channel that this
instrument uses for MIDI transmission/reception, and Program Change/ Bank Select
is set by “MIDI Channel” (GLOBAL 2.1–1a).
Combination mode Changing the program/ bank
• The global MIDI channel is used to transmit/receive Program change [Cn, pp]
messages for selecting a combination and turning effects (n: channel, pp: program number that allows 128 sounds to
on/off, and to transmit/receive exclusive data. be selected)
• The MIDI channel specified for each timbre (in COMBI • Programs 000–127 in banks A, B, C, and D correspond to
3.1–1a) is used to transmit/receive MIDI data for each program changes [Cn, 00]–[Cn, 7F].
timbre.
• Programs 001–128 in banks G and g(d) correspond to
• The MIDI channel specified for the insert effect and program changes [Cn, 00]–[Cn, 7F].
master effects (in MIDI channel “Control Ch (control
Channel)” (COMBI 7.1–2b, 7.2–1a, 7.2–1c)) is used to
control dynamic modulation, and to control the pan and
send 1/2 after the sound has passed through the insert
effects.
• When you operate the keyboard or controllers of the
TRITON Le, messages will be transmitted on the global

232
Bank select MSB (CC#0) [Bn, 00, mm], After touch
Bank select LSB (CC#32) [Bn, 20, bb]
(n: channel, mm: bank number upper byte, bb: bank number Channel after touch [Dn, vv]
lower byte) (n: channel, vv: value)

• The internal banks that correspond to each bank select When you apply pressure to the keyboard after playing a
number will depend on the “Bank Map” setting note, an after touch effect will be applied, and Channel After
(GLOBAL 1.1–2a). With the factory settings, this will be Touch messages will be transmitted. When these messages
GM. (☞p.124 “Bank Map”) are received, an after touch effect will be applied.

Simply receiving a Bank Select message will not cause • After touch for the entire TRITON Le can be turned off
the program or bank to change. The program or bank in “AfterT (After Touch)” (GLOBAL 2.1–1b).
will actually change when a Program Change message is • In Combination and Sequencer modes, after touch can
received. be switched on/off independently for each timbre/track
Program mode (☞p.41, 66 “After Touch” COMBI/SEQ 4.1–1(2)a).
• In PROG 1.1: Play, program change and bank select Polyphonic key pressure [An, kk, vv]
messages are transmitted and received on the global (n: channel, kk: note number, vv: value)
MIDI channel. These messages are not received in PROG
There is another type of after touch called Polyphonic Key
2.1: Ed–Basic – PROG 7.2: Ed–MasterFX.
Pressure, which allows after touch to be applied indepen-
Combination, Sequencer mode dently for individual keys. This message can be used as an
• Program change and bank select messages can be alternate modulation source, but cannot be transmitted by
received on the MIDI channel specified for each timbre/ the TRITON Le’s keyboard. In order to use this message, it
track to select programs on that timbre/track. will have to be received from an external device, or recorded
• When you select a combination, program change and on your sequencer.
bank select messages will be transmitted by timbres The after touch mentioned in this manual refers to Channel
whose “Status” is EXT or EX2. After Touch.
In Sequencer mode, program change or bank select
messages will be transmitted by tracks whose “Status” is Pitch bender
BTH, EXT, or EX2 when you select the “Program Select”
(SEQ 1.1–2(3)a), when you select a song, or when you Pitch bend change [En, bb, mm]
return to the beginning of a measure. (☞p.54 “Program (n: channel, bb: lower byte of the value, mm: upper byte of
Select”– ) the value, together expressing a value of 16,384 steps where
8,192 [bb, mm = 00H, 40H] is the center value)
• In Combination and Sequencer modes, transmission/
reception can be switched on/off for each timbre/track. When this instrument’s joystick is moved in the X axis (left/
(☞p.41, 66 “Program Change”). right), a pitch bend effect will be applied, and pitch bender
messages will also be transmitted. When these messages are
received, a pitch bend effect will be applied.
Selecting combinations
The range of pitch change that is produced by pitch
You can use program change and bank select messages to
bend messages can also be adjusted via MIDI. (☞p.237
select combinations in the same way that you select pro-
“Changing the pitch bend range”)
grams.
• Combinations 000–127 in banks A, B, and C correspond Control change
to program changes [Cn, 00]–[Cn, 7F].
[Bn, cc, vv]
• Similarly as for program banks, the internal banks that
Transmitted and received as (n: channel, cc: control change
correspond to each bank select number will depend on
no., vv: value)
the “Bank Map” setting (GLOBAL 1.1–2a). (☞p.124
“Bank Map”) Refer to “MIDI transmission when the TRITON Le‘s control-
lers are operated” (☞p.224) and “TRITON Le operations
• In COMBI 1.1: Play, program change and bank select
when control changes are transmitted/received” (☞p.228).
messages are transmitted/received on the global MIDI
channel. They are not received in COMBI 2.1: Ed–Prog/ • Control changes can be turned on/off as a whole in “Ctrl
Mixer – COMBI 7.2: Ed–MasterFX. Change (Control Change)” (GLOBAL 2.1–1b).

All program changes can be turned off in “MIDI Filter” • In Combination and Sequencer modes, the COMBI/SEQ
(GLOBAL 2.1–1b). 4.1–4.4: Ed-MIDI Filter 1–4 settings allow transmission/

Appendices
reception of control changes to be individually turned
As needed, you can independently turn all program changes on/off for each timbre/track. For the assignable
on/off, specify whether or not incoming messages will be controllers ([SW1], [SW2], REALTIME CONTROLS [1]–
able to change combinations, and turn reception/transmis- [4] knobs, Foot Pedal/Switch), MIDI filter settings will
sion of bank select messages on/off. apply to the control change number to which each
• If “Combi (Combi Change)” (GLOBAL 2.1–1b) is controller is assigned. “Other Control Change” applies
unchecked, the combination will not change even if a to control changes that are not covered by the items of
program change on the global MIDI channel is received the other check boxes (☞p.42, 68).
in COMBI 1.1: Play. In this case, the program of the MIDI CC#00–CC#95 can be selected for the B-mode of
timbre that matches the MIDI channel of the received REALTIME CONTROLS [1]–[4] knobs.
message will change.
• If “Bank (Bank Change)” (GLOBAL 2.1–1b) is Selecting program/ combination banks
unchecked, bank select messages will not be transmitted
Bank select (CC#00, CC#32)
or received (☞p.128 “MIDI Filter”).
☞p.232 “Program Change/Bank Select”

233
Using the joystick to apply modulation The volume of the TRITON Le is determined by summing
the value of the Volume message with the value of the
Modulation 1 depth (CC#01) [Bn, 01, vv]
Expression message.
When you move the TRITON Le’s joystick in the +Y direc-
tion (away from yourself), Modulation 1 Depth messages If adjusting the Volume message does not increase the vol-
will be transmitted. When these messages are received, the ume as you expect, or if there is no sound, transmit MIDI
same effect will be applied as when the TRITON Le’s joy- messages from an external device to reset the value of the
stick is operated. Normally this will apply a vibrato effect Expression message (set vv to 127). In Sequencer mode, this
(pitch LFO). will be reset when the “Location” of the song is moved to
001:01.000.
• In Combination and Sequencer modes, transmission/
reception can be switched on/off for each timbre/track • In Combination mode, Volume messages will be
(☞“JS+Y CC#01” COMBI/SEQ 4.2–1/2a). transmitted by each timbre whose “Status” is EXT or
EX2 when you re-select the combination.
Modulation 2 depth (CC#02) [Bn, 02, vv]
When you move the TRITON Le’s joystick in the –Y direc- • When you change the “Volume” setting (SEQ 1.1–4(5))
tion (toward yourself), Modulation 2 Depth messages will in Sequencer mode, or when you re-select the song or
be transmitted. When these messages are received, the same return to the beginning of the song in Sequencer mode,
effect will be applied as when the TRITON Le’s joystick is volume messages will be transmitted by each track
operated. Normally this will apply a wah effect (filter LFO). whose “Status” is BTH, EXT, or EX2.
• In Combination and Sequencer modes, transmission/ Regardless of the “Status” settings, re-selecting a song,
reception can be switched on/off for each timbre/track. or returning to the beginning will reset the internal Vol-
(☞“JS–Y CC#02” COMBI/SEQ 4.2–1/2a) ume value to the value specified by each track (the
starting settings), and will reset the Expression value to
Other manufacturers use this message for other pur-
the maximum.
poses (e.g., breath controller, etc.)
You can control the volume independently for each
Controlling the portamento effect track. You will normally use Volume messages to set the
initial volume level for each track (the starting settings),
Portamento time (CC#05) [Bn, 05, vv] and use Expression messages to create changes in
When the above CC# is assigned as a B-mode function for dynamics within the musical data of the song.
one of the REALTIME CONTROLS [1]–[4] knobs, rotating
that knob will transmit Portamento Time messages, and will By using the universal exclusive Master Volume message,
modify the speed at which the portamento pitch changes. you can adjust the overall volume without changing the vol-
When this message is received, the result will be the same as ume balance between timbres or tracks. (☞p.237 “About
when the controller is operated. system exclusive messages”)
Portamento switch (CC#65) [Bn, 41, vv]
When the above CC# is assigned to “SW1,” “SW2” or Controlling panpot (stereo position)
ASSIGNABLE SWITCH, operating that switch will transmit Panpot (CC#10) [Bn, 0A, vv]
vv=127 [7F] for ON or vv=0 [00] for OFF, and the porta- (vv: value, where 00 is far left, 64 is center, and 127 is far
mento effect will be switched on/off. When this message is right)
received, the result will be the same as when the controller is
operated. (vv of 63 [3F] or less will be OFF, and 64 [40] or When the above CC# is assigned to the ASSIGNABLE
greater will be ON.) (☞p.220 “SW1, SW2 Assign List”) PEDAL or as the B-mode function of a REALTIME CON-
TROLS knob [1]–[4], operating that controller will transmit
• In Combination and Sequencer modes, transmission/ Panpot messages, and the panning will change. When this
reception of this message can be turned on/off message is received, the result will be the same as when the
independently for each timbre/track. (“Portamento SW controller is operated.
CC#65” COMBI 4.1–2a, SEQ 4.1–3(4)a)
• When you set the “Pan” (SEQ 1.1–4(5)) in Sequencer
• In Sequencer mode, portamento time/switch messages mode, or when you re-select the song or return to the
will be transmitted by each track whose “Status” is BTH, beginning of the measure in Sequencer mode, Panpot
EXT, or EX2 when you set “Portamento” (SEQ 4.1– messages (except for RND) will be transmitted by each
3(4)a), re-select a song or SMF, or return to the beginning track whose “Status” is BTH, EXT, or EX2 (☞p.55).
of a measure. (☞p.63)
Post insert effect panpot (CC#08) [Bn, 08, vv]
(vv: value, where 00 is far left, 64 is center, and 127 is far
Controlling the volume right)
Volume (CC#07) [Bn, 07, vv] When the above CC# is assigned to the ASSIGNABLE
When the above CC# is assigned to the ASSIGNABLE PEDAL or as the B-mode function of a REALTIME CON-
PEDAL or as the B-mode function of a REALTIME CON- TROLS knob [1]–[4], operating that controller will transmit
TROL knob [1]–[4], operating that controller will transmit Post Insert Effect Panpot messages, and the panning of the
Volume messages, and the volume will change. When this sound following the insert effect will change. When this
message is received, the result will be the same as when the message is received, the result will be the same as when the
controller is operated. controller is operated.
Expression (CC#11) [Bn, 0B, vv] • In Program and Sampling (when the EXB-SMPL option
When the above CC# is assigned to the ASSIGNABLE is installed) modes, this message is transmitted and
PEDAL or as the B-mode function of a REALTIME CON- received on the global MIDI channel. In Combination
TROL knob [1]–[4], operating that controller will transmit and Sequencer modes, this is transmitted and received
Expression messages, and the volume will change. When on the MIDI channel specified for each insert effect.
this message is received, the result will be the same as when
the controller is operated. • When you set “Pan (CC#8)” (SEQ 7.1–3a) in Sequencer
mode, or when you re-select the song or return to the

234
beginning of the measure in Sequencer mode, Post Insert Using various controllers for control
Effect Panpot message will be transmitted by each track
Foot controller (CC#04) [Bn, 04, vv]
whose “Status” is BTH, EXT, or EX2 (☞p.84).
If the above CC# is assigned as the ASSIGNABLE PEDAL
function, this message will be transmitted when the control-
Effect control ler is operated.
Effect control 1 (CC#12) [Bn, 0C, vv] • In Combination and Sequencer modes, transmission/
Effect control 2 (CC#13) [Bn, 0D, vv] reception of this message can be turned on/off
When the above CC# is assigned to the ASSIGNABLE independently for each timbre/track.
PEDAL or as the B-mode function of a REALTIME CON- ☞“Foot Pedal/Switch” (COMBI 4.4–2a, SEQ 4.4–3(4)a)
TROLS knob [1]–[4], operating that controller will transmit
Effect Control 1/2 messages, and the specified dynamic Knob modulation 1, 2, 3, 4 (CC#17, 19, 20, 21)
modulation will be controlled. When this message is [Bn, 11, vv], [Bn, 13, vv], [Bn, 14, vv], [Bn, 15, vv]
received, the result will be the same as when the controller is If the above CC# are assigned to the B-mode of REALTIME
operated. CONTROLS [1]–[4] knobs, these messages will be transmit-
Although various types of control change can be selected as ted when the knobs are operated.
dynamic modulation sources, Effect Control 1 (CC#12) and 2 • In Combination and Sequencer modes, transmission/
(CC#13) are dedicated for dynamic modulation. reception of this message can be turned on/off
Effect 1 depth (Send 2) (CC#91) [Bn, 5B, vv] independently for each timbre/track (“Realtime Control
Effect 3 depth (Send 1) (CC#93) [Bn, 5D, vv] Knob1, 2, 3, 4” COMBI/SEQ 4.3).
When the above CC# is assigned to the ASSIGNABLE Controller (CC#83) [Bn, 53, vv]
PEDAL or as the B-mode function of a REALTIME CON- If the above CC# is assigned to the B-mode of REALTIME
TROL knob [1]–[4], operating that controller will transmit CONTROLS [1]–[4] knobs, this message will be transmitted
Effect 1 Depth (Send 2) or Effect 3 Depth (Send 1) messages, when the knob is operated.
and the send level 1 or 2 to the master effects MFX1 or MFX2 SW1 modulation (CC#80) [Bn, 50, vv]
will be controlled respectively. When this message is SW2 modulation (CC#81) [Bn, 51, vv]
received, the result will be the same as when the controller is If the above CC# are assigned as the function of [SW1] or
operated. [SW2], operating the switch will transmit this message with
On the corresponding MIDI channels, this will simulta- vv=127 [7F] for ON, and vv=00 [00] for OFF. (These can also
neously control the timbre/track setting as well as the set- be set as the B-mode functions of the REALTIME CONTROL
ting following the insertion effect. knobs [1]–[4].)
• In Combination and Sequencer, the actual send level of • In Combination and Sequencer modes, transmission/
the timbre/track is determined by summing this value reception of these messages can be turned on/off
with the send 1/2 settings for each oscillator (PROG 7.1– independently for each timbre/track (“SW1/2” COMBI
1a). (☞p.26 “OSC Send 1/2,” ☞p.46, p.84 “S1 4.4–1a, SEQ 4.4–1/2a)
(Send1(MFX1)),” “S2 (Send2(MFX2))”) Foot switch (CC#82) [Bn, 52, vv]
• When you adjust “S1 (Send1(MFX1))” or “S2 If the above CC# is assigned as the function of the ASSIGN-
(Send2(MFX2))” (SEQ 7.1–1(2)a) in Sequencer mode, or ABLE SWITCH, operating the switch will transmit this mes-
when you re-select a song or return to the beginning of sage with vv=127 [7F] for ON, and vv=00 [00] for OFF. (This
the measure in Sequencer mode, Send 1/2 will be can also be set as a B-mode function of the REALTIME
transmitted by each track whose “Status” is BTH, EXT, CONTROL knobs [1]–[4].)
or EX2. (☞p.84). • In Combination and Sequencer modes, transmission/
Effect 2 depth (IFX on/ off) (CC#92) [Bn, 5C, vv] reception of this message can be turned on/off
Effect 4 depth (MFX1 on/ off) (CC#94) [Bn, 5E, vv] independently for each timbre/track (“Foot Pedal/
Effect 5 depth (MFX2 on/ off) (CC#95) [Bn, 5F, vv] Switch” COMBI 4.4–2a, SEQ 4.4–3(4)a).
Separately from the effect on/off settings in each mode, “FX When “Foot controller (CC#04)”–”Foot switch (CC#82)” are
SW” (GLOBAL 1.1–1b) allows you to turn off insert effect operated on the TRITON Le, the specified alternate modula-
IFX and master effects MFX1 and MFX2. If you check “IFX tion or dynamic modulation etc. will be controlled. When
Off,” “MFX1 Off” or “MFX2 Off,” the corresponding mes- these messages are received, the result will be the same as if
sage will be transmitted with vv=0 [00]. If you uncheck the controller had been operated. For “SW1 modulation
these settings, the corresponding message will be transmit- (CC#80)”–”Foot switch (CC#82),” vv of 63 [3F] or less will be
ted with vv=127 [7F]. If you check these settings, the corre- OFF, and 64 [40] or greater will be ON.
sponding effect(s) will be turned off as a group. If you

Appendices
uncheck these settings, the on/off settings of each mode will Damper pedal (CC#64) [Bn, 40, vv]
be used. The same applies to reception. (vv of 00 is off, and This message is transmitted when you operate a damper
01 or greater is the original setting.) These messages are pedal (separately sold Korg DS-1H etc.) connected to the
transmitted/received on the global MIDI channel. (☞p.27, DAMPER jack, and the damper effect will be turned on/off.
p.28 “FX On/Off”) If the DS-1H is used, a half-damper effect can be applied.
• In Combination and Sequencer modes, transmission/
These messages are defined simply for use in adjusting
reception of this message can be turned on/off
the effect levels, and may not have the same function on
independently for each timbre/track (“Damper CC#64”
another instrument connected to the TRITON Le.
COMBI 4.1–2a, SEQ 4.1–3(4)a).

235
Sostenuto (CC#66) [Bn, 42, vv] In Program mode, the corresponding program parame-
If the above CC# is assigned as the function of the ASSIGN- ters will be temporarily edited by these messages. You
ABLE SWITCH, operating the switch will transmit this mes- can Write the program to save the modified state
sage with vv=127 [7F] for ON, and vv=0 [00] for OFF, and (except for certain parameters). The Write operation can
the sostenuto effect will be turned on/off. When this mes- also be performed by a MIDI exclusive Program Write
sage is received, the result will be the same as when the con- Request message, in addition to the usual method of
troller is operated (OFF for vv=63 [3F] or below, and ON for using the TRITON Le’s switches. When you write the
vv=64 [40] or above). data, the values of the corresponding program parame-
Soft pedal (CC#67) [Bn, 43, vv] ters will be rewritten.
If the above CC# is assigned as the function of the ASSIGN- The results of receiving these messages will depend on
ABLE SWITCH, the soft pedal effect will be turned on/off. the instrument. The operation may be different when a
When this message is received, the result will be the same as device other than the TRITON Le is connected.
when the controller is operated.
Silencing all notes on a specific channel
Controlling via the controllers of a connected MIDI
All note off (CC#123) [Bn, 7B, 00] (value 00)
instrument such as the TRITON
When this is received, all currently-sounding notes on that
Ribbon Controller (CC#16) [Bn, 10, vv] channel will be turned off (as though the keys had been
When a control change is received from the ribbon controller released). However, the release portion of the notes will
or other assigned controller of a MIDI instrument (such as remain.
the TRITON), the specified effect (e.g., alternate modulation
All sound off (CC#120) [Bn, 78, 00] (value 00)
or dynamic modulation) will be applied.
When this is received, all currently-sounding notes on that
• In Combination or Sequencer modes, transmission and channel will be silenced. While the All Note Off message
reception can be turned on/off for each timbre/track. allows the release portion of the notes to remain, the All
(“Ribbon CC#16” COMBI 4.2–2a, SEQ 4.2–3(4)a) Sound Off message will silence the notes immediately.
Controller (CC#18) [Bn, 12, vv] However, these messages are provided for emergency use,
When the [VALUE] slider of MIDI instruments such as the and are not something that you will use while performing.
TRITON, or a control change assigned to a controller is
received, the specified alternate modulation or dynamic Resetting all controllers on a specific channel
modulation effect will be applied.
Reset all controllers (CC#121) [Bn, 79, 00] (value 00)
When this is received, the value of all controllers on that
Controlling the tone/ envelope of a program
channel will be reset.
CC#70 control specific parameters of a program. For details
on the program parameters that correspond to each control Using RPN to edit
change, and how this instrument will respond in each mode
RPN (Registered Parameter Number) is a type of message
when these are received, refer to “TRITON Le operations
that allows settings to be made in a way that is common
when control changes are transmitted/received” (☞p.228).
between instrument manufacturers. (NRPN (Non-registered
Low pass filter cutoff (CC#74) [Bn, 4A, vv] Parameter Numbers) and exclusive messages can be freely
Resonance level/ High pass filter cutoff (CC#71) [Bn, 47, vv] used in non-compatible ways by different manufacturers
Filter EG intensity (CC#79) [Bn, 4F, vv] and models of instrument.)
Release time (CC#72) [Bn, 48, vv]
RPN messages can be used for editing with the following
These messages are transmitted when you operate this
procedure.
instrument’s REALTIME CONTROLS [1]–[4] knobs in A-
mode. (They can also be set as B-mode functions.) 1 Use RPN MSB (CC#101) [Bn, 65, mm] and RPN LSB
(CC#100) [Bn, 64, rr] (n: channel, mm, rr: upper and
Sustain level (CC#70) [Bn, 46, vv]
lower bytes of the parameter number) messages to select
Attack time (CC#73) [Bn, 49, vv]
the parameter.
Decay time (CC#75) [Bn, 4B, vv]
LFO 1 speed (CC#76) [Bn, 4C, vv] 2 Use data entry MSB (CC#6) [Bn, 06, mm] and data entry
LFO 1 depth (pitch) (CC#77) [Bn, 4D, vv] LSB (CC#38) [Bn, 26, vv] (n: channel, mm, vv: upper and
LFO 1 delay (CC#78) [Bn, 4E, vv] lower bytes of the value, together expressing 16,384 lev-
These messages are transmitted when assign the above CC# els) to specify the value.
to the REALTIME CONTROLS [1]–[4] knobs in B-mode and 3 You can use data increment (CC#96) [Bn, 60,00] or data
operate them. decrement (CC#97) [Bn, 61, 00] (n: channel, value is fixed
When you operate these, the corresponding program
at 00) to change the value in steps of one.
parameters will be controlled, and the sound and envelope The TRITON Le can receive the following three RPN mes-
will change. When these messages are received, the result sages (tuning, transpose, and pitch bend range).
will be the same as when the controller is operated. (When
the message has a value vv=64 [40], the setting will have the Tuning
value that was set by the program parameter.)
RPN fine tune [Bn, 65, 00, 64, 01]
• In Combination and Sequencer modes, transmission/ This RPN message can be used to adjust the detuning for a
reception can be turned on/off independently for each program or timbre (in Combination mode), or for a track (in
timbre/track (“Realtime Control Knob1, 2, 3, 4” COMBI Sequencer mode).
4.3–1a, SEQ 4.3).
The procedure is as follows.
1 [Bn, 65, 00, 64, 01]: Select RPN parameter 01.
2 [Bn, 06, mm, 26, vv]: Use data entry to set the value. A

236
value of 8192 [mm, vv=40, 00] is center, 0 [mm, vv=00, effect will be applied when this message is received.
00] is -100 cents, and 16383 [mm, vv=7F, 7F] is +99 cents. NRPN arpeggiator velocity control
You can use the universal exclusive Fine Tune message [Bn, 63, 00, Bn, 62, 0B, Bn, 06, mm]
to adjust the overall tuning that corresponds to the This message will be transmitted when you operate the
“Master Tune” (GLOBAL 1.1–1a) parameter. (☞p.237 [ARP-VELOCITY] knob (REALTIME CONTROLS [3] knob
“About system exclusive messages”) in C-mode), and the arpeggiator velocity will change. The
same effect will be applied when this message is received.
Transposing
About system exclusive messages
RPN coarse tune [Bn, 65, 00, 64, 02]
Since the way in which these messages are used is left up to
This RPN message can be used to adjust the transposition
each manufacturer, they are mainly used to transmit and
for a program or timbre (in Combination mode), or for a
receive sound data and editing data for parameters that are
track (in Sequencer mode).
unique to a particular instrument. the TRITON Le’s system
The procedure is as follows. exclusive message format is [F0, 42, 3n, 63, ff, ..... F7]
1 [Bn, 65, 00, 64, 02]: Select RPN parameter 02. F0: exclusive status
2 [Bn, 06, mm, 26, vv]: Use data entry to set the value. 42: Korg ID
Normally only the upper byte is used. 3n: [n=0–F] global MIDI channel 1–16
A value of 8192 [mm, vv=40, 00] is center, 6656 [mm, vv=34, 63: Future model ID
00] is -12 semitones, and 9728 [mm, vv=4C, 00] is +12 semi- ff: function ID (type of message)
tones. – ...
F7: end of exclusive
You can use the universal exclusive Coarse Tune mes-
sage to adjust the overall tuning that corresponds to the To obtain a copy of the “MIDI Implementation” which
“Key Transpose” (GLOBAL 1.1–1a) parameter. (☞p.237 includes MIDI exclusive format information, please
“About system exclusive messages”) contact your Korg distributor.

Changing the pitch bend range Universal system exclusive


RPN pitch bend range [Bn, 64, 00, 65, 00] Certain of the system exclusive messages are publicly
This RPN message can be used to adjust the pitch bend defined for a specific use, and these are called universal sys-
range for a program or timbre (in Combination mode) or for tem exclusive messages.
a track (in Sequencer mode). The TRITON Le uses the following six universal system
exclusive messages.
The procedure is as follows.
Inquiry message request [F0, 7E, nn, 06, 01, F7]
1 [Bn, 65, 00, 64, 00]: Select RPN parameter 00. Inquiry message [F0, 7E, nn, 06, 02, (nine bytes), F7]
2 [Bn, 06, mm, 26, vv]: Use data entry to set the value. When an inquiry message request is received, this instrument
Normally only the upper byte is used. will respond by transmitting an inquiry message that means
A value of 0 [mm, vv=00, 00] is +00, and a value of 1536 “I am a Korg Future instrument, with system version ...”
[mm, vv=0C, 00] is +12 (one octave). Although it is possible GM system on [F0, 7E, nn, 09, 01, F7]
to set a negative value for a timbre/track, only positive val- When this message is received in Sequencer mode, this
ues can be set using RPN messages. instrument will be initialized for GM playback.
Master volume [F0, 7F, nn, 04, 01, vv, mm, F7]
Controlling the arpeggiator (NPRN) (vv: lower byte of the value, mm: upper byte of the value,
Arpeggiator operations can be controlled using NRPN (Non together indicating 16384 steps)
Registered Parameter Number) messages. NRPN messages
can be freely used in non-compatible ways by different man- This message is transmitted if you assign Master Volume as
ufacturers and models of instrument. the function of the ASSIGNABLE PEDAL or as a B-mode
function of a REALTIME CONTROLS [1]–[4] knob and
The procedure for using NRPN messages is the same as for operate the controller. This will adjust the overall volume
RPN, but you will use NRPN MSB (CC#99) [Bn, 63, mm] balance without changing the relative volume balance
and NRPN LSB (CC#98) [Bn, 62, rr] messages (n: channel, between timbres/tracks. When this message is received, the
mm, rr: upper and lower bytes of the parameter number) to result will be the same as when the controller is operated.
specify the parameter.
Master balance [F0, 7F, nn, 04, 02, vv, mm, F7]

Appendices
NRPN arpeggiator on/ off (vv: lower byte of the value, mm: upper byte of the value,
[Bn, 63, 00, Bn, 62, 02, Bn, 06, mm] together indicating 16384 steps, where 8192 is the default
This message will be transmitted when you press the [ARP position, and lower values will move the sound toward the
ON/OFF] key. When the switch is turned ON the data will left)
be mm=127 [7F], and when turned OFF the data will be
mm=0 [00], and the arpeggiator will be turned on/off When this is received, the overall panning will be adjusted
accordingly. without changing the relative panning between timbres/
tracks.
Similarly, the arpeggiator will be turned on/off when this
message is received. (ON when mm is 64 [40] or greater, and Master fine tuning [F0, 7F, nn, 04, 03, vv, mm, F7]
OFF when 63 [3F] or less.) (A value of 8192 [mm, vv=40, 00] is center, 4096 [mm, vv=20,
00] is –50 cents, and 12288 [mm, vv=60, 00] is +50 cents.)
NRPN arpeggiator gate control
[Bn, 63, 00, Bn, 62, 0A, Bn, 06, mm] When this is received, “Master Tune” (GLOBAL 1.1–1a)
This message will be transmitted when you operate the parameter will be set.
[ARP-GATE] knob (REALTIME CONTROLS [2] knob in C-
mode), and the arpeggiator gate will change. The same

237
Master coarse tuning [F0, 7F, nn, 04, 04, vv, mm, F7] First check “Enable Exclusive” (GLOBAL 2.1–1b), so that
(Normally only the upper byte mm is used. A value of 8192 exclusive data can be transmitted and received. When you
[mm, vv=40, 00] is center, 6656 [mm, vv=34, 00] is –12 semi- change modes on the TRITON Le, a mode change message
tones, and 9728 [mm, vv=4C, 00] is +12 semitones.) will transmitted. When you change programs or combina-
When this is received, “Key Transpose” (GLOBAL 1.1–1a) tions, the parameters for one program or one combination
parameter will be set. will be transmitted together with the program change.
When you edit individual parameters, parameter change,
drum kit parameter change, or user arpeggio pattern param-
Transmitting sound settings data (Data Dump) eter change messages will be transmitted.
Data for programs, combinations, drum kits, user arpeggio When these messages are received, the same editing opera-
patterns, global settings, and sequencer data can be trans- tion will be performed as on the transmitted device.
mitted as MIDI exclusive messages. The operation of send-
ing this system exclusive data to an external device is called After MIDI exclusive data has been received and processed,
a “data dump.” a Data Load Completed message will be transmitted. The
control master device must not transmit the next message
By performing a data dump, you can store the TRITON Le’s until this message is received (or until a sufficient interval of
sounds and settings on an external device, or rewrite the time has elapsed).
sounds and settings of another Future instrument.
When you change programs or combinations, or use param-
There are the following three types of data dump. eter changes to edit, the changes will affect the data in the
• When you use the utility manu command “Dump” edit buffer and will not be stored in internal memory unless
(GLOBAL 2.1–1c) to dump data, various types of you Write, so that the changes will be lost if you re-select the
internal memory data will be transmitted. If this data is program or combination. The Write operation can be per-
received by the TRITON Le, the data will be written formed by a MIDI exclusive Program Write Request or Com-
directly into internal memory, and it will not be bination Write Request message, in addition to the usual
necessary to perform the Write operation. (☞p.129, 130 method of using this instrument’s switches. (☞BG p.41
“Transmission,” “Reception”) “Saving data”)
• If “Exclusive” (GLOBAL 2.1–1b) setting is checked, It is not necessary to write a song, but it will not be backed
selecting a combination in COMBI 1.1: Play will transmit up when the power is turned off. If you wish to keep the
data for one combination. Selecting a program in PROG data, save it on external media before turning off the power.
1.1: Play will transmit data for one program. (☞BG p.45 “Saving on external media”)
This data is the edit buffer data for the currently selected
combination or program. If this data is received by the If notes are “stuck”
TRITON Le, the data will be written into the edit buffer, If for some reason, notes become “stuck” and will not stop
so if you wish to save it to internal memory, you will sounding, you can usually stop the sound by changing the
need to perform the Write operation. The Write operation mode. If notes played via MIDI are stuck, you can discon-
can also be performed by a MIDI exclusive Program nect the MIDI cable.
Write Request or Combination Write Request message, in MIDI transmits a message called Active Sensing [FE] at reg-
addition to the usual method of using the TRITON Le’s ular intervals. A device that receives this message will be
switches. (☞BG p.41 “Saving data”) aware that an external MIDI device is transmitting to it. Sub-
• If “Exclusive” (GLOBAL 2.1–1b) setting is checked, data sequently, if no MIDI messages are received for a certain
will also be dumped in response to a Dump Request interval of time, the receiving device will decide that the
message. This data is transmitted and received on the connection has been broken, and will turn off any notes that
global MIDI channel. had been sounded via MIDI and reset its controller values.

Editing sounds etc. Playing the TRITON Le multi-timbrally from


By using various MIDI exclusive data dumps, you can an external device
rewrite all programs or an individual program. By using The TRITON Le can be connected to an external device and
parameter change messages, you can edit individual param- played multi-timbrally in the following ways.
eters as follows. • MIDI messages from the external device can play a
Parameter changes combination (8-part multi-timbral performance). You
• In Program mode, all parameters other than the program can change the overall settings (programs, levels, and
name can be edited. Performance editor parameters are effects) by using program change messages to switch
included. combinations.
• In Combination mode, parameters other than the • MIDI messages from the external device can be used to
combination name can be edited. play a song (16-part multi-timbral performance). Overall
settings (programs, levels, effects etc.) can be changed by
Drum kit parameter change/ User arpeggio pattern
using a Song Select message to switch songs. (Song
parameter change
Select messages can be received if “MIDI Clock”:
• In Global mode, you can edit drum kits and user
GLOBAL 2.1–1a is set to External.)
arpeggio patterns.
• MIDI Clock messages from the external device can be
Since the other global parameters or Sequencer mode data
used to make the TRITON Le playback a song (set
cannot be edited, you will use data dumps to transfer this
“MIDI Clock” to External, and run this instrument’s
data. Data dumping of Sampling mode data is not sup-
sequencer). You can change the overall settings
ported.
(programs, levels, effects) by using song select messages
The global MIDI channel is used to transmit and receive this to switch songs.
data.

238
Synchronizing the playback of the arpeg- Recording musical data from an external
giator or sequencer device
The choice of whether the TRITON Le will be the master There are two ways in which you can play back an external
(the controlling device) or the slave (the controlled device) is sequencer and record its playback on this instrument.
made by “MIDI Clock” (GLOBAL 2.1–1a). • Set “MIDI Clock” (GLOBAL 2.1–1a) to Internal, begin
recording, and then start the external sequencer. With
Using this instrument as master and the external this method, the MIDI messages will be recorded
MIDI device as slave without the two devices being synchronized. Since the
incoming musical data will simply be recorded, this
Connect the MIDI OUT connector of this instrument to the
method allows the performance to be reproduced
MIDI IN connector of the external MIDI device. (☞p.231)
faithfully, but since measure divisions etc. will not be
• When you set “MIDI Clock” to Internal, this instrument kept track of, this method is not suitable if you intend to
will be the master device, and will transmit MIDI timing edit the data later.
clock messages.
• If you set “MIDI Clock” to External, the start of
Arpeggiator: The tempo can be controlled from this recording and the tempo etc. will all be under the control
instrument. Simultaneously, the performance of the of the external sequencer. Since the two devices will be
arpeggiator will be transmitted via MIDI. (In Combina- synchronized during the recording process, measure
tion, Sequencer modes, data will be transmitted by tim- divisions etc. will be accurately preserved. (You will
bres/tracks whose “Status” is BTH, EXT, or EX2.) An need to set the time signature before recording.)
external tone generator connected to MIDI OUT will However, tempo changes during the performance will
sound, and the tempo of an external sequencer can be not be recorded, so you will have to insert any tempo
controlled. changes later. For normal multi-track recording, you will
Sequencer: The musical data can be played back and use this method. (☞BG p.80 “Multi (multitrack
controlled on the TRITON Le. Simultaneously, the recording)”)
sequencer playback will be transmitted via MIDI from
tracks whose “Status” is BTH, EXT, or EX2. An external Recording the MIDI output of this instru-
tone generator connected to MIDI OUT will sound, and ment’s controllers, arpeggiator, and internal
the tempo of an external sequencer can be controlled.
sequencer on an external sequencer/ com-
However, since exclusive data cannot be recorded on the
puter
TRITON Le’s sequencer, you can use the “Dump
Sequencer” (GLOBAL 2.1–1c) utility menu command if If you wish to record the MIDI output of the TRITON Le’s
the slave device is the TRITON Le. If the slave device is controllers, arpeggiator, and internal sequencer on an exter-
another model, you can use the TRITON Le’s Media nal sequencer or computer and use the TRITON Le as the
mode data filer function (“Receive and Save MIDI Exclu- monitoring and playback tone generator while you record,
sive,” “Load and Transmit MIDI Exclusive Data”). you must turn off the TRITON Le’s Local Control setting
(☞p.144, 150) (“Local Control On” GLOBAL 2.1–1a), and set your external
sequencer/computer for echo-back (a function by which the
data received at MIDI IN is retransmitted without change
Using the external MIDI device as master and this from MIDI OUT) so that the data from the TRITON Le’s
instrument as slave controllers, arpeggiator and internal sequencer will not be
Connect the TRITON Le’s MIDI IN connector to the MIDI applied in duplicate to the tone generator.
OUT connector of the external MIDI device. (☞p.231).
• When you set “MIDI Clock” to External, the TRITON Le Using the REALTIME CONTROLS [1]–[4] knobs to
will be the slave device. record MIDI control changes on an external MIDI
Arpeggiator: The tempo will follow the MIDI timing sequencer/ computer
clock. If you playback the external sequencer, the Set the TRITON Le to Local Control Off. Set the external
TRITON Le’s arpeggiator will synchronize to the exter- MIDI sequencer/computer to Echo Back On. With these set-
nal timing clock. (☞BG p.107) tings, recording and playback will occur correctly, and the
Even if “MIDI Clock” is External and the TRITON Le is control changes will not be applied to the tone generator in
being controlled from the external device, the perfor- duplicate.
mance of the arpeggiator performance will still be trans-
mitted via MIDI. (In Combination and Sequencer modes,

Appendices
Recording the arpeggiator or RPPR function on an
the arpeggiator performance will be transmitted from
external MIDI sequencer/ computer
timbres/tracks whose “Status” is BTH, EXT, or EX2.)
Sequencer: The tempo will follow the MIDI timing clock. When the arpeggiator is on, playing the keyboard or operat-
You can play back an external sequencer, and synchro- ing the controllers of the TRITON Le will operate and con-
nize the sequencer to the MIDI timing clock that it trans- trol the arpeggiator. The arpeggiator will operate and be
mits. Even if “MIDI Clock” is set to External and the controlled in the same way in response to MIDI messages
TRITON Le is being controlled from an external device, received at MIDI IN. The MIDI messages generated from the
musical data will be transmitted by tracks whose “Sta- arpeggiator will be transmitted from MIDI OUT according
tus” is BTH, EXT, or EX2. to the Local Control setting (“Local Control On” GLOBAL
2.1–1a) as described below.
In Sequencer mode, when the RPPR function is on, playing
the keyboard will cause RPPR to operate. Similarly, the
RPPR function will also operate in response to notes
received on the MIDI channel of the track selected by “Track
Select” (SEQ 1.1–1c). Notes will be transmitted by RPPR

239
from MIDI OUT according to the local control setting Converting the GS/ XG bank/ program maps to the
(“Local Control On”) as described below. GM2 bank/ program map
Local Control On: Notes from the arpeggiator or RPPR will • When bank select/program change messages used by
be transmitted from MIDI OUT. Normally you will use this GS/XG are received, they will automatically be
setting. converted to the G, g(d) bank/program map of this
Local Control Off: Notes from the arpeggiator or RPPR will instrument.
not be transmitted from MIDI OUT. The arpeggiator or • The same conversion is performed when a SMF is
RPPR will only sound the notes (on this instrument). loaded into a song in Media mode.
Setting example 1
For banks that are used in common by GS/XG, GS
Record the note messages generated by the arpeggiator or
Reset/XG System ON will be received to automatically
RPPR function on the external MIDI sequencer/computer
convert to the optimal bank/program map for each.
Turn on this instrument’s arpeggiator or RPPR function. Set
this instrument to Local Control On.
Turn Local Control On for this instrument. Support for GS/ XG part mode exclusive messages
Turn Echo Back Off on your external sequencer/computer. • In Sequencer mode when GS/XG part mode exclusive
By turning echo back off, you will prevent the arpeggiator or messages Drum or MDrm 1–4 are received, bank g(d)
RPPR function from performing duplicate processing on the (GM drum bank) will be selected for the specified track.
monitored notes during recording. Until this part mode state is defeated, bank select
During playback, turn off the arpeggiator and RPPR func- messages will no longer be received for the specified
tions of this instrument. track.
Setting example 2 • When an SMF is loaded into a song in Media mode, any
Use the external MIDI sequencer/computer to record only bank select messages in a track that is set to a part mode
the notes that trigger the arpeggiator or RPPR function, of Drum or MDrm 1–4 will be ignored, and will not be
and operate this instrument’s arpeggiator or RPPR func- loaded.
tion for monitoring while recording, and during playback.
Turn on the TRITON Le’s arpeggiator or RPPR function. Set
Support for NRPN messages used in GS/ XG music
the TRITON Le to Local Control Off. The note messages
generated by the arpeggiator or RPPR function will not be data
output. On your external MIDI sequencer/computer, turn The following NRPN messages can be received to modify
echo back on. With these settings, the data will be recorded the sound.
and played correctly, and the arpeggiator or RPPR function
will not be applied in duplicate. Vibrato Rate [Bn, 63, 01, Bn, 62, 08, Bn, 06, mm]
Vibrato Depth [Bn, 63, 01, Bn, 62, 09, Bn, 06, mm]
About GM/ GS/ XG Vibrato Delay [Bn, 63, 01, Bn, 62, 0A, Bn, 06, mm]
the TRITON Le supports the GM standard. It also supports Filter Cutoff [Bn, 63, 01, Bn, 62, 20, Bn, 06, mm]
the GM sound map (including bank select) with 128 pro- Resonance [Bn, 63, 01, Bn, 62, 21, Bn, 06, mm]
grams and 9 drum programs provided in ROM banks G,
EG Attack Time [Bn, 63, 01, Bn, 62, 63, Bn, 06, mm]
and g(d). (g(d) contains drum programs.)
EG Decay Time [Bn, 63, 01, Bn, 62, 64, Bn, 06, mm]
GM is a standard that ensures basic compatibility of sounds
etc. between different GM-compatible instruments made by EG Release Time [Bn, 63, 01, Bn, 62, 66, Bn, 06, mm]
different manufacturers, but you need to be aware of the fol- Drum Filter Cutoff [Bn, 63, 14, Bn, 62, kk, Bn, 06, mm]
lowing. Drum Filter Resonance [Bn, 63, 15, Bn, 62, kk, Bn, 06, mm]
• The GM System On message is received only in Drum EG Attack Time [Bn, 63, 16, Bn, 62, kk, Bn, 06, mm]
Sequencer mode. (“GM Initialize” SEQ 1.1–1d)
Drum EG Decay Time [Bn, 63, 17, Bn, 62, kk, Bn, 06, mm]
Roland GS and Yamaha XG are specifications by which these Drum Coarse Tune [Bn, 63, 18, Bn, 62, kk, Bn, 06, mm]
respective manufacturers have extended the GM standard.
Drum Fine Tune [Bn, 63, 19, Bn, 62, kk, Bn, 06, mm]
the TRITON Le automatically converts the GS/XG sound
Drum Volume [Bn, 63, 1A, Bn, 62, kk, Bn, 06, mm]
maps to the GM sound map, and supports some of their
messages. In Sequencer mode etc., GS/XG music data can Drum Panpot [Bn, 63, 1C, Bn, 62, kk, Bn, 06, mm]*
be played back. Drum Rev Send (Send2) [Bn, 63, 1D, Bn, 62, kk, Bn, 06, mm]

Since the TRITON Le does not support all of the GS/ Drum Cho Send (Send1) [Bn, 63, 1E, Bn, 62, kk, Bn, 06, mm]
XG sound maps or messages, some data may not be kk: Drum Inst No. ([0C...6C] corresponds to C0...C8)
played back correctly. * [00, 01...7f] corresponds to Random, L000...R127)
If you wish to play music data from an external GM/GS/XG
compatible sequencer, or to load it into a pattern (multi), set
“Bank Map” (GLOBAL 1.1–2a) to GM.

240
About standard MIDI files
Standard MIDI files (SMF) make it possible for different
computer programs or musical instruments made by differ-
ent manufacturers to exchange time-based MIDI data. Each
standard MIDI file contains one song. This instrument sup-
ports format 0 (type 0) in which all of the MIDI data is com-
bined into one track, and format 1 (type 1) in which the data
is separated by track.
When a SMF is loaded into a song in Media mode, the pro-
gram bank that is selected will differ depending on “Bank
Map” (GLOBAL 1.1–2a) setting. When playing/loading
SMF data that conforms to the GM/GS/XG specifications,
set “Bank Map” to GM.
Sequencer mode
In Media mode when you convert a song into a Standard
MIDI File and save it, you can choose either format 0 or for-
mat 1.
• If the TRITON Le’s song data that was saved as a format
1 SMF file is loaded into another device, the track
configuration may be different than it was before being
saved. This is because tracks that contain no musical
data are omitted, and the remaining tracks are moved
into the unused tracks. This will not affect the playback
itself.
• If song data that was saved by another device as a
format 1 SMF file is loaded into this instrument, the
track configuration may be different than it was before
being saved. This is because tracks that contain no
musical data are omitted, and the remaining tracks are
moved into the unused tracks. This will not affect the
playback itself.
When exchanging sequence data between two Future
instruments, we recommend that you save the sequence
data in this instrument’s native format (“Save SEQ”).
When sequence data is saved in this instrument’s native for-
mat, all of the settings and patterns unique to this instru-
ment will be saved, which will ensure a higher level of
reproducibility than when the data is saved as a Standard
MIDI File (“Save to Std MIDI File”).
When a GM System On message is received, the system will
be initialized for GM playback. (“GM Initialize” ☞p.54)

Appendices

241
Destination multisample and source multisample are
Various messages identical
Meaning: The same multisample is selected for the source
A and destination.
Action: Select different multisamples for the source and
Are you sure? destination.
Meaning: This message asks you to confirm execution. To
execute press the [F8] (“OK”) key. To cancel, press Destination sample already exists
the [F7] (“Cancel”) key. Meaning: A sample already exists at the destination (save
location).
C Action: Either delete the sample at the destination (save
location), or change the save destination sample
Can’t calibrate number.
Meaning: Calibration could not be performed correctly.
Action: Try again. Destination sample data used in source sample
Meaning: Since the sample data at the destination (save
Can’t open pattern Continue ? location) is also used by the source sample, it can-
Meaning: When you finished recording or editing, it was not be overwritten.
not possible to allocate enough memory to open Action: Without using Overwrite, specify a different sam-
the pattern that was Put into the track. (When it ple for the destination (save location).
must be opened automatically.) If you press the
[F8] (“OK”) key, the pattern data will be deleted, Destination sample is empty
and the recorded or edited content will be saved.
Meaning: The sample for editing is empty.
If you press the [F7] (“Cancel”) key, the recorded
or edited content will be discarded.
Destination song is empty
Completed Meaning: The song that was specified as the copy destina-
tion or bounce destination does not exist.
Meaning: Execution of the command ended normally.
Action: Execute the Create New Song command in the
dialog box that appears when a new song is
D selected before copying or bouncing.

Destination and source are identical


Directory is not empty. Cleanup directory
Meaning: When copying or bouncing, the same cue list, Are you sure?
song, track or pattern was selected for both the
Meaning: You are attempting to delete a directory that still
source and destination.
contains files or sub-directories. If you press the
Action: Select a different cue list, song, track, or pattern
[F8] (“OK”) key, the directory will be deleted
for the source and destination.
along with all files or sub-directories that it con-
tains. To cancel without deleting, press the [F7]
Destination from-measure within the limits of source (“Cancel”) key.
Meaning: When executing the Move Measure command for
all tracks or within the same track, the specified
E
destination measure is within the source range.
Action: Set a destination measure that is outside of the Error in formatting medium
source range.
Meaning: An error occurred while performing a physical
format (full format) or high-level format (quick
Destination is empty format) of the media.
Meaning: When editing, the track or pattern that was speci- Action: Use other media.
fied as the destination contains no musical data.
Action: Select a track or pattern that contains musical Error in reading from medium
data.
Meaning: An error occurred while reading data from a
media.
Destination measure is empty Action: Execute the reading operation once again. If the
Meaning: The measure that was specified as the destination same error occurs, it is possible that the data on
contains no data. the media has been damaged.
Action: Specify a destination measure that contains data.
Error in writing to medium
Destination multisample already exists Meaning: An error occurred while writing data to a media.
Meaning: A multisample already exists at the destination (Verify error)
(save location) multisample. Action: It is possible that the media has been physically
Action: Either delete the multisample at the destination damaged. Try another media. Avoid using the
(save location), or change the save destination media that produced the error.
multisample number.

242
F I
File already exists Illegal file description
Meaning: When executing a Create Directory or File Meaning: The filename that you specified when saving a file
Rename operation, a directory or file of the same or creating a directory contained invalid charac-
name already exists on the media. ters.
Meaning: When executing the Media mode utility menu Action: Change the filename you are specifying. Filena-
command “Copy” without using wild cards, the mes not permitted by MS-DOS cannot be used as
copy destination contained a file of the same a filename.
name as the copy source.
Meaning: When you executed the Media mode utility “Save Illegal SMF data
Sampling Data” with a setting of All, All Multi-
Meaning: You attempted to load a file that was not a Stan-
samples, All Samples, or One Multisample, a
dard MIDI File.
directory with the same name as the directory that
the TRITON Le attempted to create already
existed on the media. Illegal SMF division
Action: Either delete the existing directory or file, or spec- Meaning: You attempted to load a Standard MIDI File that
ify a different filename. was timecode-based.

File contains unsupported data Illegal SMF format


Meaning: For an AIFF file etc., you attempted to load a file Meaning: You attempted to load a Standard MIDI File of a
format that the TRITON Le does not support. format other than 0 or 1.
Action: If possible, use a computer etc. to convert the data
into a format supported by the TRITON Le, and
M
load it.
Master Track can’t be recorded alone
File is read-only protected Meaning: When realtime-recording a single track, you
Meaning: You attempted to write to a file or to delete a file attempted to begin recording with the master
that had a read-only attribute. track as the current track.
Meaning: You attempted to save a file to a SmartMedia that Action: Begin recording with a track 1–16.
contained a read-only file of the same name.
Action: Save the file with a different name. Measure size over limit
Meaning: When loading a Standard MIDI File, the number
File unavailable of events in a measure exceeded the maximum
Meaning: You attempted to load or open a file whose format (approximately 10,000 events).
was incorrect. Meaning: The attempted edit operation would cause the
maximum number of events in a measure
(approximately 10,000) to be exceeded.
File/ path not found
Action: Use event editing etc. to delete unwanted data.
Meaning: When loading a sample file in Media mode, the
file name specified in the dialog box for selecting a
directory hierarchy or other media did not exist in Measure number over limit
the specified location. Meaning: The attempted edit operation would cause the
Meaning: When executing the Media mode utility menu track length to exceed 999 measures.
command “Delete,” the specified file did not exist. Action: Delete unnecessary measures.
Meaning: When executing the Media mode utility menu
command “Copy” and you used a wild card to Media not formatted
specify the copy file name, the specified file was
Meaning: When you attempted to perform a high-level for-
not found. Alternatively, the length of the copy
mat (quick format) of media, the media had not
source path name exceeded 76 characters.
been physically formatted yet.
Meaning: In Media mode when you used the [F6] (“Open”)
Action: Execute the Media mode utility menu command
key to open a directory, the path length including

Appendices
“Format” to physically format the media (full for-
the selected directory name exceeded 76 charac-
mat).
ters.
Action: Check the file or directory.
Medium changed
Front sample data used in rear sample Meaning: When executing the Media mode Utility com-
mand “Copy,” the media was exchanged or
Can’t overwrite
ejected, and it was not possible to copy between
Meaning: When executing the Sampling mode function separate media on the same drive.
Sample Edit “Link,” the sample data of the front
sample was also used by the rear sample, and
thus could not be overwritten.
Action: Do not use Overwrite; specify a different sample
as the save destination.

243
Medium write protected N
Meaning: The SmartMedia or other media to which you
attempted to save is write-protected. No data
Action: Turn off write protect on the media and execute Meaning: When loading a Standard MIDI File, the file con-
the command once again. tained no events.
Meaning: When you executed “Export Samples as AIFF/
Memory full WAVE” for Samples in One Multisample, there
were no samples.
Meaning: In Sequencer mode when editing a song, track or
Action: Create sample data.
pattern, the total data of all songs has used up all
of the sequence data memory, and further editing
is not possible. No medium
Action: Delete other song data etc. to increase the amount Meaning: When executing a command in Media mode, the
of free memory. media that was the object of the operation is not
Meaning: While realtime recording in Sequencer mode, inserted.
there is no more free memory to accommodate the Action: Insert the media.
recorded data, so recording has been forcibly
halted. No recording track specified
Action: Delete other song data etc. to increase the amount
Meaning: When performing realtime multi-track recording,
of free memory.
you attempted to begin recording with no tracks
Meaning: In Media mode when loading a Standard MIDI set to REC.
File, the sequence memory has filled up.
Action: Set the desired tracks for recording to REC.
Action: Delete song data. (If necessary, save the data
before deleting it.)
No Sampling Upgrade Installed
Meaning: This will be displayed if you press the [SAM-
Memory overflow
PLING] key on an TRITON Le in which the EXB-
Meaning: In Media mode when using “Save Exclusive” to SMPL option (sold separately) has not been
receive exclusive data, the sequence memory has installed.
filled up.
Action: If you are receiving two or more sets of exclusive
data, transmit them separately to this instrument.
No space available on medium
Meaning: In Media mode, you attempted to load more sam- Meaning: When you attempted to save a file or create a
ple waveform data than there was free memory director, the media contained no free space.
capacity. Action: Either delete an existing file, or exchange the
Action: In Sampling mode, execute Delete sample to cre- media with one that has sufficient free space.
ate free space in the sample waveform data area,
and re-load the data. Not enough memory
Meaning: When starting realtime recording in Sequencer
Memory protected mode, the minimum amount of free memory
Meaning: The internal program, combination, song, or (such as memory for the BAR events up to the
drum kit is protected. recording start location) could not be allocated.
Action: In Global mode, turn off write-protect, and exe- Action: Delete other song data etc. to increase the amount
cute the write or load operation once again. of free memory.
Meaning: When executing “Save Exclusive” in Media mode,
there was no remaining sequence memory. Alter-
Multisample L and R are identical
natively, when executing “Load Exclusive,” suffi-
Meaning: Since the destination (save location) L and R mul- cient free sequence memory could not be
tisample numbers are the same, the editing opera- allocated.
tion could not be executed. Action: Delete song data. (If necessary, save the data
Action: Select a different multisample number for the L before deleting it.)
and R of the destination (save location).
Not enough memory to load
Meaning: When you attempted to load a .SNG file in Media
mode, there was insufficient free memory.
Action: Delete other song data etc. to increase the amount
of free memory.

Not enough memory to open pattern


Meaning: There was insufficient sequencer memory to open
the pattern, so editing is not possible.
Action: Either delete unwanted data such as a song, track,
or pattern, or do not open the pattern.

244
Not enough multisample memory Pattern exists in destination or source track
Meaning: There is insufficient multisample memory. (The Open pattern ?
number of multisamples would exceed the maxi- Meaning: A pattern has been placed in the track that you
mum of 1,000.) specified as a destination or source for editing. If
Action: Delete multisamples to increase the amount of you wish to open the pattern and execute (the
free memory. events of the pattern will be copied), press the[F8]
(“OK”) key. If you wish to execute without open-
Not enough relative parameter memor y ing the pattern, press the [F7] (“Cancel”) key.
Meaning: There is insufficient memory for relative parame-
ters. (The number of samples in the multisamples Pattern used in song Continue ?
would exceed the maximum of 4,000.) Meaning: During editing, the specified pattern has been Put
Action: Delete multisamples or indices of multisamples to to a track or is used by RPPR. To continue the
increase the amount of free memory. operation press the [F8] (“OK”) key. To cancel
without executing, press the [F7] (“Cancel”) key.
Not enough sample memor y
Meaning: There is insufficient sample memory (for sample R
parameters or sample waveform data).
Action: Delete samples to increase the amount of free Rear sample is empty
memory. Meaning: When executing the Sampling mode function
Sample Edit “Link,” the sample specified as the
Not enough sample/ multisample locations available rear sample was empty.
Action: Specify a rear sample that contains data, and exe-
Meaning: The data you attempted to load would exceed the
cute the function once again.
maximum number of multisamples or samples.
Action: In Sampling mode, execute “Delete Multisample” Root directory is full
or “Delete Sample” to free a sufficient number,
Meaning: You attempted to create a file or directory in the
and reload the data.
root directory of the media, but this would exceed
the maximum number of root directory entries.
Not enough song memory Action: Either delete an existing file or directory, or
Meaning: When executing the Sampling mode function exchange media.
Time Slice “Save,” the total data for all song has
used up the entire sequence data memory, so sav-
ing is not possible.
S
Action: Delete other song data etc. to increase the free Sample data used in other sample(s) Continue ?
memory.
Meaning: Other sample(s) use the same sample data as the
sample that you are editing. To continue editing,
O press the [F8] (“OK”) key.

Oscillator Mode conflicts (check PROG P2.1)


Sample L and R are identical
Meaning: In Sampling mode when you executed “Conv. To
Meaning: The edit operation could not be executed because
Program” with Use Destination Program Parame-
the destination (save location) L and R sample
ters checked, the conversion destination program
numbers are identical.
“Mode (Oscillator Mode)” setting did not match.
Action: Select different sample numbers for L and R of the
Action: In Program mode, set the “Mode (Oscillator
destination (save location).
Mode)” of the conversion destination program. If
converting a monaural multisample, select Single.
If converting a stereo multisample, select Double. Sample length is shorter than minimum
Meaning: You attempted to execute an editing operation
that would make the sample data shorter than 8
P samples.
Pattern conflicts with events Action: Change the editing range so that the sample data

Appendices
will be longer than 8 samples.
Meaning: It was not possible to execute the Bounce opera-
tion because one of the tracks contained a pattern,
and the same measure of the other track contained Sample used in other multisample(s) Continue ?
events or a pattern. Meaning: The sample you are editing is used by other multi-
Action: Open the pattern. samples. To continue editing, press the [F8]
(“OK”) key.
Pattern exists across destination to-end-of-measure or
source from-measure
Meaning: When moving a measure, the edit operation could
not be executed because a pattern had been put in
the destination end measure or the source start
measure, and had not been opened.
Action: Open the pattern.

245
Selected file/ path is not correct Y
Meaning: When loading a KSF file that was split across mul-
tiple media, the order in which you attempted to You can’t undo last operation Are you sure ?
load the files was incorrect. Meaning: Once you enter event editing (even if you leave
Action: Load the KSF file in the correct order. To view the event editing without actually editing an event), it
file number order in which the KSF files were will no longer be possible to execute a Compare of
saved, you can check the Utility “Translation.” the previous edit. If you wish to enter event edit-
(The sample name and number of the first KSF file ing, press the [F8] (“OK”) key. To cancel, press the
will be displayed.) [F7] (“Cancel”) key.

Slice point over limit Can’t divide You can’t undo this operation Are you sure ?
Meaning: The Sampling mode “Time Slice” function or the Meaning: When you exit recording or event editing in
“Time Stretch” Slice function would divide the Sequencer mode, the memory area for Undo
sample into more samples than the maximum (Compare function) is not allocated. If you wish to
(1000), so “Divide” cannot be executed. keep the data that was just recorded or edited,
Action: Use “Link” to connect any “Index” that does not press the [F8] (“OK”) key. If you wish to return to
need to be divided; then execute “Divide.” the previous data (i.e., to delete the data that was
just recorded or edited), press the [F7] (“Cancel”)
Source is empty key.
Meaning: No data exists in the pattern that you specified as Meaning: When editing in Sequencer mode, memory area
the source. for Undo (Compare function) cannot be allocated.
If you wish to execute the edit, press the [F8]
Action: Specify a pattern that contains musical data.
(“OK”) key. (It will not be possible to return to the
state before editing.) If you decide not to execute
Source sample is empty the edit, press the [F7] (“Cancel”) key.
Meaning: When executing Insert, Mix, or Paste, the source Action: In order to allocate memory area for Undo (Com-
sample is empty. pare function), delete unneeded data such as
Action: Execute the Copy operation before executing songs, tracks, or patterns. We recommend that
Insert, Mix, or Paste. you save data to media before you execute the
edit operation.
T
There is no readable data
Meaning: Either the file size is 0 or the file does not contain
data that can be accessed by the load or open
operation. Alternatively, the data is damaged etc.,
and cannot be loaded or accessed.

U
Unable to create directory
Meaning: You attempted to create a directory that would
exceed the maximum pathname length (76 charac-
ters for the full pathname).

Unable to save file


Meaning: When executing the Media mode utility menu
command “Copy,” the copy destination path
length exceeded 76 characters.
Meaning: When saving a file in Media mode, the save desti-
nation path exceeded 76 characters.

246
3. Program, combination, drum kit, and arpeggio pattern
Data compatibility bank/ number structure
The following tables show the bank/number structure
The TRITON Le can load (and automatically convert) .PCG/ for the programs, combinations, drum kits, and arpeggio
.SNG files from TRITON keyboard models (TRITON/TRI- patterns of the TRITON keyboard models and TRITON-
TON-pro/TRITON-proX) or the TRITON-Rack. However, Rack, relative to those of the TRITON Le.
please be aware of the following limitations and cautions. If a .PCG/.SNG file is loaded from a TRITON keyboard
model or TRITON-Rack containing a bank/number that
The category of the programs or combinations may be does not exist on the TRITON Le, the bank/number set-
inappropriate in some cases. tings for each type of data will be converted into the
The .KSC, .KMP, .KSF, .MID, .EXL, .AIF, and .WAV files bank/number shown in the table. Please use caution
of a TRITON keyboard model or TRITON-Rack are when loading files from a TRITON keyboard model or
completely compatible. These files can be loaded/ the TRITON-Rack.
saved via external media. Combinations
Conversion loading of .PCG/.SNG files from a TRITON keyboard TRITON-RACK TRITON Le
KARMA Music Workstation is not supported. How- model
ever, .MID and .EXL files are completely compatible, in A INT-A A
the same way as for TRITON keyboard models and the B INT-B B
TRITON-Rack.
C INT-C C
Parameters that are valid for TRITON keyboard D* INT-D* -
models and the TRITON-Rack, but invalid for the - INT-E* -
TRITON Le - EXB-A* -
1. Insert effect (IFX) - EXB-B* -
The TRITON Le provides one insert effect. If a .PCG/ - EXB-C* -
.SNG file is loaded from a TRITON keyboard model or
- EXB-D* -
the TRITON-Rack (which provide five insert effects),
- EXB-E* -
data for IFX2, 3, 4, and 5 parameters will not be loaded.
IFX1 parameter data will be loaded as IFX parameter - EXB-F* -
data. - EXB-G* -
2. “BUS Select” parameter - EXB-H* -
The TRITON Le provides four audio outputs: (MAIN) L/
*: Banks for which the TRITON Le has no corresponding
MONO, R, and (INDIVIDUAL) 1 and 2. If a .PCG/.SNG
bank
file is loaded from a TRITON keyboard model or the TRI-
TON-Rack (which provide in addition (INDIVIDUAL) 3 Programs
and 4 audio outputs), the “BUS Select” parameters of the TRITON keyboard TRITON-RACK TRITON Le
data will be converted as follows when loaded. model
IFX1 → IFX 3→1 A INT-A A
IFX2 → L/R 4→2 B INT-B B
IFX3 → L/R 3/4 → 1/2 C INT-C C
IFX4 → L/R
D INT-D D
IFX5 → L/R
E* INT-E* A#
*: Program, combination, drum kit, global settings, song F* INT-F* A#
(TRITON keyboard models), and multi (TRITON-
G G G
Rack) data within a .PCG or .SNG file.
g(1)-g(9)* g(1)-g(9)* G#
g(d) g(d) g(d)
- EXB-A* A#
- EXB-B* B#
- EXB-C* C#
- EXB-D* D#

Appendices
- EXB-E* A#
- EXB-F* B#
- EXB-G* C#
- EXB-H* D#

*: Banks/numbers of a TRITON keyboard model or TRI-


TON-Rack whose data is being convert-loaded, for which
the TRITON Le has no corresponding bank/number
#: TRITON Le bank/number into which the * bank/num-
ber will be converted when loading.

247
Drum Kits Parameters that are invalid on the TRITON-Rack, but
TRITON keyboard TRITON-RACK TRITON Le valid on the TRITON Le
model 1. Combination, Multi, and Global mode parameters of the
00-15(A/B) 00-15(I-A/B) 00-15(INT) TRITON-Rack
16-23(C) 16-23(E-A) 16-23(User) The following parameters are invalid on the TRITON-
24-31(C)* 25-31(E-A)* 16-23(User)#
Rack, but are saved as internal data, and the loaded val-
ues or the default values will be output when saved. This
32-39(D)* 32-39(E-B)* 16-23(User)#
means that if a TRITON-Rack .PCG file is loaded, these
40-47(D)* 40-47(E-B)* 16-23(User)# settings may be changed.
48-55(User)* 48-55(E-C)* 16-23(User)#
Combination and Multi modes:
56-63(User)* 56-63(E-C)* 6-23(User)# MIDI Filter “Enable Foot Pedal/Switch”
- 64-79(E-E)* All 32(GM)# Global mode:
- 80-95(E-D)* All 32(GM)# “Convert Position”
- 96-111(E-F)* All 32(GM)# “Foot Switch Assign”
- 112-127(E-G)* All 32(GM)#
“Foot Pedal Assign”
“Damper Polarity”
- 128-143(E-H)* All 32(GM)#
“Foot Switch Polarity”
64-72(GM) 144-152(GM) 24-32(GM)

*: Banks/numbers of a TRITON keyboard model or TRI-


TON-Rack whose data is being convert-loaded, for which
the TRITON Le has no corresponding bank/number
#: TRITON Le bank/number into which the * bank/num-
ber will be converted when loading.
Arpeggio Patterns
TRITON keyboard TRITON-RACK TRITON Le
model
P0-4 P0-4 P0-4
U000-199(A/B) U00-199(I-A/B) U000-199(INT)
U200-215(C) U200-215(E-A) U200-215(User)
U216-231(D)* U216-231(E-B)* U200-215(User)#
- U232-247(E-C)* U200-215(User)#
- U248-263(E-D)* U200-215(User)#
- U264-279(E-E)* U200-215(User)#
- U280-295(E-F)* U200-215(User)#
- U296-311(E-G)* U200-215(User)#
- U312-327(E-H)* U200-215(User)#

*: Banks/numbers of a TRITON keyboard model or TRI-


TON-Rack whose data is being convert-loaded, for which
the TRITON Le has no corresponding bank/number
#: TRITON Le bank/number into which the * bank/num-
ber will be converted when loading.

Parameters that are valid on TRITON keyboard


models, but invalid on the TRITON Le
1. Global mode parameters of a TRITON keyboard model
• “PC I/F Baud Rate” and “Beep” will be saved as
internal data, but the data will be ignored.
• If “MIDI Clock” is set to External PCI/F, it will
function as External.

Parameters that are valid on the TRITON-Rack, but


invalid on the TRITON Le
1. Global mode parameters of the TRITON-Rack
• “System Clock” will be saved as internal data, but the
data will be ignored.

248
When exporting
Media mode information
AIFF files
When exporting, the TRITON Le will use the Common
Chunks that are supported Chunk, Sound Data Chunk, Marker Chunk, and Instrument
Chunk.
When loading Limitations on the parameters within each chunk are dis-
cussed below.

AIFF files Common Chunk


The number of channels is fixed at 1 (mono).
When data is loaded into the TRITON Le, the following four The sample size is fixed at 16 bits.
chunks are referenced: Common chunk, Sound Data chunk,
Marker chunk, and Instrument chunk. Other chunks are Marker Chunk
ignored. Two markers are used as Loop Start Address and End
Restrictions on the parameters in each chunk are described Address respectively.
below. Instrument Chunk
Common chunk The loop play mode is fixed at Forward Looping.
Only one (mono) or two (stereo) channels are supported. Zone data of the multisamples will not be exported.
Sample sizes of 1–16 bits are supported. If the sample data is
8 bits or less, it will be loaded as 16 bit data with the lower 8 WAVE files
bits always at 0.
When exporting, the TRITON Le will use the Format
Sound Data chunk Chunk, Sample Chunk, and Wave Data. Restrictions are
Offset and block size are ignored. (Block-Aligning Sound given below.
Data is not supported.)
Format Chunk
Marker chunk The format category is fixed at standard PCM format.
Up to eight markers are supported. The ninth and subse- The number of channels is fixed at 1 (mono).
quent markers will be ignored. The sample size is fixed at 16 bits.
Instrument chunk Sample Chunk
If the loop play mode is ForwardBackwardLooping, this will The Type is fixed at Forward Loop.
be handled as ForwardLooping. Zone data of the multisamples will not be exported.
baseNote, detune, lowNote, highNote, lowVelocity, highVe-
locity, gain, and releaseLoop will be ignored.

WAVE files
When loading, the TRITON Le references the Format
Chunk, Sample Chunk, and Wave Data. Limitations are dis-
cussed below.
Format chunk
Standard PCM format is the only format category that is
supported.
Only one (mono) or two (stereo) channels are supported.
Sample sizes of 1–16 bits are supported. If the sample data is
8 bits or less, it will be loaded as 16 bit data with the lower 8
bits always at 0.
Sample Chunk
Only the loop data is referenced. If there is multiple loop
data, the loop with the greatest number of loop playback
times (Play Count) will be used. Even if the Type is Alternat-
ing or Backward, it will be handled as Forward Loop.
Wave data

Appendices
The Wave List chunk is not supported.

249
About KORG format files • Attributes

KORG format file structure Multisample parameter attributes


There are three types of files: .KMP files for multisamples,
MSB LSB
.KSF files for samples, and .KSC files which handle the first
two as a collection. Similar to the AIFF format, .KMP/.KSF 1: Not Use 2nd Start 0: Use It
files consist of chunks. NC(0)

Korg format file structure

PCMGROUP.KSC PIANO.KMP PI0000.KSF


● Relative parameter chunk 1
PIANO.KMP Ac. Piano
4
Multisample
parameters
Sample
parameters
Chunk ID (‘RLP1’) [4 bytes]
RHODES.KMP
SNARE_00.KSF
PI0000.KSF Sample data
Chunk size (18 × number of samples in the [4 bytes]
Relative parameters
(for ‘x’ number
multisample)
PI0001.KSF
of samples)
Original key [1 byte]
PI0002.KSF PI0002.KSF
Sample
parameters
MSB 1: Non Transpose 0: Transpose
PI0003.KSF
bits 6–0 original key
PI0003.KSF
Top key (0–127) [1 byte]
PI0003.KSF
Sample Tune (–99…+99 cents) [1 byte]
parameters
Level (–99…+99 cents) [1 byte]
Sample data
Pan (0–127 currently unused) [1 byte]
Filter cutoff (–99…+99 currently unused) [1 byte]
SNARE_00.KSF
Sample KSF filename (including period and extension)
parameters
[12 bytes] × number of samples in the multisample
Sample data
If the .KSF filename is “SKIPPEDSAMPL”, it will be treated
as a sample skipped during loading.
Unless stated otherwise, all data is Big Endian. If the .KSF filename is “INTERNALnnnn”, internal samples
will be used.
● When a Korg format file saved on the TRITON Le is loaded
by the TRINITY, ● Relative parameter chunk 2
• Of the parameters for each song, the following Chunk ID (‘RLP2’) [4 bytes]
parameters are ignored (the chunk that includes the Chunk size (4) [4 bytes]
parameter is given in parentheses) Transposing (–64…+63) [1 byte]
Filter cutoff (RLP1 chunk) Resonance (–99…+99) [1 byte]
Transpose (RLP2 chunk) Attack (–99…+99) [1 byte]
Resonance (RLP2 chunk) Decay (–99…+99) [1 byte]
Attack (RLP2 chunk)
● Multisample number chunk
Decay (RLP2 chunk)
Chunk ID(‘MNO1’) [4 bytes]
• Of the parameters for each sample, reverse playback Chunk size (4) [4 bytes]
and loop off settings (included in the attribute Multisample number (0–) [4 bytes]
parameters of the SMD1 chunk) will be ignored, and
will be handled respectively as forward playback and KSF (KORG Sample File) files
loop on. Only the twelve types of sampling frequency There are four types of structure for these files. One consists
supported by the Trinity will be loaded correctly, and of a Sample Parameter chunk, Sample Data chunk, and Sam-
if the frequency is unsupported, the next lowest ple Number chunk (SMP1 + SMD1 + SNO1). Another con-
frequency will be selected. sists of a Sample Parameter chunk, Sample Data chunk,
• Split sample files cannot be loaded. Sample Filename chunk, and Sample Number chunk (SMP1
+ SMD1 + SMF1 + SNO1). The latter structure is in the case
● When a Korg format file saved on the TRINITY is loaded where the sample data of the Sample chunk is empty, and
into the TRITON Le, uses the sample data of the .KSF file specified by the Sample
• Compressed sample files cannot be loaded. Filename chunk (shared sample data).
• Multisamples that use internal samples of the Trinity When saving to a SmartMedia and a single media cannot
will be assigned identically-numbered RAM samples. accommodate all of the data, it is possible to automatically
divide the file and continue the save operation.
KMP (KORG Multisample Parameter) files When a .KSF file is created in this way, the first file will con-
These consist of the following chunks. sist of the Sample Parameter chunk, Sample Number chunk,
● Multisample parameter chunk a divided Sample Parameter chunk, and a divided Sample
Data chunk (SMP1 + SNO1 + SPD1 + SDD1), and the second
Chunk ID (‘MSP1’) [4 bytes]
and subsequent files will consist of a divided Sample Data
Chunk size (fixed at 18) [4 bytes] chunk (SDD1).
Multisample name [16 bytes]
Number of samples in the multisample [1 byte]
Attributes [1 byte]

250
● Sample parameter chunk ● Divided sample parameter chunk
Chunk ID (‘SMP1’) [4 bytes] Chunk ID (‘SPD1’) [4 bytes]
Chunk size (32) [4 bytes] Chunk size (12) [4 bytes]
Sample name [16 bytes] The following up to the sample size is the same as in the
Default bank (0–3) [1 bytes] SMD1 chunk
Start address [3 bytes] Sampling frequency [4 bytes]
2nd start address [4 bytes] Attributes [1 byte]
Loop start address [4 bytes] Loop tune [1 byte]
Loop end address [4 bytes] Number of channels [1 byte]
Sample size [1 byte]
● Sample data chunk
Number of samples [4 bytes]
Chunk ID (‘SMD1’) [4 bytes] Total number of samples in all divided files
Chunk size (12 + number of sample [4 bytes]
databytes) ● Divided sample data chunk
Sampling frequency [4 bytes] Chunk ID (‘SDD1’) [4 bytes]
The sampling frequencies supported by the TRITON Le
is 48000/47619/44100/32000/31746/31250/29400/ KSC(Korg SCript) file
24000/23810/22254/22050/21333/21164/20833/19600/ These files are text files which contain a list of filenames for
16000/15873/15625/14836/14700/14222/14109/13889/ .KMP/.KSF files which are to be handled together.
13067/12000/11905/11127/11025/10667/10582/10417/ Lines beginning with # are ignored as comment lines.
9891/9800/9481/9406/9259/8711/8000/7937/7813/ The first line of the file must begin with “#KORG Script Ver-
7418/7350/7111/7055/6945/6534/6000/5953/5564/ sion 1.0” and subsequent lines (except for comment lines)
5513/5333/5291/5208/4945/4900/4741/4703/4630/ consist only of filename. Only files with an extension of
4356/4000/3968/3906/3709/3675/3556/3527/3472/ KMP/KSF are processed.
3267/3000/2976/2782/2756/2667/2646/2604/2473/
2450/2370/2352/2315/2178/2000/1984/1855/1838(Hz). Filename conventions
Attributes [1 byte] .KMP filename for “Save All” or “Save All Multisamples”
Loop tune (–99...+99 cents) [1 byte]
KMP filename convention
Number of channels (1) [1 byte]
Sample size (8/16) [1 byte]
Number of samples [4 bytes]
First 5 characters of Multisample number
Sample data variable length multisample name The first multisample in internal memory is 000.

• Attributes
When data is saved using “Save All,” “Save All Multisam-
Sample parameter attributes ple” or “Save One Multisample,” the individual .KSF files
used by the Multisample (the .KMP file) are automatically
MSB LSB
given filenames according to the following convention.
Compression ID
1: Compressed data 0: Un-compressed data
1: Not Use 2nd Start 0: Use It KSF filename convention (samples used by the multisample)
1: Reverse 0: Forward
1: Loop Off 0: Loop On

Sample number
The first sample of the multisample is 000.
● Sample number chunk Multisample number
The first multisample in internal memory is 000.
Chunk ID (‘SNO1’) [4 bytes]
Chunk size (4) [4 bytes] Likewise, when data is saved using “Save All” or “Save All
Sample number (0–) [4 bytes] Samples,” the individual .KSF files are automatically given
filenames according to the following convention.
● Sample filename chunk
Chunk ID (‘SMF1’) [4 bytes] KSF filename convention (sample)
Chunk size (12) [4 bytes]
KSF filename [12 bytes]
If the .KSF filename is “SKIPPEDSAMPL”, it will be First 4 characters of Sample number
multisample name The first multisample in internal memory is 0000.

Appendices
treated as a sample skipped during loading.
If the .KSF filename is “INTERNALnnnn”, internal sam-
ples will be used.

251
252
Memory that can be used with the
Option EXB-SMPL
option board
Please read this before you begin
■ EXB-SMPL sampling upgrade
installation
The functionality of the TRITON Le can be expanded in the
following ways by installing the EXB-SMPL sampling
Safety precautions upgrade.
The upgrade adds audio inputs (AUDIO INPUT), Sampling
Warnings mode (sampling functionality), and a SCSI connector for
external SCSI devices.
• When installing, repairing, or replacing the parts of this
In Sampling mode you can record 48 kHz 16 bit mono/ste-
product, you must perform only those actions that the
reo samples from an analog audio source connected to the
owner’s manual directs, and no other.
AUDIO INPUT 1 and 2 jacks, such as a mic or audio device.
• Do not apply excessive force to the electronic
When the included 16 Mbyte DRAM SIMM module is
components or connectors of the circuit board(s), or
installed in the TRITON Le’s SIMM slot, you will be able to
attempt to disassemble them. This could cause electric
sample for approximately 2 minutes 54 seconds in monau-
shock, fire, or malfunction.
ral, or approximately 1 minute 27 seconds in stereo.
• Before installing this product, be sure to disconnect the
power supply cable, and the connecting cables to any In modes other than Sampling mode, the analog audio sig-
peripheral devices. Failure to do so could cause electrical nal from a mic or instrument connected to the AUDIO
shock or may damage this device. INPUT jacks can be processed by the insert effect, master
effects, and master EQ, allowing the TRITON Le to function
as a 2-in 4-out effects processor.
Cautions You will also be able to connect external SCSI devices such
• Do not allow this product to become wet, and do not as hard disk or removable media drives. In the same way as
allow objects to be placed on top of it. Doing so could when using Smart Media, the TRITON Le’s programs, com-
cause malfunction. binations, song data, and sample data can be saved/loaded
• Before touching this product, touch a metal component on high-capacity storage media (e.g., hard disks, MO disks,
of the device into which it will be installed, to discharge Zip disks, Jaz disks, ORB disks). Akai (S1000/3000), Korg,
any static electricity that may be present in your body. AIFF, or WAVE format sample files can also be loaded from
Static electricity may damage the electronic components. a CD-ROM drive.
• When handing this product, be careful not to touch the
leads on the back side of the circuit board (the side The TRITON Le cannot format media with a format of
opposite that on which the components are mounted). other than 512 bytes/block (such as 640 MB, 1.3 GB MO
The sharp points may cause injury. disks etc.).
• When installing this product, never touch components
CD-ROM formats that can be loaded
or circuit boards that are not related to the connections
• AKAI (S1000/S3000) format
you are required to make. Doing so may cause
• ISO9660 Level 1 format (multisession data can be loaded
electrocution or malfunctions.
only if the first session is in ISO9660 format)
• When installing this product, be careful not to cut your
• TRINITY format (only .KSC/.KMP/.KSF files can be
hands on the sharp edges of the metal brackets etc. of
loaded)
this product or of the device into which it is being
installed.
• When installing this product, be careful that screws or ■ Memory that can be used
other parts do not fall into the device into which it is DRAM SIMM memory is used as sample data RAM.
being installed.
Caution when purchasing DRAM SIMM modules
Korg Inc. takes no responsibility for any malfunctions or
Some commercially available DRAM SIMM modules
damage that may occur from improper use or modifica-
cannot be used on the TRITON Le. Before you purchase
tion of this product. Nor will Korg Inc. be responsible for
memory modules, please check the following points.
any damages resulting from the loss or destruction of
data. Types of DRAM SIMM modules that can be used on the
TRITON Le

Appendices
• 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 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.
On the TRITON Le, a total of two DRAM SIMM modules
can be installed, for a maximum total of 64 Mbytes (32
Mbytes x 2 modules). (☞“3–3. Installing additional DRAM
SIMM’s”)

253
If you install only DRAM SIMM modules (without installing Option board/ memory installation
the EXB-SMPL), you will be able to load multisample and
sample data in Media mode. procedure
DRAM SIMM boards are not a manufacturer option. Before you perform the installation, be sure to read the
Please purchase commercially-available boards that are foregoing section “Please note when installing an
sold for use in computers. option board/memory.”
In order to use the maximum of 64 Mbytes, you will
need to remove the 16 Mbyte DRAM SIMM that was 1. Preparations for installation
installed when installing the EXB-SMPL, and use two
During the installation, be careful not to cut your hand
32 Mbyte DRAM SIMM modules.
on any sharp edges of the TRITON Le or of the option
The memory banks and sampling time will depend on board/memory.
the capacity of the DRAM SIMM boards you install,
1 The EXB-SMPL sampling upgrade contains the following
and on the slot locations. (☞p.90)
items. Make sure that no items are missing.
• EXB-SMPL (board) : 1 board
• 16 Mbyte DRAM SIMM : 1 module
Please note when installing an option • Screws, 3 mm × 8 mm : 3 screws
board 2 You will need a “+” (plus) screwdriver, and some maga-
zines or other material (to prevent damage to the joystick
• So that static electricity in your body does not damage and knobs etc.: see diagram below)
the electronic components, touch the ground wire of a
grounded device or an unpainted metallic component 3 Turn off the TRITON Le, and disconnect the AC/AC
to discharge any static electricity in your body before power supply cable and any other cables by which other
installing an option board. Internal components of this devices are connected.
instrument and of the option boards may be damaged 4 As shown in the following diagram, place four maga-
by static electricity. zines etc. at the four corners of the instrument to prevent
• Follow the installation procedure, and be sure that each damage to the joystick and knobs, and place the
part is installed correctly and in the correct orientation. TRITON Le upside down on top of them.
• Please use care in handling option boards. Dropping
Cover “B”
them or applying pressure to them may damage the Cover “A”
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
View from below
the option board and this instrument. 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 is inserted correctly into
the connector or slot. After installation, be sure to check
Place in each of the four corners so that joystick and knobs are not contacted
that the board is installed correctly. If the board is not
inserted all the way, faulty contact or power supply
shorts can occur, making the unit malfunction. When turning the TRITON Le upside down, be careful
• Be careful not to drop parts or the option board into the not to loose your balance and drop the instrument.
inside of the instrument. 5 Detach the appropriate cover for the option board/mem-
If you are unable to retrieve a screw or part that was ory you wish to install.
dropped inside the instrument, please contact your
When installing the EXB-SMPL, detach cover “A.” When
local Korg distributor.
installing the DRAM SIMM, detach cover “B.”
(☞Detaching the cover is described in the following sec-
tions “2–1” or “2–2.”)

254
2–1. Detaching cover “A” for the EXB-SMPL 2 Remove the EXB-SMPL from its packing pouch.
1 Use a screwdriver to remove one screw from cover “A.” 3 Note that screws and washers are attached to two corners
When the TRITON Le is upturned and the rear panel is of the board.
toward you, cover “A” is the large one at the right. 4 Lightly bend the flat cable as shown in the diagram
below.

Screw

Washer

Bend

5 From the rear panel of the TRITON Le, remove the three
screws from the cover of the EXB-SMPL installation
opening, and remove the EXB-SMPL cover.
The cover (EXB-SMPL) and the three screws you
removed will not be used. Do not leave them inside the
2–2. Detaching cover “B” for DRAM SIMM TRITON Le.
1 Use a screwdriver to remove one screw from cover “B.”
When the TRITON Le is upturned and the rear panel is
toward you, cover “B” is the small one at the left.

Cover
(for EXB-SMPL)

6 Place the EXB-SMPL so that its jacks, switch, knob, and


SCSI connector extend from the rear of the TRITON Le,
and while using one hand to support the EXB-SMPL in
position, tighten the included three screws from the rear
When cover “B” is removed panel.

Slots for DRAM SIMM modules

Appendices
Catches

Rear panel

3–1. Installing the EXB-SMPL


You must leave the AC/AC power supply disconnected
7 Use the two screws to attach the EXB-SMPL to the corre-
until you finish the entire process of removing the
sponding brackets inside the TRITON Le.
cover, installing the option board or memory, and reat-
taching the cover. Before the screws are tightened, the EXB-SMPL will
float slightly above the brackets. If at this time you
1 Make sure that cover “A” has been removed. (☞“1. Prep-
apply excessive force to the EXB-SMPL, the screws or
arations for installation,” “2–1. Detaching cover “A” for
washers may come out.
the EXB-SMPL”)

255
8 Attach the flat cable as shown in the diagram. Plug the
cable all the way into the connector.
When connecting the flat cable, be careful not to touch Rear side of DRAM SIMM
any part other than the connector on the circuit board.

EXB-SMPL Screw

Washer

Chassis to which the board is attached Press in at a slant

Catch Rear side of DRAM SIMM

Connector Catch
Press in all the way

Raise to vertical

Rear side of DRAM SIMM

9 Reversing the procedure by which you removed cover


“A,” re-attach the cover. Rear panel

3–2. Installing DRAM SIMM (sample data RAM) 6 Reversing the procedure by which you removed cover
“B,” re-attach the cover.
modules
7 When all steps have been completed, turn on the power
Install the 16 Mbyte DRAM SIMM (sample data RAM)
and make sure that the DRAM SIMM has been installed
included with the EXB-SMPL into the slot.
correctly. (☞“4. Checking after installation”)
The memory module will work correctly in either slot. For
ease of installation, we suggest that you use SIMM slot 2
first. 3–3. Installing additional DRAM SIMM’s
You must leave the AC/AC power supply disconnected A maximum of two memory modules can be installed.
until you finish the entire process of removing the If you want to use two 32 Mbyte DRAM SIMM mod-
cover, installing the option board or memory, and reat- ules, the 16 Mbyte DRAM SIMM that you installed
taching the cover. when installing the EXB-SMPL must be removed as
described in step 3 below.
1 Make sure that cover “B” has been removed. (☞“1. Prep-
arations for installation,” “2–2. Detaching cover “B” for 1 Make sure that cover “B” has been removed. (☞“1. Prep-
DRAM SIMM”) arations for installation,” “2–2. Detaching cover “B” for
DRAM SIMM”)
2 Remove the DRAM SIMM from its packing pouch.
2 A 16 Mbyte DRAM SIMM is installed in the nearer slot. If
3 Verify the location of the slot into which you wish to
you want to add only one more memory module, install
install the DRAM SIMM.
it in the remaining slot. (☞”3–2. Installing DRAM SIMM
Looking from the rear of the TRITON Le, the nearer slot (sample data RAM) modules,” steps 4 and 5.)
is SIMM slot 2.
3 If you will be installing two DRAM SIMM modules,
remove the currently-installed memory. Spread the tabs
Rear side of the DRAM SIMM Locking
Locking
hole
of the DRAM SIMM slot apart to left and right (after
hole 72PIN 1PIN
Notch
releasing the catches), tilt the DRAM SIMM over at an
angle, and pull it out.

Catches

Rear side of DRAM SIMM

Rear panel

4 The notched side of the DRAM SIMM is PIN 1. Install the


DRAM SIMM with its PIN 1 side aligned with the PIN 1 Rear panel
mark ( ) of the slot.
5 At a slant, press the DRAM SIMM firmly all the way into
When you spread the catches of the slot apart, the
the slot, and raise it to the vertical position until the
DRAM SIMM may pop out vigorously and fall into an
catches of the slot click into the locking holes of the
opening (inside the instrument). Please be careful
DRAM SIMM. When doing so, pressing the catches of the
slot apart to the left and right will help the board go in 4 Install DRAM SIMM modules in the two slots as
smoothly. described in steps 4 and 5 of “3–2. Installing DRAM
SIMM (sample data RAM) modules.”
5 Reversing the procedure by which you removed cover
“B,” re-attach the cover.

256
6 When all steps have been completed, turn on the power
and make sure that the DRAM SIMM has been installed
correctly. (☞“4. Checking after installation”)

4. Checking after installation


When the power is turned on, the LCD screen will
show the capacity of the currently-installed memory,
and will indicate “EXB-SMPL.”
After installing an option board/memory, be sure to
turn on the power and make sure that the option
board/memory that you installed is displayed in the
LCD screen.
If it is not displayed, the installation may not have been
performed correctly. Check once again that the board is
installed correctly.
If you have any questions regarding installation, please
contact your local Korg distributor.

• EXB-SMPL: EXB-SMPL is installed


• SIMM Slot1: If a SIMM is installed in SIMM slot 1, the
capacity of the SIMM “(**MB)” will be displayed.
If no SIMM is installed, the display will indicate “----”.
• SIMM Slot2: If a SIMM is installed in SIMM slot 2, the
capacity of the SIMM “(**MB)” will be displayed.
If no SIMM is installed, the display will indicate “----”.

Appendices

257
Attack Level ....................... 12, 16, 20 BUS Select .... 156, 158, 159, 160, 162
Index Amp EG..................................... 20 AUDIO INPUT....................... 126
Filter EG..................................... 16 Global ...................................... 135
Pitch EG..................................... 12 Program ........................ 26, 27, 28
Numerics Sampling ................................... 93
Attack Time............... 3, 8, 12, 17, 20,
00: No Effect ...................45, 156, 159 133, 216, 234 Sequencer............................ 57, 84
10’s Hold Amp EG..................................... 20
Combination..............................32 Filter EG..................................... 17
Program .......................................2
C
Pitch EG..................................... 12
Cat. HOLD (Category Hold)......... 2
AUDIO INPUT ...................... 93, 126
Category.......... 2, 3, 8, 27, 29, 32, 33,
A AUDIO OUTPUT (INDIVIDUAL) .
34, 53, 54, 55, 131, 133, 134
156
ADC OVER! .............................92, 93 Category name ............................ 132
[AUDITION] key ....... 9, 87, 89, 107,
After Touch Cautions regarding sample
109, 111
MIDI Filter data ............................................ 87
Combination ........................41 Audition Riff.................................... 9
Chain ...................................... 28, 161
Sequencer..............................66 Auto
Auto Loop On........................... 93 Change Multisample Type.......... 96
AfterTouch Curve .......................122
Convert Position .....................127 Auto Punch In .......................... 56 Changing the time signature in the
Auto Arpeggiator........................ 123 middle of a measure................ 50
AIFF file .............7, 87, 139, 146, 150,
151, 247 Chord strummed on a guitar .... 138
AIFF format ..................................146 Constant Pitch ............................. 117
B
AKAI format ................133, 141, 147 Control change message.... 123, 124
Bank
AKAI Program File ....133, 140, 141, Convert
Bank Select message ..... 222, 226,
145, 147 Convert Multisample To
238
Program ............................... 97
Alternate Modulation ......12, 13, 17, Change all bank references... 124
Convert to Song (Convert Cue
20, 23, 50, 211, 214, 233, 234 Combination ............................. 31
List to Song)......................... 60
Amp Level ........................................3 Bank select message............ 33
Control change message ....... 124 Convert Multisample To
AMS(Alternate Modulation Program .................................... 97
Drum kit .................................. 134
Source)
Dump ....................................... 129 Convert Position ......... 121, 122, 127
Amp AMS..................................20
Load ......................................... 142 Convert to Song
Filter AMS .................................15
Preload..................................... 123 (Convert Cue List to Song)..... 60
Filter EG AMS ...........................15
Program....................................... 1 COPY .............................................. 59
Freq. AMS..................................23
Multisample........................... 7
JS X/Bend as AMS .............42, 67 Copy
RAM bank ................................. 97
Level Mod. AMS...........12, 17, 21 Copy Arpeggiator.. 25, 44, 82, 83
Sampling ................................... 91
LFO AMS .......................11, 16, 20 Copy Cue List........................... 60
Memory bank ...................... 90
Pan AMS ....................................18 Copy Drum Kit ...................... 134
Save .......................................... 148
Pitch AMS..................................10 Copy From Combi................... 52
Sequencer
Pitch EG AMS ...........................10 Copy From Song ...................... 52
Bank Select message ........... 51
Resonance AMS ........................13 Copy Insert Effect ...... 26, 84, 119
Bank(EX2) MSB, LSB .......... 62
Time Mod. AMS ...........13, 17, 22 Copy Key Setup ..................... 134
Program bank ...................... 54
Arabic ................................................5 Copy Master Effect ...... 28, 48, 86
Base key ............................ 87, 89, 106 Copy Measure .......................... 78
Arpeggiator
Bend Range Copy Multisample................... 95
Combination........................35, 43
Combination ............................. 37 Copy Oscillator .......................... 6
Program .................................4, 24
Sequencer .................................. 63 Copy Pattern ............................ 70
Sequencer...................................81
Bottom Key ................ 39, 64, 65, 147 Copy Scale .............................. 131
Arpeggiator Run
Bottom Velocity................. 40, 65, 66 Copy Song ................................ 61
Combination........................35, 43
Copy To Track.......................... 71
Sequencer...................................81 Bounce
Copy Track ............................... 76
Arpeggio Pattern ...................24, 136 Bounce Pattern ......................... 70
Sample....................................... 94
Bounce Track ............................ 76
Arpeggio Tone Mode..................136 Sampling ................................. 116
BPM
Arpeggio Type .............................136 Copy Pattern.................................. 70
BPM/MIDI Sync function ... 155,
Assign......................9, 36, 61, 72, 132 219 Create ........................................... 116
Arpeggiator Assign Detune (BPM Adj.)............. 37, 63 CREATE .................................. 116
Combination ........................43 Detune BPM Adjust........... 38, 63 Create Ctrl (Create Control
Sequencer..............................82 Grid .......................................... 107 Data) ..................................... 78
Foot Pedal Assign...................125 Pitch BPM Adj. ....................... 117 Create Directory..................... 152
Foot Switch Assign.................125 Create New Multisample ....... 88
Create Zone Preference......... 117
Crossfade Loop ........................... 115
Cue List .................................... 49, 58
258
Current Directory ....................... 140 .EXL file ................................144, 150 Inputting rests ............................... 74
Cut External MIDI clock ....212, 218, 219 Insert
Sampling ................................. 116 External SCSI device ...139, 152, 153 INSERT...................................... 59
Sequencer.................................. 59 Insert Measure.......................... 77
Cutoff................ 8, 133, 214, 221, 222 Sampling ................................. 116
F Sequencer .................................. 59
Cutoff frequency......... 8, 13, 14, 133
Fade .................................................23 Insert Effect ....... 26, 46, 84, 126, 233,
FF/REW Speed..............................53 245
D Filter Insert Measure............................... 77
Data Dump .................................. 236 Filter EG.....................................15 Intensity
Decay Time ................ 4, 8, 12, 17, 20 Filter Modulation .....................15 AMS Intensity..................... 10, 23
Delete Frequency ..................................13 LFO Intensity................ 11, 16, 20
Delete Cue List......................... 59 Keyboard Track ........................14 Pitch EG..................................... 10
Delete Measure ........................ 76 Mod. (Filter1 Modulation) ......14
Delete Multisample ................. 95 Program .....................................13
Delete Song............................... 52 Resonance..................................13 K
Event.......................................... 75 Type (Filter1 Type)...................13 Key .................................................... 6
Note, Rest.................................. 75 Fixed Note Mode.........................136 Drum Kit ................................. 132
Sample............................... 94, 100 Fixed Note No..............................136 Key Split ......................................... 39
Deleting a note or rest .................. 75 Flam...............................................138 Key Sync..................... 25, 35, 44, 136
Detune .......................................... 185 Foot Switch Polarity....................126 Key Zone ...................................... 147
Detune BPM Adjust ............... 38, 63 Force OSC Mode Combination ............................. 39
Directories.................................... 139 Combination .............................37 Sequencer ............................ 64, 65
DOS file ........................................ 139 Sequencer ..................................62 Keyboard.................... 25, 35, 44, 136
Double .............................................. 5 Format...................................152, 153 Keyboard & Index... 89, 98, 106, 116
Drum kit........ 5, 7, 8, 45, 46, 85, 121, Free Number ................................118 Keyboard Display ......................... 97
123, 125, 129, 132, 139, 141, 145, Free Sample Memory..................118 Keyboard Track........ 14, 15, 19, 212,
148, 236 Full Format...................................153 214, 215, 216
Drum program... 5, 7, 45, 46, 60, 80, Kirnberger (Kirnberger III)............ 5
85, 135 .KMP file....................................... 248
G
Drums......................... 3, 5, 13, 19, 26 KORG format............................... 248
Gain
Dynamic modulation ...... 27, 29, 41, Korg Multisample Parameter.... 140
MEQ ...........................28, 161, 209
46, 47, 59, 66, 84, 85, 86, 155, 159, Korg Multisample Parameter
217, 218, 224, 230, 233, 234 Gate .............................24, 44, 83, 137
file............................................. 139
Dynamic Modulation Source ... 155, Gate time ........................................24
.KSC file........................................ 249
217 Global MIDI channel .......26, 27, 28,
.KSF file ........................................ 248
29, 33, 34, 36, 37, 47, 86, 121, 127,
128, 130, 218, 224, 227, 228, 230,
E 231, 236 L
Equal Temperament....................... 5 Global Setting...............................143 Latch ........................... 25, 35, 44, 136
Erase GM Initialize Parameters .............54 Layer ......................................... 39, 40
Control Data ............................. 79 GM System On message.......54, 239 Legato ............................................... 5
Erase Measure .......................... 76
Grid ...............................................107 Fingered (Porta. Fingered) ..... 11
Erase Note................................. 80
Erase Pattern ............................ 70 GS ..........................................124, 238 Length........................................... 136
Musical data of measures ....... 76 Length of song
Note data .................................. 80 Set Song Length ....................... 81
H
Track .......................................... 76 Level

Appendices
High pass filter ...13, 18, 42, 68, 221,
Erase Measure ............................... 76 AUDIO INPUT....................... 126
222, 226, 227, 234
Event Send .................................... 126
Hold ..................................................5 Combination
Copy .......................................... 75
Delete......................................... 75 Hold Balance..................................34 Level (Chain Level) ............ 47
Event Edit ................................. 75 Rtn 1, 2 (Return 1, 2) ........... 47
Insert.......................................... 75 Send ...................................... 46
I Volume ................................. 34
Move.......................................... 75
IFX Balance.......................................4 Drum Kit
Event Edit ................................ 70, 75
Index.........8, 87, 88, 94, 98, 106, 109, Level H/L (Level High/Low)
EXB-SMPL ........ 6, 8, 49, 87, 91, 126, 114, 116 132
139, 140, 144, 146, 150, 152, 153, Media .......................................140 Send .................................... 135
242, 253 Sampling......................88, 98, 106 Metronome ......................... 57, 93
Exclusive ...................................... 129 Inputting a tie ................................74 Sequencer ....................... 57, 69
Exclusive Group ......................... 134 Inputting notes ..............................74
259
Program .......................................8 Metronome............................... 57, 69 P
Amp Level ..............................3 Sampling ................................... 93
PAGE MENU .............. 1, 31, 49, 121
Level (Chain Level) .............28 Sequencer .................................. 56
Level (High/Low Level) ......7 Pan
MFX Balance .................................... 4
OSC Bal (OSC Balance).........3 AUDIO INPUT....................... 126
MFX1, MFX2 .................................. 86 Combination................. 34, 35, 46
Rtn 1, 2 (Return 1, 2)............28
MIDI Channel Drum kit.................................. 135
Sample.....................................8
Combination ........... 33, 36, 46, 47 Program .................. 18, 19, 26, 27
Send .......................................26
Program....................................... 1 Sampling ................................... 93
Trim .......................................13
Sequencer ................ 51, 62, 84, 85 Sequencer............................ 55, 84
Sampling............................93, 116
Sequencer MIDI clock................ 32, 50, 127, 135 Pattern
Level (Chain Level) .............86 MIDI control message ...... 41, 67, 68 Arpeggiator ............................ 135
Send .......................................84 MIDI Filter Program ........................... 4, 24
Level Adj.......................................103 Combination ....................... 41, 42 Arpeggio pattern .. 24, 43, 81, 82,
Global....................................... 128 135, 236
LFO ........................................5, 22, 23
Program....................................... 3 Erase .......................................... 70
Filter ...........................................16
Sequencer ...................... 66, 67, 68 Recording.................................. 69
OSC.......................................11, 22
RPPR.......................................... 72
Pitch............................................12 MIDI pitch bend message
Sequencer.................................. 69
Load Combination ............................. 42
Song ............................... 51, 60, 69
Template Song ..........................52 Sequencer .................................. 67
Bounce.................................. 70
Local Control................................128 MIDI real-time message ............. 127 Copy ..................................... 70
Local Control On .........................128 MIDI RPN coarse tune message121 Edit........................................ 70
Location ..............................50, 58, 69 MIDI RPN fine tune message.... 121 Preset pattern ................ 53, 69
Sequencer.............................50, 53 MIDI universal system exclusive Step recording ..................... 70
Set Location ...............................53 message ................................... 121 User pattern......................... 69
Loop MIDI/Tempo Sync. ...................... 23 Pelog ................................................. 5
Auto Loop On ...........................93 Modulation ......... 214, 215, 216, 219, Performance Editor ........................ 3
Loop All Tracks ........................56 220, 232 Pitch
Loop End Meas .........................56 MS.................................................... 88 Combination....................... 37, 38
Loop Lock ................................107 Constant Pitch ........................ 117
MS To Mono .................................. 97
Loop On .............................57, 106 Program ...... 6, 7, 8, 10, 11, 12, 22
Loop Start Meas........................56 MS To Stereo.................................. 97
Sampling ................................. 117
Loop Start Meas–Loop End Multi REC....................................... 57 Sequencer...................... 49, 60, 63
Meas ......................................56 Multisample...... 5, 6, 7, 8, 38, 63, 88, Pitch bend ............ 37, 63, 71, 78, 231
Loop Tune ...............................106 98, 106, 116, 132, 139, 141, 144,
Pitch bend change....................... 231
LoopS ...............................107, 109 145, 146, 147, 148, 149, 240, 242,
Step Rec (Loop).........................70 243, 247, 248, 249 Pitch modulation ............ 10, 11, 214
Low pass filter.....13, 18, 42, 68, 222, Multi-track recording ....... 55, 57, 82 Pitch Offset .................................. 137
226, 234 Pitch Shift Mod. .......................... 186
Pitch Shifter ................................. 185
N Poly, Mono....................................... 5
M Normalize..................................... 103
Polyphonic/Monophonic........ 5, 37
Master Effect ..........4, 28, 47, 85, 126
Portamento ..... 10, 11, 37, 62, 63, 67,
Master EQ ...............................29, 209
O 220, 222, 223, 226, 232
Master EQ Gain[dB]....................161 Combination............................. 37
Octave
Master Fine Tuning message .....121 Arpeggiator....... 4, 24, 35, 44, 136 Program .................................... 11
Master Track ............................74, 75 Combination ............................. 37 Sequencer.................................. 63
Measure ..................50, 53, 56, 57, 58 Program......................... 3, 4, 7, 24 Position................................... 93, 117
Media Sampling ................................. 117 Positional Cross-fade ................... 39
Format Type ............................153 Sequencer .................................. 63 Pre Trigger REC ............................ 92
Media select.............................140 Ofs (Offset)..................................... 22 Preset pattern .......................... 53, 69
Total Size .................................153 Original Key........................... 90, 116 Preset Template Song................... 52
Volume Label ..........................153 Original Key Position ........... 93, 117 Priority ............................................. 5
Memory Protect ...........................125 Oscillator .................................. 34, 45 Program bank.................................. 1
Memory Status Other Ctrl Ch ................................. 68
Sampling..................................118 Program category ........................... 2
Other Ctrl Change......................... 43 Program change message ..... 41, 66,
Sequencer memory...................51
Overwrite ....................................... 56 222
[MENU] key .............................1, 130
Sampling ........... 99–105, 113–115 Program Select .............................. 31
MEQ (Master EQ)..............29, 48, 86
Combination....................... 33, 35
Meter .........................................50, 58
Program ...................................... 2
Sequencer.................................. 54

260
Pure Major ....................................... 5 Sample...........................................116 Sub Oscillator .............................. 170
Pure Minor....................................... 5 Sampling..............................89, 96 Swap LFO 1&2 .............................. 23
Sample Mode .................................91 Swap Master Effect ........... 29, 48, 86
Sample Time ..................................90 Swap Oscillator ............................... 6
Q
Sample waveform display ...98, 107 Swing ........................................ 24, 44
Quantize......................................... 79
Reso (Realtime Quantize Sampling Rate..............................104 System exclusive message . 127, 235
Resolution)........................... 50 Sampling will be started...............91
Scale.......................................121, 131
T
Combi’s Scale............................38
R Combination .............................38 Template Song....................... 52, 125
RAM Bank ..................................... 90 Copy Scale ...............................131 Tempo......................... 72, 81, 83, 135
RAM multisample .......................... 6 Program .......................................5 Arpeggiator ........................ 24, 25
REALTIME CONTROLS .............. 9, Sequencer ..................................64 Combination ....................... 32, 43
24, 32, 36, 51, 61, 67, 81, 92, 118, Song’s Scale ...............................64 Program........................... 2, 23, 25
135, 209, 213, 217, 221, 222, 224, Use Prog’s Scale..................38, 64 Sampling ................................... 92
226, 231, 232, 233, 235, 237 User All Notes Scale ..........6, 131 Sequencer ... 50, 51, 53, 58, 69, 72,
User Octave Scale ...............5, 130 77, 78, 83
Realtime recording ..................... 224
User Scale ................................130 Threshold ....................................... 91
REC Mode
Scan Zone .................................25, 83 Timbre assign ................................ 35
Sampling ............................. 91, 92
Select Time signature....... 70, 71, 74, 75, 77
Recording Level ............................ 92
Arpeggio Select.......................135 Time Slice ..................................... 108
Release Time...................... 12, 17, 21
Select a program ......................49, 50 Time Stretch................................. 111
Rename
Select by Category Tone .............................................. 136
Cue List ..................................... 59
IFX ..............................................27
Drum Kit ................................. 134 Top Key ........ 39, 64, 65, 90, 116, 147
MFX............................................29
Multisample ............................. 96 Top Key, Bottom Key
Multisample ................................7
Pattern ....................................... 70 Arpeggiator
Program .......................................2
Sample....................................... 95 Combination ........................ 45
Song ........................................... 52 Send.................................................84
Program................................ 25
Track .......................................... 71 AUDIO INPUT .......................126
Sequencer ............................. 83
Reso (Realtime Quantize Set Song Length .............................81
Top Velocity....................... 40, 65, 66
Resolution)................................ 50 Single track recording.............55, 57
Top Velocity, Bottom Velocity
Reso (Resonance) ........................ 133 Single Trigger Arpeggiator
Resolution Drum Kit..................................134 Combination ........................ 45
Arpeggiator .................... 4, 24, 83 Program .......................................5 Program................................ 25
Combination.................. 35, 44 Slendro ..............................................5 Sequencer ............................. 83
Program ............................... 24 SmartMedia.......49, 58, 60, 125, 139, Track Edit....................................... 73
Arpeggio ................................. 136 140, 148, 151, 152 Transpose ................................. 3, 127
Resonance ..... 8, 14, 42, 68, 133, 215, SMPL To Stereo .............................95 Audition Riff............................... 9
221, 222, 226, 227, 234 Solo Combination ............................. 37
Reverse ......................................... 106 SOLO On/Off ...........................55 Program................................... 7, 9
Rev (High/Low Reverse) ......... 7 Solo Selected Timbre................32 Sequencer ............................ 60, 63
Rev (Reverse).......................... 133 Solo Selected Track ..................51 TRINITY ....................................... 248
Sampling ................................. 104 Solo function
REVERT ......................................... 73 Combination .............................32
Sequencer ............................51, 55
U
Rhythm loop..... 38, 49, 63, 107, 108,
110, 111, 117 Song data ........49, 123, 125, 128, 239 Universal system exclusive ....... 235
Rhythm loop sample .................. 108 Song Position Pointer message ..51, Use DKit Setting...................... 19, 26

Appendices
ROM multisample .......................... 6 58, 127 Use Zero ................................. 98, 107
Routing................................. 156, 160 Song Select message.......51, 58, 127, User All Notes Scale ................... 131
Combination............................. 47 236 User arpeggio pattern ......... 24, 121,
Program .................................... 27 Sort ..............................24, 35, 44, 136 123, 125, 135, 137, 236
Sequencer.................................. 85 Standard MIDI file ..............139, 239 User Octave Scale........................ 130
RPN Fine Tuning .......................... 60 Start ...............................................107 User pattern ................................... 69
RPPR (Realtime Pattern Play/ Step................................................137 User Scale ..................................... 130
Recording) ................................ 69 User Template Songs.................... 53
Step No. ........................................137
Step Recording...............................74
S Stereo multisample .......................89
S.Ofs (High Start Offset) ................ 7 Stereo sample .................................89
Stretch ...............................................5

261
V
Velocity
Arpeggiator
Combination ..................44, 45
Program ................................24
Arpeggio ..................................137
Combination..................40, 43, 45
Modify Velocity ........................80
Program ............6, 7, 8, 10, 14, 15,
20, 24
Sequencer.....65, 66, 74, 80, 81, 83
Velocity Cross-fade ..................40
Velocity Curve ........................122
Specified location ..............127
Velocity SW Lo→Hi
DrumKit..............................132
Program ..................................6
Velocity Switch .........................40
Velocity Zone
Combination ........................40
Program ..................................8
Sequencer..............................65
Velocity Zone
Combination..............................40
Program .......................................8
Volume
Combination..............................34
Sequencer...................................56

W
WAVE file.....................................247
Write
Combination..............................32
Drum Kits ................................133
Global Setting..........................123
Program .......................................2
Write Protect ................................153

X
XG ..........................................124, 238

Z
Zero-cross .......................................98
Zone Map
Key Zone........................39, 64, 65
Velocity Zone ................40, 65, 66
Zone Range
Sampling............................93, 117
ZOOM .....................................99, 107

262
J E F G 2
Table of contents
Combinations (Preload) ....................................................................................... 3
Bank A ................................................................................................................................... 3
Bank B ....................................................................................................................................7
Bank C ................................................................................................................................. 11

Programs (Preload) ........................................................................................... 15


Bank A ................................................................................................................................. 15
Bank B .................................................................................................................................. 16
Bank C ................................................................................................................................. 17
Bank D ................................................................................................................................. 18
Bank G /g(d) ...................................................................................................................... 19

Drum kits (Preload) ........................................................................................... 20


00: Standard Kit 1 ............................................................................................................... 20
01: Standard Kit 2 ............................................................................................................... 20
02: Processed Kit ................................................................................................................ 20
03: Jazz/Brush Kit .............................................................................................................. 21
04: House Kit ...................................................................................................................... 21
05: Tricky Kit ....................................................................................................................... 21
06: Drum'n'Bass Kit ........................................................................................................... 22
07: Hip Hop Kit .................................................................................................................. 22
08: Psycho Kit ..................................................................................................................... 22
09: Percussion Kit ............................................................................................................... 23
10: Orchestra&Ethnic ........................................................................................................ 23
11: Cymbals Catalog .......................................................................................................... 23
12: BD&SD Catalog 1 ......................................................................................................... 24
13: BD&SD Catalog 2 ......................................................................................................... 24
14: 01/W Total Kit .............................................................................................................. 24
15:Trance/GarageKit ......................................................................................................... 25

GM Drum kits ................................................................................................... 26


00: STANDARD ................................................................................................................. 26
01: ROOM ........................................................................................................................... 26
02: POWER ......................................................................................................................... 26
03: ELECTRONIC .............................................................................................................. 26
04: ANALOG ...................................................................................................................... 26
05: JAZZ .............................................................................................................................. 27
06: BRUSH .......................................................................................................................... 27
07: ORCHESTRA ............................................................................................................... 27
08: SFX ................................................................................................................................. 27

Multisamples .................................................................................................... 28

Drumsamples ................................................................................................... 29

Preset Arpeggio Patterns / User Arpeggio Patterns (Preload) .............................. 30

Audition Riffs ................................................................................................... 31

Preset Patterns ................................................................................................. 32

Template Songs ................................................................................................ 32

Demo Songs ..................................................................................................... 32

2
Combinations (Preload)
Bank A
# Name Arp.SW A Pattern Run SW1 Knob 1-B Knob 3-B
Category B Pattern Run SW2 Knob 2-B Knob 4-B
A000 Ballad Layer EP Off P0:UP Off Octave Up F/A Attack (CC#73) Knob Mod.3 (CC#20)
Keyboard U134:Dr-HipHop 1 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A001 Dynamic Strings Off U199:Dr-Orch.Perc. On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Strings U190:Dr-Percussion On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A002 Wave Sequencer On U121:Dr-LoungeBeatBox Off Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
MotionSynth U006:Syn-Repeat On Mod.SW2 (CC#81) Filter Resonance (CC#71) Knob Mod.4 (CC#21)
A003 Bass&WhirlySplit On U123:Dr-Syncro On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U087:Bs-Stagger On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A004 Trancy Euphoria On U076:Bs/Rf-EpicTrance On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Expression (CC#11)
BassSplits U158:Dr-Trance4Floor On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A005 Pimps-N-Pitz On U139:Dr-NuHop Grv 1 On Octave Up F/A Attack (CC#73) Knob Mod.3 (CC#20)
BassSplits U065:Bs/Rf-NuHopChrd1 On Lock JS(-Y) & Ribbon Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A006 Jazz Step DnB On U181:Dr-Jump Up DnB On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Filter Cutoff (CC#74)
BassSplits P0:UP On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A007 Real Steppers On U170:Dr-2Step Garage1 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U067:Bs/Rf-2Step On Mod.SW2 (CC#81) Expression (CC#11) Knob Mod.4 (CC#21)
A008 Song Of Africa On P4:RANDOM On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
World U190:Dr-Percussion On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A009 Studio Orchestra Off U057:Str-Classical 3 On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Orchestral U057:Str-Classical 3 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A010 Analog 101 Off U022:Syn-StaccatoTech On Portamento SW (CC#65) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Synth U014:Syn-6tone Techno On Lock JS(-Y) F/A Attack (CC#73) Knob Mod.4 (CC#21)
A011 Breath Monster Off P2:ALTERNATE1 On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Pads P2:ALTERNATE1 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A012 Bell Animations On P4:RANDOM On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Bell/Mallet/Perc P4:RANDOM On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A013 Big Jazz Band Off U067:Bs/Rf-2Step On Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.3 (CC#20)
BrassReed P0:UP On Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
A014 All Was Lost Off P2:ALTERNATE1 On Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.3 (CC#20)
Complex & SE P0:UP Off Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
A015 Heavy Organ Off U126:Dr-BigBeats 2 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Organ U116:Dr-Cyber Metal On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A016 Hip Hop Clav On U135:Dr-HipHop 2 On Mod.SW1 (CC#80) F/A Decay (CC#75) Knob Mod.3 (CC#20)
Keyboard U191:Dr-SmoothSamba 1 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A017 Bowed Strings Off U061:Str-AcroArpeggio On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Strings U057:Str-Classical 3 On Lock JS(-Y) F/A Sustain (CC#70) Knob Mod.4 (CC#21)
A018 Sailing On U003:Syn-CrescDecresc On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
MotionSynth P0:UP Off Lock JS(-Y) Portamento Time (CC#05) Knob Mod.4 (CC#21)
A019 Back & 4th On U140:Dr-NuHop Grv 2 On Mod.SW1 (CC#80) Expression (CC#11) Portamento Time (CC#05)
LeadSplits U067:Bs/Rf-2Step On Lock JS(-Y) CC#02 Knob Mod.4 (CC#21)
A020 Fantasmagoria On U156:Dr-BuildUp4Floor On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits P0:UP On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A021 Urban Nature RnB On U145:Dr-Nature RnB On Octave Up Knob Mod.1 (CC#17) MFX Send1 (CC#93)
BassSplits P0:UP Off Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A022 HardHouse On U157:Dr-Straight 4oF On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U093:Bs-TeaBea On Lock JS(-Y) F/A Attack (CC#73) Knob Mod.4 (CC#21)
A023 Chillfactor On U091:Bs-Dance 2 On Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.3 (CC#20)
LeadSplits U124:Dr-BeatBoy On Lock JS(-Y) Filter Cutoff (CC#74) Knob Mod.4 (CC#21)
A024 You Will Love It On U146:Dr-New RnB On Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.3 (CC#20)
BassSplits U197:Dr-EthnicDancePr On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A025 Presto & Vivace Off U054:Str-FastBowing 2 On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Orchestral U057:Str-Classical 3 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A026 Fuji-yama On U021:Syn-SteppingNote On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) MFX Send2 (CC#91)
Pads P0:UP Off Mod.SW2 (CC#81) Knob Mod.2 (CC#19) F/A Release (CC#72)
A027 Pad & Saxine On U062:Str-Str.Melody On Mod.SW1 (CC#80) Pitch LFO1 Depth (CC#77) Knob Mod.3 (CC#20)
LeadSplits U028:Syn-Penta-Fall On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A028 The Guitarist Off U033:Gt-Strumming 1 On Octave Up F/A Attack (CC#73) Knob Mod.3 (CC#20)
Guitar/Plucked U036:Gt-Strumming 4 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A029 Warm Brass Ens. Off U061:Str-AcroArpeggio On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
BrassReed U056:Str-Classical 2 On Octave Up F/A Decay (CC#75) Knob Mod.4 (CC#21)
A030 "Yo,Wasup Dude!" On U135:Dr-HipHop 2 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) F/A Sustain (CC#70)
Ds/Hits U184:Dr-Jazz On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A031 Med.->Tutti/Knbs Off U086:Bs/Rf-Hard House On Octave Up F/A Attack (CC#73) Volume (CC#07)
Organ U021:Syn-SteppingNote On Mod.SW2 (CC#81) Expression (CC#11) Knob Mod.4 (CC#21)

3
# Name Arp.SW A Pattern Run SW1 Knob 1-B Knob 3-B
Category B Pattern Run SW2 Knob 2-B Knob 4-B
A032 Soft Piano Pad Off U031:Pno-Arpeggio 1 On Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.3 (CC#20)
Keyboard U005:Syn-ONCE! Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A033 >Movie Strings< Off P2:ALTERNATE1 On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Strings U031:Pno-Arpeggio 1 Off Lock JS(-Y) F/A Release (CC#72) Knob Mod.4 (CC#21)
A034 Phases Of Angels On U026:Syn-Riff & Rest On Portamento SW (CC#65) F/A Attack (CC#73) Knob Mod.3 (CC#20)
MotionSynth U027:Syn-Rest & Riff On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A035 Dark Element On U131:Dr-AcidJazzFunk On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits P2:ALTERNATE1 Off Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A036 Progressive Code On U006:Syn-Repeat On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U158:Dr-Trance4Floor On Mod.SW2 (CC#81) Expression (CC#11) Knob Mod.4 (CC#21)
A037 //Feel ;-) Pad// On U012:Syn-4toneVelTrip On Mod.SW1 (CC#80) Filter EG Int. (CC#79) Knob Mod.3 (CC#20)
MotionSynth U120:Dr-BD/HH/SD 16th On Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
A038 Tribal Drum 'n.. On U182:Dr-Jungle On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U063:Bs/Rf-Jungle On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A039 <T-nage-Dancing> On P2:ALTERNATE1 On Mod.SW1 (CC#80) Expression (CC#11) Knob Mod.3 (CC#20)
BassSplits U167:Dr-New Disco 1 On Lock JS(-Y) Filter Resonance (CC#71) Knob Mod.4 (CC#21)
A040 Delhicacy (vel) On U198:Dr-Delhicatessen On Lock JS(-Y) Knob Mod.1 (CC#17) MFX Send1 (CC#93)
World P0:UP Off Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A041 FrenchEnsemble Off U061:Str-AcroArpeggio On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Orchestral P3:ALTERNATE2 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A042 Chord Memory Off U105:Bs-House Off Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Synth U181:Dr-Jump Up DnB On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A043 Universal Choir Off P2:ALTERNATE1 On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Pads P0:UP Off Lock JS(-Y) F/A Decay (CC#75) Knob Mod.4 (CC#21)
A044 Vaderian Bells Off P4:RANDOM On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Bell/Mallet/Perc P4:RANDOM On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A045 Brash Tpts&Choir Off U060:Str-Dynamic On Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.3 (CC#20)
Orchestral P0:UP Off Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
A046 Narita Airprt C4 On U006:Syn-Repeat On Mod.SW1 (CC#80) Filter Cutoff (CC#74) Volume (CC#07)
Complex & SE U006:Syn-Repeat On Lock JS(-Y) Expression (CC#11) Filter Resonance (CC#71)
A047 Dirty BX-3 Organ Off U123:Dr-Syncro On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Organ U193:Dr-Raga-matic On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A048 Stream E.Piano Off U146:Dr-New RnB On Octave Down Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Keyboard P0:UP Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A049 ChristmasStrings Off P2:ALTERNATE1 On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Bell/Mallet/Perc U031:Pno-Arpeggio 1 Off Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
A050 /\Gods Bathtub/\ On U003:Syn-CrescDecresc On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
MotionSynth P0:UP Off Lock JS(-Y) Volume (CC#07) Knob Mod.4 (CC#21)
A051 Session Piano On U122:Dr-16BeatShuffle On Mod.SW1 (CC#80) Expression (CC#11) Knob Mod.3 (CC#20)
Keyboard U042:Gt-Soul Strum On Octave Up Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A052 Gimme a ring... On U103:Bs-On 2 On Mod.SW1 (CC#80) Filter Cutoff (CC#74) Knob Mod.3 (CC#20)
BassSplits U158:Dr-Trance4Floor On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A053 Bunnies In Love On U140:Dr-NuHop Grv 2 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U066:Bs/Rf-NuHopChrd2 On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A054 Triks & Hoes On U147:Dr-Childbeat On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits P0:UP Off Lock JS(-Y) Knob Mod.2 (CC#19) F/A Release (CC#72)
A055 Tremolo Guitar On U181:Dr-Jump Up DnB On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U033:Gt-Strumming 1 Off Mod.SW2 (CC#81) Filter Cutoff (CC#74) Knob Mod.4 (CC#21)
A056 Mute Tp & More On U131:Dr-AcidJazzFunk On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
LeadSplits U110:Bs-Phunky Wah On Lock JS(-Y) Filter Resonance (CC#71) Knob Mod.4 (CC#21)
A057 Orchestral Brass Off U113:Bs-Root/Fifth On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Orchestral U059:Str-Tagadah 1/2 On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A058 REZ IS KING Off U057:Str-Classical 3 On Lock JS(+Y) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Synth U085:Bs/Rf-KalimbaGrv On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A059 *Pad Tropolis* On U001:Syn-Dittos On Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.3 (CC#20)
Pads P0:UP Off Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
A060 Harmonic Whisper Off U009:Syn-Gated 2 On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Guitar/Plucked P0:UP Off Lock JS(-Y) & Ribbon F/A Decay (CC#75) Knob Mod.4 (CC#21)
A061 Velo Orch Winds Off U056:Str-Classical 2 On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Orchestral U053:Str-FastBowing 1 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A062 Speed Racer On U090:Bs-Dance 1 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Ds/Hits U126:Dr-BigBeats 2 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A063 Jazz/GospelOrgan Off U040:Gt-ElecGtr Strum On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Organ U135:Dr-HipHop 2 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)

4
# Name Arp.SW A Pattern Run SW1 Knob 1-B Knob 3-B
Category B Pattern Run SW2 Knob 2-B Knob 4-B
A064 Layered A.Piano Off U186:Dr-Latin On Octave Up F/A Attack (CC#73) Knob Mod.3 (CC#20)
Keyboard U129:Dr-Stinky On Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
A065 ClassicAnaString Off P2:ALTERNATE1 On Octave Down Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Strings P2:ALTERNATE1 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A066 LargeSqwishiThag Off U093:Bs-TeaBea On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
MotionSynth U170:Dr-2Step Garage1 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A067 E.Piano/Brass Off U131:Dr-AcidJazzFunk On Octave Down Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
LeadSplits U109:Bs-Soul On Octave Up Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A068 US Garage House On U161:Dr-Remix City 2 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U075:Bs/Rf-DreamTrans On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A069 Chic 2 Chic On U153:Dr-Wooden Beat On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U104:Bs-Open Basses On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A070 Abstract Hop On U131:Dr-AcidJazzFunk On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits P0:UP On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A071 >AutoRave< Knobs On U015:Syn-6toneOstinat On Mod.SW1 (CC#80) Filter Cutoff (CC#74) Knob Mod.3 (CC#20)
BassSplits U168:Dr-New Disco 2 On Lock JS(-Y) Filter Resonance (CC#71) Knob Mod.4 (CC#21)
A072 Accordion (SW) Off U119:Dr-BD/HH 16ths On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
World U035:Gt-Strumming 3 On Mod.SW2 (CC#81) Filter Cutoff (CC#74) Post IFX Pan (CC#08)
A073 Strings & Winds Off P3:ALTERNATE2 On Octave Down Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Orchestral P3:ALTERNATE2 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A074 Sigma Strings Off U113:Bs-Root/Fifth On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Portamento Time (CC#05)
Synth P0:UP On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A075 TheNightBefore.. On P4:RANDOM On Mod.SW1 (CC#80) Filter Cutoff (CC#74) Knob Mod.3 (CC#20)
Pads P0:UP Off Lock JS(-Y) F/A Release (CC#72) Knob Mod.4 (CC#21)
A076 Heaven's Bells Off P0:UP On Octave Up F/A Attack (CC#73) Knob Mod.3 (CC#20)
Bell/Mallet/Perc P4:RANDOM On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A077 JazzyChords/Knbs Off U084:Bs/Rf-Dance+Comp On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Volume (CC#07)
Organ U021:Syn-SteppingNote On Mod.SW2 (CC#81) Expression (CC#11) Knob Mod.4 (CC#21)
A078 *Dying Star* Off P4:RANDOM On Portamento SW (CC#65) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Complex & SE U148:Dr-PopHop On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A079 3rd Harm.on Knob Off U120:Dr-BD/HH/SD 16th On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Organ U097:Bs-Techno 4 On Mod.SW2 (CC#81) Expression (CC#11) Knob Mod.4 (CC#21)
A080 Cutting Clav Off U152:Dr-That'sILL Yo! On Mod.SW1 (CC#80) F/A Decay (CC#75) Knob Mod.3 (CC#20)
Keyboard P0:UP Off Mod.SW2 (CC#81) Expression (CC#11) Knob Mod.4 (CC#21)
A081 AfterRainStrings On P0:UP On Mod.SW1 (CC#80) F/A Attack (CC#73) Pan (CC#10)
Strings P0:UP On Mod.SW2 (CC#81) Expression (CC#11) Knob Mod.4 (CC#21)
A082 Northern Stars On P4:RANDOM On Portamento SW (CC#65) F/A Attack (CC#73) Knob Mod.3 (CC#20)
MotionSynth P3:ALTERNATE2 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A083 FutureJazztronic On U155:Dr-Jazzy Hop On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits P0:UP Off Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A084 Killer Smile On U083:Bs/Rf-Killer On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U144:Dr-Killer On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A085 Space Wah Bass On U131:Dr-AcidJazzFunk On Mod.SW1 (CC#80) Expression (CC#11) Knob Mod.3 (CC#20)
BassSplits U110:Bs-Phunky Wah Off Octave Up Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A086 Missing Android On U150:Dr-Striker On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U092:Bs-Dance 3 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A087 Dry as Garage On U077:Bs/Rf-3am Trance On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U169:Dr-Std.Garage On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A088 At The Copa! Off U187:Dr-CopaWithThis On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits P0:UP Off Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A089 Sugar Plums Off U054:Str-FastBowing 2 On Octave Up Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Orchestral U000:Syn-StepSawDown On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A090 *Movin' Stars* On P3:ALTERNATE2 On Mod.SW1 (CC#80) Expression (CC#11) Knob Mod.3 (CC#20)
Synth P1:DOWN On Lock JS(-Y) Volume (CC#07) Knob Mod.4 (CC#21)
A091 Judgement Day On P2:ALTERNATE1 On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Pads P0:UP Off Mod.SW2 (CC#81) F/A Decay (CC#75) Knob Mod.4 (CC#21)
A092 My Baby's Asleep Off U033:Gt-Strumming 1 On Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.3 (CC#20)
Guitar/Plucked U036:Gt-Strumming 4 Off Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
A093 Cascade Bells On U000:Syn-StepSawDown On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Bell/Mallet/Perc U003:Syn-CrescDecresc On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A094 Talk to Galileo On P3:ALTERNATE2 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
MotionSynth U010:Syn-ExpressTriad On Mod.SW2 (CC#81) F/A Release (CC#72) Knob Mod.4 (CC#21)
A095 Med.Mixture/Knbs Off U011:Syn-Speed Seq. On Octave Up F/A Attack (CC#73) Volume (CC#07)
Organ U100:Bs-Echo On Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)

5
# Name Arp.SW A Pattern Run SW1 Knob 1-B Knob 3-B
Category B Pattern Run SW2 Knob 2-B Knob 4-B
A096 Famous Layer EP Off U002:Syn-Route+UpDown On Octave Up Expression (CC#11) Knob Mod.3 (CC#20)
Keyboard U017:Syn-Syncopation On Mod.SW2 (CC#81) Volume (CC#07) Knob Mod.4 (CC#21)
A097 Detached Bows Off U056:Str-Classical 2 On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Strings U054:Str-FastBowing 2 On Lock JS(-Y) F/A Decay (CC#75) Knob Mod.4 (CC#21)
A098 Shh-I'm Sweeping Off U022:Syn-StaccatoTech On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
MotionSynth P0:UP On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A099 Do U Funk? On U170:Dr-2Step Garage1 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits P0:UP On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A100 Jazz Bass/Gtr. Off U184:Dr-Jazz On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits P0:UP Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A101 Grungie Vibe Jam On U127:Dr-Boy Bandz On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Complex & SE U110:Bs-Phunky Wah On Lock JS(-Y) Filter Resonance (CC#71) Knob Mod.4 (CC#21)
A102 Groove'n Soloman On U102:Bs-Drum'n'Bass On Mod.SW1 (CC#80) Filter Cutoff (CC#74) Knob Mod.3 (CC#20)
BassSplits U178:Dr-Drum'n'Bass 3 On Lock JS(-Y) Filter Resonance (CC#71) Knob Mod.4 (CC#21)
A103 *ResoChord Pad* On U089:Bs-Flash On Mod.SW1 (CC#80) Filter Cutoff (CC#74) Knob Mod.3 (CC#20)
Pads U158:Dr-Trance4Floor On Lock JS(-Y) Filter Resonance (CC#71) Knob Mod.4 (CC#21)
A104 Magic Kingdom On U001:Syn-Dittos On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
World U100:Bs-Echo On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A105 Expressive Orch Off U053:Str-FastBowing 1 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Orchestral U059:Str-Tagadah 1/2 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A106 =Sync to Drum 1= On U000:Syn-StepSawDown On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Synth U056:Str-Classical 2 On Lock JS(-Y) Filter Resonance (CC#71) Knob Mod.4 (CC#21)
A107 Falling Leaves On U003:Syn-CrescDecresc Off Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.2 (CC#19)
MotionSynth U003:Syn-CrescDecresc On Lock JS(-Y) Knob Mod.3 (CC#20) Knob Mod.4 (CC#21)
A108 Bell Amis Off P4:RANDOM On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Bell/Mallet/Perc P0:UP On Lock JS(-Y) F/A Decay (CC#75) Knob Mod.4 (CC#21)
A109 Ballad Organ Off U120:Dr-BD/HH/SD 16th On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Expression (CC#11)
Organ P0:UP Off Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A110 Bass & PianoPad Off U031:Pno-Arpeggio 1 On Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.3 (CC#20)
BassSplits U190:Dr-Percussion On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A111 Split ClickOrgan Off U134:Dr-HipHop 1 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Organ U101:Bs-Euro On Mod.SW2 (CC#81) Expression (CC#11) Knob Mod.4 (CC#21)
A112 MegaBrass&Piano Off U044:Gt-16 Strum Oct On Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.3 (CC#20)
Keyboard P0:UP Off Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
A113 OrchestraStrings Off P3:ALTERNATE2 On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Strings U058:Str-Tagadah On Lock JS(-Y) Filter Cutoff (CC#74) Knob Mod.4 (CC#21)
A114 Rock-tave Gtr Off U009:Syn-Gated 2 On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
LeadSplits U118:Dr-16 Beat On Lock JS(-Y) F/A Decay (CC#75) Knob Mod.4 (CC#21)
A115 *HipTrip Split* Off U134:Dr-HipHop 1 On Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.3 (CC#20)
BassSplits P0:UP Off Lock JS(-Y) F/A Decay (CC#75) Knob Mod.4 (CC#21)
A116 Talk 2 Me On U061:Str-AcroArpeggio On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
BassSplits U166:Dr-House 4x4 On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A117 >Relax Pad< On U051:Gt-CountryPickng On Mod.SW1 (CC#80) Expression (CC#11) Knob Mod.3 (CC#20)
Complex & SE U117:Dr-8 Beat On Lock JS(-Y) Filter Cutoff (CC#74) Knob Mod.4 (CC#21)
A118 Digital'n'Bass On U128:Dr-Cyber Breaks On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Complex & SE P0:UP On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A119 ) Beat Boy ( On U018:Syn-TranceChord On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U124:Dr-BeatBoy On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A120 Petit Lounge On U121:Dr-LoungeBeatBox On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) MFX Send1 (CC#93)
Organ U045:Gt-Bossa On Octave Up Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A121 DynOrchestra 2 Off U113:Bs-Root/Fifth On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Orchestral U061:Str-AcroArpeggio On Lock JS(-Y) F/A Decay (CC#75) Knob Mod.4 (CC#21)
A122 Analogue Blatter Off U091:Bs-Dance 2 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Synth U169:Dr-Std.Garage On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A123 SweetBabyBlues Off U035:Gt-Strumming 3 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
LeadSplits U046:Gt-Picking On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A124 12-Strings (Arp) Off U055:Str-Classical 1 On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Guitar/Plucked U195:Dr-Ethnic Perc. Off Lock JS(-Y) Volume (CC#07) Knob Mod.4 (CC#21)
A125 It's Sine Tine! Off U197:Dr-EthnicDancePr On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Synth U167:Dr-New Disco 1 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
A126 DrumConstruction On U127:Dr-Boy Bandz On Mod.SW1 (CC#80) Expression (CC#11) Pitch LFO1 Speed (CC#76)
Ds/Hits U020:Syn-Steady! Off Mod.SW2 (CC#81) Pitch LFO1 Depth (CC#77) MFX Send2 (CC#91)
A127 Gospel Organ Off U185:Dr-Bossa Nova On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Expression (CC#11)
Organ U074:Bs/Rf-Bossa On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)

6
Bank B
# Name Arp.SW A Pattern Run SW1 Knob 1-B Knob 3-B
Category B Pattern Run SW2 Knob 2-B Knob 4-B
B000 Amp Driven Wurly Off U177:Dr-Drum'n'Bass 2 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Keyboard U110:Bs-Phunky Wah On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B001 Super Strings Off U059:Str-Tagadah 1/2 On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Strings U053:Str-FastBowing 1 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B002 Squarehead Off U064:Bs/Rf-D'n'B Off Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
MotionSynth U177:Dr-Drum'n'Bass 2 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B003 Ballad Grand On U186:Dr-Latin On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Keyboard U133:Dr-Electro On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B004 Play The Trance On U158:Dr-Trance4Floor On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
LeadSplits U075:Bs/Rf-DreamTrans On Lock JS(+Y) Expression (CC#11) Knob Mod.4 (CC#21)
B005 The ILL Chill On U152:Dr-That'sILL Yo! On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U098:Bs-Techno 5 On Portamento SW (CC#65) Knob Mod.2 (CC#19) F/A Release (CC#72)
B006 Nu Cyber Breaks On U128:Dr-Cyber Breaks On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
LeadSplits P0:UP Off Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B007 GroovyGarage On U071:Bs/Rf-UKGarage 2 On Mod.SW1 (CC#80) Filter Cutoff (CC#74) Knob Mod.3 (CC#20)
BassSplits U174:Dr-Groovy Garage On Lock JS(-Y) MFX Send1 (CC#93) Knob Mod.4 (CC#21)
B008 Isle Of Indigo On U085:Bs/Rf-KalimbaGrv On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
World U190:Dr-Percussion On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B009 Rhythms & Bows On U061:Str-AcroArpeggio On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Orchestral U113:Bs-Root/Fifth On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B010 Analog Clavical Off U068:Bs/Rf-FunkGarage Off Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Synth U173:Dr-FunkUpGarage On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B011 Healing Pad On P0:UP On Mod.SW1 (CC#80) Filter Cutoff (CC#74) Knob Mod.3 (CC#20)
Pads P0:UP Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B012 Random Blocks On P4:RANDOM On Octave Down Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Bell/Mallet/Perc U074:Bs/Rf-Bossa On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B013 Sop/Alt/Tnr/Bari Off U097:Bs-Techno 4 On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
BrassReed U042:Gt-Soul Strum On Lock JS(-Y) F/A Decay (CC#75) Knob Mod.4 (CC#21)
B014 One Bad Monster On U114:SE-Wait for it.. On Mod.SW1 (CC#80) F/A Attack (CC#73) Expression (CC#11)
Complex & SE U000:Syn-StepSawDown On Lock JS(-Y) Filter Resonance (CC#71) Knob Mod.4 (CC#21)
B015 Rock Organ Off U117:Dr-8 Beat On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Organ P0:UP Off Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
B016 Damper Wah Clav Off U122:Dr-16BeatShuffle On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Keyboard U110:Bs-Phunky Wah On Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
B017 3-V.Switch-Strgs Off P2:ALTERNATE1 On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Strings P2:ALTERNATE1 On Lock JS(-Y) F/A Release (CC#72) Knob Mod.4 (CC#21)
B018 (Where are You?) On U003:Syn-CrescDecresc On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
MotionSynth P2:ALTERNATE1 On Lock JS(+Y) Volume (CC#07) Knob Mod.4 (CC#21)
B019 Acid Groover... On U084:Bs/Rf-Dance+Comp On Mod.SW1 (CC#80) Filter Cutoff (CC#74) Knob Mod.3 (CC#20)
BassSplits U131:Dr-AcidJazzFunk On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B020 Galactic Artcore On U177:Dr-Drum'n'Bass 2 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits P0:UP Off Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B021 Sweet RnB Vibe On U146:Dr-New RnB On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U109:Bs-Soul Off Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B022 < Sneakin > On U148:Dr-PopHop On Mod.SW1 (CC#80) Filter Cutoff (CC#74) Knob Mod.3 (CC#20)
BassSplits P0:UP Off Lock JS(-Y) F/A Release (CC#72) Knob Mod.4 (CC#21)
B023 ClassicGarage On U072:Bs/Rf-UKGarage 3 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Synth U169:Dr-Std.Garage On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B024 Velo Psychedelic On U156:Dr-BuildUp4Floor On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Synth U079:Bs/Rf-Goa Trance On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) MFX Send2 (CC#91)
B025 DynOrchestra 1 Off U055:Str-Classical 1 On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Orchestral P0:UP Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B026 Tritonsphere On P2:ALTERNATE1 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Synth P0:UP Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B027 DreamingForMiles Off U000:Syn-StepSawDown On Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.3 (CC#20)
LeadSplits P0:UP Off Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
B028 Mountainside On P4:RANDOM On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Guitar/Plucked U019:Syn-Trickle On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B029 Pompus Brass Off U058:Str-Tagadah On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Orchestral U008:Syn-Gated 1 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B030 Modern Orchestra On U024:Syn-Random On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Orchestral U025:Syn-Random Up On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B031 Registrations Off U056:Str-Classical 2 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Organ U057:Str-Classical 3 On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)

7
# Name Arp.SW A Pattern Run SW1 Knob 1-B Knob 3-B
Category B Pattern Run SW2 Knob 2-B Knob 4-B
B032 Tiney Harmonic Off U011:Syn-Speed Seq. On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Keyboard U148:Dr-PopHop On Lock JS(-Y) F/A Decay (CC#75) Knob Mod.4 (CC#21)
B033 Violin Section Off U053:Str-FastBowing 1 On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Strings U056:Str-Classical 2 On Lock JS(-Y) Filter Cutoff (CC#74) Knob Mod.4 (CC#21)
B034 Forget-Me-Not On U019:Syn-Trickle On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
MotionSynth P0:UP Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B035 -SWEET GROOVE- On P2:ALTERNATE1 On Mod.SW1 (CC#80) Filter Cutoff (CC#74) Knob Mod.3 (CC#20)
BassSplits U159:Dr-Techno On Lock JS(-Y) F/A Release (CC#72) Knob Mod.4 (CC#21)
B036 The16th Strummer On U120:Dr-BD/HH/SD 16th On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
BassSplits U038:Gt-16 ChordStrum On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B037 }Future Child{ On U154:Dr-Your Destiny On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Expression (CC#11)
BassSplits U042:Gt-Soul Strum On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B038 Stationary Split On U180:Dr-Drum'n'Bass 5 On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
BassSplits U120:Dr-BD/HH/SD 16th On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B039 / Nice & Easy / On U020:Syn-Steady! On Mod.SW1 (CC#80) Expression (CC#11) Knob Mod.3 (CC#20)
Pads U159:Dr-Techno On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B040 Indian Ocean On U193:Dr-Raga-matic On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
World P0:UP Off Lock JS(-Y) Post IFX Pan (CC#08) Knob Mod.4 (CC#21)
B041 Warm Orchestra Off U060:Str-Dynamic On Octave Down Post IFX Pan (CC#08) Knob Mod.3 (CC#20)
Orchestral U053:Str-FastBowing 1 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B042 80's Analogues Off U077:Bs/Rf-3am Trance On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Synth U164:Dr-House4onFloor On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B043 Triton Voices Off U116:Dr-Cyber Metal On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Pads U192:Dr-SmoothSamba 2 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B044 Deep Crystals Off U085:Bs/Rf-KalimbaGrv On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Bell/Mallet/Perc P4:RANDOM On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B045 French Brass Off U060:Str-Dynamic Off Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
BrassReed U199:Dr-Orch.Perc. On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B046 The Rain Forest Off P0:UP Off Octave Down Volume (CC#07) Knob Mod.3 (CC#20)
Complex & SE P0:UP Off Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
B047 Super Jazz Organ Off U178:Dr-Drum'n'Bass 3 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Expression (CC#11)
Organ U097:Bs-Techno 4 On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B048 Real EP & Pad Off U185:Dr-Bossa Nova On Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.3 (CC#20)
Keyboard U002:Syn-Route+UpDown On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B049 Horns & Strings Off P0:UP On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
LeadSplits U032:Pno-Arpeggio 2 On Lock JS(-Y) Pan (CC#10) Knob Mod.4 (CC#21)
B050 Kromatica On U029:Syn-Chromatic On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
MotionSynth P0:UP Off Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B051 Club Movement On U131:Dr-AcidJazzFunk On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Keyboard U073:Bs/Rf-Acid Jazz On Octave Up Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B052 POP Princessa On U052:Gt-PrincessaA.G. On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U149:Dr-Princessa On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B053 Breaks Step On U170:Dr-2Step Garage1 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Complex & SE P0:UP Off Mod.SW2 (CC#81) Filter Resonance (CC#71) Knob Mod.4 (CC#21)
B054 Brass Jazz Funk On U131:Dr-AcidJazzFunk On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
LeadSplits U109:Bs-Soul On Octave Up Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B055 FunkedUpGarage On U068:Bs/Rf-FunkGarage On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U173:Dr-FunkUpGarage On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B056 Journey To Bali On U011:Syn-Speed Seq. On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
World P4:RANDOM On Lock JS(-Y) & Ribbon Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B057 Gotham Snd.Track Off U059:Str-Tagadah 1/2 On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Orchestral U058:Str-Tagadah On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B058 LushiousClavinus Off U091:Bs-Dance 2 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Synth U164:Dr-House4onFloor On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B059 Classic Combi Off U032:Pno-Arpeggio 2 Off Octave Up F/A Attack (CC#73) Knob Mod.3 (CC#20)
Orchestral U199:Dr-Orch.Perc. On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B060 Strumming Guitar On U034:Gt-Strumming 2 On Mod.SW1 (CC#80) Expression (CC#11) Knob Mod.3 (CC#20)
Guitar/Plucked U037:Gt-Strumming 5 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B061 RomanticSparkles On U007:Syn-8th Chunk Off Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Pads U050:Gt-BalladPicking On Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
B062 Carnival Parade On U194:Dr-AfricaThunder On Octave Down Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Ds/Hits U186:Dr-Latin On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B063 Pipes on SW&Knbs Off U005:Syn-ONCE! On Mod.SW1 (CC#80) Expression (CC#11) Knob Mod.3 (CC#20)
Organ P0:UP Off Lock JS(+Y) Volume (CC#07) Knob Mod.4 (CC#21)

8
# Name Arp.SW A Pattern Run SW1 Knob 1-B Knob 3-B
Category B Pattern Run SW2 Knob 2-B Knob 4-B
B064 Hero's Piano Off U099:Bs-Techno 6 On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Keyboard P0:UP Off Mod.SW2 (CC#81) F/A Release (CC#72) Knob Mod.4 (CC#21)
B065 Golden Strings Off U053:Str-FastBowing 1 On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Strings U054:Str-FastBowing 2 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B066 Tritium Off U153:Dr-Wooden Beat On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
MotionSynth U113:Bs-Root/Fifth On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B067 > Movies Theme < On U103:Bs-On 2 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) F/A Release (CC#72)
MotionSynth U151:Dr-Woodland On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B068 Club NYC On U162:Dr-Remix City 3 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Complex & SE U091:Bs-Dance 2 On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B069 Organic Beats On U120:Dr-BD/HH/SD 16th On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U195:Dr-Ethnic Perc. On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B070 Ethereal Piano On U179:Dr-Drum'n'Bass 4 On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Keyboard U120:Dr-BD/HH/SD 16th On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B071 In The Pocket On U143:Dr-In The Pocket On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Filter Resonance (CC#71)
Synth U100:Bs-Echo On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B072 Fisatic Dreams Off U011:Syn-Speed Seq. On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
World U116:Dr-Cyber Metal On Lock JS(X) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B073 Dry Chamber Ens. Off U055:Str-Classical 1 On Mod.SW1 (CC#80) Expression (CC#11) Knob Mod.3 (CC#20)
Orchestral U005:Syn-ONCE! On Lock JS(-Y) Volume (CC#07) Knob Mod.4 (CC#21)
B074 Huge Ober Sweep Off P2:ALTERNATE1 On Octave Up F/A Attack (CC#73) Knob Mod.3 (CC#20)
Synth P0:UP Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B075 Sequence Pad On P0:UP On Mod.SW1 (CC#80) Filter Cutoff (CC#74) Knob Mod.3 (CC#20)
MotionSynth P1:DOWN On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B076 -Fourier's Idea- On U010:Syn-ExpressTriad On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Bell/Mallet/Perc U050:Gt-BalladPicking On Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
B077 Knob as Drawbar1 Off U106:Bs-Hip Hop On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Volume (CC#07)
Organ U020:Syn-Steady! On Mod.SW2 (CC#81) Expression (CC#11) Knob Mod.4 (CC#21)
B078 Millennium Files On U096:Bs-Techno 3 On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Complex & SE P0:UP Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B079 Warm Bars Off U178:Dr-Drum'n'Bass 3 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Organ U084:Bs/Rf-Dance+Comp Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B080 Village Pump Off U138:Dr-HipperHop On Mod.SW1 (CC#80) Expression (CC#11) Knob Mod.3 (CC#20)
Keyboard U106:Bs-Hip Hop On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B081 Smoothie Strings Off U061:Str-AcroArpeggio On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Strings U031:Pno-Arpeggio 1 On Octave Down Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B082 <Smoky Soft Pad> On U055:Str-Classical 1 On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
MotionSynth U054:Str-FastBowing 2 On Lock JS(-Y) Filter Resonance (CC#71) Knob Mod.4 (CC#21)
B083 Hidden Rhythm On U153:Dr-Wooden Beat On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
LeadSplits U088:Bs-Groove Analog On Lock JS(-Y) Portamento Time (CC#05) Knob Mod.4 (CC#21)
B084 Streetwalk On U090:Bs-Dance 1 On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
BassSplits U167:Dr-New Disco 1 On Lock JS(-Y) CC#16 Knob Mod.4 (CC#21)
B085 Clavi-Jammer On U107:Bs-Hop/Funk On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U142:Dr-Hop/Funk On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B086 Slow Motion Man On U180:Dr-Drum'n'Bass 5 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
MotionSynth U090:Bs-Dance 1 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B087 Elektro Express On U133:Dr-Electro On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Expression (CC#11)
BassSplits U075:Bs/Rf-DreamTrans On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B088 Peasant Song On U191:Dr-SmoothSamba 1 On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
World P0:UP Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B089 Sweet Dyn-Orch. Off U122:Dr-16BeatShuffle On Octave Down Mod.SW1 (CC#80) Knob Mod.3 (CC#20)
Orchestral U055:Str-Classical 1 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B090 Miami Virtue Off U023:Syn-Vice Squad On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Synth U157:Dr-Straight 4oF On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B091 Pleasestaycalm On U062:Str-Str.Melody On Portamento SW (CC#65) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Pads P0:UP Off Lock JS(-Y) F/A Decay (CC#75) Knob Mod.4 (CC#21)
B092 -Hybr.Guit&Arp.- Off P3:ALTERNATE2 On Mod.SW1 (CC#80) Expression (CC#11) Knob Mod.3 (CC#20)
Guitar/Plucked P1:DOWN On Lock JS(-Y) Volume (CC#07) Knob Mod.4 (CC#21)
B093 Going Home @ 3am On U188:Dr-Tablature On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Bell/Mallet/Perc U077:Bs/Rf-3am Trance On Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
B094 Arp Factory 1 On P0:UP On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) MFX Send1 (CC#93)
MotionSynth U100:Bs-Echo On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) MFX Send2 (CC#91)
B095 Pipes on Knob Off P0:UP On Octave Up Knob Mod.1 (CC#17) Expression (CC#11)
Organ P0:UP Off Lock JS(-Y) Volume (CC#07) Knob Mod.4 (CC#21)

9
# Name Arp.SW A Pattern Run SW1 Knob 1-B Knob 3-B
Category B Pattern Run SW2 Knob 2-B Knob 4-B
B096 Layered M1 Piano Off U186:Dr-Latin On Octave Up F/A Attack (CC#73) Knob Mod.3 (CC#20)
Keyboard U129:Dr-Stinky On Lock JS(-Y) F/A Decay (CC#75) Knob Mod.4 (CC#21)
B097 CinematicStrings Off U057:Str-Classical 3 On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Strings U055:Str-Classical 1 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B098 Spheoretical Off U003:Syn-CrescDecresc Off Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
MotionSynth U003:Syn-CrescDecresc On Lock JS(-Y) Filter Resonance (CC#71) Knob Mod.4 (CC#21)
B099 Steely Keys On U190:Dr-Percussion Off Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Synth U117:Dr-8 Beat On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B100 Remix Factory On U160:Dr-Remix City 1 On Mod.SW1 (CC#80) Portamento Time (CC#05) Knob Mod.3 (CC#20)
BassSplits U030:Org-HouseOrgan On Portamento SW (CC#65) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B101 Freewheeling LFO On U171:Dr-2Step Garage2 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits P0:UP On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B102 Mystic Presence On U196:Dr-Sinistar On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
MotionSynth U194:Dr-AfricaThunder On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B103 > Housemade < On U093:Bs-TeaBea On Mod.SW1 (CC#80) Filter Cutoff (CC#74) Knob Mod.3 (CC#20)
LeadSplits U157:Dr-Straight 4oF On Lock JS(-Y) Filter Resonance (CC#71) Knob Mod.4 (CC#21)
B104 Snap!ReggaeOrgan On U041:Gt-Reggae Strum On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Organ U120:Dr-BD/HH/SD 16th On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B105 OrchestraMaximus Off U054:Str-FastBowing 2 On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Orchestral U056:Str-Classical 2 On Lock JS(-Y) F/A Sustain (CC#70) Knob Mod.4 (CC#21)
B106 Anabell Rain New On P2:ALTERNATE1 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Pads P0:UP On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B107 Simple Pad Off P0:UP On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Pads U019:Syn-Trickle Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B108 Angelic Bells Off P0:UP On Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.3 (CC#20)
Bell/Mallet/Perc P0:UP Off Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
B109 Knob as Drawbar2 Off P0:UP Off Octave Up Knob Mod.1 (CC#17) Volume (CC#07)
Organ U134:Dr-HipHop 1 On Lock JS(X) Expression (CC#11) Knob Mod.4 (CC#21)
B110 Living Cycles On U054:Str-FastBowing 2 On Mod.SW1 (CC#80) Filter Cutoff (CC#74) Knob Mod.3 (CC#20)
BassSplits U054:Str-FastBowing 2 On Mod.SW2 (CC#81) F/A Release (CC#72) Knob Mod.4 (CC#21)
B111 Upper&Lower Org. Off U112:Bs-Walkin' On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Organ U179:Dr-Drum'n'Bass 4 On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B112 LayerEP&Pad/Knbs Off P2:ALTERNATE1 On Octave Down F/A Attack (CC#73) Volume (CC#07)
Keyboard U050:Gt-BalladPicking Off Mod.SW2 (CC#81) Expression (CC#11) Knob Mod.4 (CC#21)
B113 Handmade Jazz Off U131:Dr-AcidJazzFunk On Mod.SW1 (CC#80) Mod.SW2 (CC#81) Knob Mod.3 (CC#20)
BassSplits P0:UP Off Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B114 **Weightless** Off P0:UP On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
MotionSynth P0:UP Off Lock JS(+Y) Volume (CC#07) Knob Mod.4 (CC#21)
B115 Bass On Drums On U152:Dr-That'sILL Yo! On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Mod.SW1 (CC#80)
Ds/Hits U121:Dr-LoungeBeatBox On Lock JS(-Y) F/A Attack (CC#73) F/A Attack (CC#73)
B116 > Flimmer Line < On U105:Bs-House On Mod.SW1 (CC#80) Filter Resonance (CC#71) F/A Release (CC#72)
Pads U132:Dr-DegreeOfFunk On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B117 Love to Play Pad On U049:Gt-2Step GtrPick On Mod.SW1 (CC#80) Expression (CC#11) Knob Mod.3 (CC#20)
Complex & SE U136:Dr-HipHop 3 On Lock JS(-Y) Volume (CC#07) Knob Mod.4 (CC#21)
B118 ErraJ si Gnivil On U012:Syn-4toneVelTrip On Mod.SW1 (CC#80) Filter EG Int. (CC#79) Knob Mod.3 (CC#20)
MotionSynth U148:Dr-PopHop On Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
B119 Dem is Well Hard On U086:Bs/Rf-Hard House On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U164:Dr-House4onFloor On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B120 Quidam On U183:Dr-`Tude On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
World P3:ALTERNATE2 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B121 Dream Orchestra On P3:ALTERNATE2 On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Orchestral P2:ALTERNATE1 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B122 Poly Sixual Off P2:ALTERNATE1 On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Synth U036:Gt-Strumming 4 Off Lock JS(-Y) F/A Decay (CC#75) Knob Mod.4 (CC#21)
B123 Oboe Split Off P0:UP On Octave Down Mod.SW1 (CC#80) Knob Mod.3 (CC#20)
LeadSplits P0:UP Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B124 Vintage12 String Off U046:Gt-Picking On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Guitar/Plucked U046:Gt-Picking On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B125 ] Glass Shop [ On P4:RANDOM On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Bell/Mallet/Perc P4:RANDOM On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B126 "Dude,That's SICK" On U096:Bs-Techno 3 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Complex & SE P0:UP On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
B127 Gospel Church Off U120:Dr-BD/HH/SD 16th On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Volume (CC#07)
Organ P0:UP Off Mod.SW2 (CC#81) Expression (CC#11) Knob Mod.4 (CC#21)

10
Bank C
# Name Arp.SW A Pattern Run SW1 Knob 1-B Knob 3-B
Category B Pattern Run SW2 Knob 2-B Knob 4-B
C000 Wide L/R Piano Off P4:RANDOM On Octave Up Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Keyboard P4:RANDOM On Lock JS(+Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C001 Divisi Strings Off U053:Str-FastBowing 1 On Octave Up F/A Attack (CC#73) Knob Mod.3 (CC#20)
Strings U054:Str-FastBowing 2 On Lock JS(-Y) F/A Sustain (CC#70) Knob Mod.4 (CC#21)
C002 Retrogene On U121:Dr-LoungeBeatBox On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U013:Syn-5toneVelTrip On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C003 Strut Break Off U136:Dr-HipHop 3 On Mod.SW1 (CC#80) CC#16 Knob Mod.3 (CC#20)
BassSplits U111:Bs-Disco Slapper On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C004 Trick House On U165:Dr-Trip House On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Expression (CC#11)
BassSplits P0:UP Off Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C005 Spiral Design On U140:Dr-NuHop Grv 2 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U006:Syn-Repeat On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C006 ** 4:17 a.m. ** On U125:Dr-BigBeats 1 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U125:Dr-BigBeats 1 On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C007 Strumin' 2step On U171:Dr-2Step Garage2 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Expression (CC#11)
BassSplits U049:Gt-2Step GtrPick On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C008 World Atmosphere On U191:Dr-SmoothSamba 1 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
World U190:Dr-Percussion On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C009 Velo Orchestra Off U057:Str-Classical 3 On Octave Up F/A Attack (CC#73) Knob Mod.3 (CC#20)
Orchestral U058:Str-Tagadah On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C010 UltimateAnaPizz Off U078:Bs/Rf-PizzoDance On Octave Down Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Synth U164:Dr-House4onFloor On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C011 =Liquified= Off P2:ALTERNATE1 On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Pads P0:UP Off Lock JS(-Y) & Ribbon F/A Decay (CC#75) Knob Mod.4 (CC#21)
C012 Bella Proach On U010:Syn-ExpressTriad On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Bell/Mallet/Perc U050:Gt-BalladPicking On Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
C013 Big Bad Brass Off U186:Dr-Latin On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
BrassReed U120:Dr-BD/HH/SD 16th On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C014 Trash Aliens On U168:Dr-New Disco 2 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Complex & SE U163:Dr-House Me On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C015 Comp Organ/Knobs Off U084:Bs/Rf-Dance+Comp On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Volume (CC#07)
Organ U021:Syn-SteppingNote On Mod.SW2 (CC#81) Expression (CC#11) Knob Mod.4 (CC#21)
C016 Piano &Strings On U010:Syn-ExpressTriad On Octave Down Volume (CC#07) Knob Mod.3 (CC#20)
Keyboard U056:Str-Classical 2 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C017 >Smaller Ensbl.< Off U055:Str-Classical 1 On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Strings U095:Bs-Techno 2 Off Lock JS(-Y) F/A Release (CC#72) Knob Mod.4 (CC#21)
C018 Respirator On U027:Syn-Rest & Riff On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
MotionSynth U026:Syn-Riff & Rest On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C019 -> Solo @ Pad -> On P2:ALTERNATE1 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Filter Cutoff (CC#74)
LeadSplits U100:Bs-Echo On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C020 Paradise Cycle On U158:Dr-Trance4Floor On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U075:Bs/Rf-DreamTrans On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C021 - Groovy Jam - On U136:Dr-HipHop 3 On Lock JS(+Y) Volume (CC#07) Knob Mod.3 (CC#20)
BassSplits U039:Gt-Dotted16Strum On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C022 * `tude.com * On U183:Dr-`Tude On Mod.SW1 (CC#80) Filter Cutoff (CC#74) Knob Mod.3 (CC#20)
BassSplits U033:Gt-Strumming 1 On Mod.SW2 (CC#81) F/A Release (CC#72) Knob Mod.4 (CC#21)
C023 Elec Laboratory On U181:Dr-Jump Up DnB On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Expression (CC#11)
BassSplits P0:UP On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C024 Lonely Moon On P3:ALTERNATE2 On Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.3 (CC#20)
BassSplits P0:UP Off Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
C025 Film Tools Off U044:Gt-16 Strum Oct On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Orchestral U060:Str-Dynamic On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C026 Alpha Mega Synth On U004:Syn-Quarks On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Synth U099:Bs-Techno 6 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C027 Night Reeds Off P4:RANDOM On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
LeadSplits P2:ALTERNATE1 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C028 Classical Guitar Off P4:RANDOM On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Guitar/Plucked U050:Gt-BalladPicking On Lock JS(-Y) F/A Decay (CC#75) Knob Mod.4 (CC#21)
C029 Wooden Brass Off U017:Syn-Syncopation On Mod.SW1 (CC#80) CC#16 Knob Mod.3 (CC#20)
BrassReed U113:Bs-Root/Fifth On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C030 Psycho Orchestra On U058:Str-Tagadah On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Ds/Hits U025:Syn-Random Up On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C031 Orchestral Pipes Off U059:Str-Tagadah 1/2 On Octave Down Expression (CC#11) F/A Attack (CC#73)
Organ P0:UP Off Lock JS(-Y) Volume (CC#07) Knob Mod.4 (CC#21)

11
# Name Arp.SW A Pattern Run SW1 Knob 1-B Knob 3-B
Category B Pattern Run SW2 Knob 2-B Knob 4-B
C032 Romance Layers Off P2:ALTERNATE1 On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Keyboard U124:Dr-BeatBoy On Lock JS(+Y) F/A Sustain (CC#70) Knob Mod.4 (CC#21)
C033 WIDE StringPad Off U056:Str-Classical 2 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Strings U053:Str-FastBowing 1 On Octave Down Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C034 What GEOS Around On U018:Syn-TranceChord On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) MFX Send1 (CC#93)
MotionSynth U020:Syn-Steady! On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) MFX Send2 (CC#91)
C035 * Blood Cooker * Off U053:Str-FastBowing 1 On Mod.SW1 (CC#80) Expression (CC#11) Knob Mod.3 (CC#20)
BassSplits U160:Dr-Remix City 1 On Lock JS(-Y) Filter Resonance (CC#71) Knob Mod.4 (CC#21)
C036 Manic 3AM On U077:Bs/Rf-3am Trance On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U157:Dr-Straight 4oF On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C037 OffToHollywood.. On U164:Dr-House4onFloor On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
BassSplits U111:Bs-Disco Slapper On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C038 Smooth Split Off U137:Dr-HyperHop On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U189:Dr-FunkyPerc On Lock JS(-Y) F/A Decay (CC#75) Knob Mod.4 (CC#21)
C039 Garage'r'us! On U172:Dr-Garage'r'us On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
BassSplits U070:Bs/Rf-UKGarage 1 On Lock JS(-Y) Filter Resonance (CC#71) Knob Mod.4 (CC#21)
C040 World Winds On U193:Dr-Raga-matic On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
World U190:Dr-Percussion Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C041 Epic Orchestra On U057:Str-Classical 3 On Octave Up F/A Attack (CC#73) Knob Mod.3 (CC#20)
Orchestral U053:Str-FastBowing 1 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C042 BleepageForDays On P4:RANDOM On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Synth P0:UP Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C043 Symphonic Voices Off U148:Dr-PopHop On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Pads U193:Dr-Raga-matic On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C044 Emtim Bells Off P4:RANDOM On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Bell/Mallet/Perc P0:UP Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C045 The Power Trio Off U030:Org-HouseOrgan On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
BrassReed P0:UP Off Lock JS(-Y) F/A Decay (CC#75) Knob Mod.4 (CC#21)
C046 Sargasso Sea On P3:ALTERNATE2 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Complex & SE P4:RANDOM On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C047 BX-3 Click Organ Off U030:Org-HouseOrgan On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Organ P0:UP Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C048 Shiny DigiPiano Off U031:Pno-Arpeggio 1 On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Keyboard P4:RANDOM On Lock JS(-Y) & Ribbon F/A Decay (CC#75) Knob Mod.4 (CC#21)
C049 Strings/Brass Off U059:Str-Tagadah 1/2 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
LeadSplits P0:UP Off Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C050 isabellacoola On U019:Syn-Trickle On Mod.SW1 (CC#80) CC#16 Knob Mod.3 (CC#20)
MotionSynth P0:UP Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C051 Laid-Back-Split On U115:Dr-Straight On Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.3 (CC#20)
BassSplits U190:Dr-Percussion On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C052 >Mutant Hop<Knbs On U023:Syn-Vice Squad On Mod.SW1 (CC#80) Filter Cutoff (CC#74) Knob Mod.3 (CC#20)
Synth U135:Dr-HipHop 2 On Lock JS(-Y) Filter Resonance (CC#71) Knob Mod.4 (CC#21)
C053 Echo Jamm On U126:Dr-BigBeats 2 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U043:Gt-Stab Rhythm On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C054 <<Jenindaze>> On U133:Dr-Electro On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) F/A Attack (CC#73)
Synth U008:Syn-Gated 1 On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) F/A Release (CC#72)
C055 -BAD Luck- On P4:RANDOM On Mod.SW1 (CC#80) Filter Cutoff (CC#74) Knob Mod.3 (CC#20)
BassSplits U179:Dr-Drum'n'Bass 4 On Lock JS(-Y) F/A Release (CC#72) Knob Mod.4 (CC#21)
C056 Mellow Keys On P4:RANDOM On Octave Up Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Keyboard P4:RANDOM On Lock JS(-Y) Filter Cutoff (CC#74) Knob Mod.4 (CC#21)
C057 Orchestra Off U061:Str-AcroArpeggio On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Orchestral P0:UP Off Lock JS(-Y) F/A Decay (CC#75) Knob Mod.4 (CC#21)
C058 Hybrid BellPad Off U120:Dr-BD/HH/SD 16th On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Synth U097:Bs-Techno 4 On Lock JS(-Y) & Ribbon F/A Release (CC#72) Knob Mod.4 (CC#21)
C059 The BeeG Pad Off P4:RANDOM On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Pads P0:UP Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C060 Alchemy Layer On U046:Gt-Picking On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Guitar/Plucked U033:Gt-Strumming 1 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C061 Melon Flute Off U072:Bs/Rf-UKGarage 3 On Mod.SW1 (CC#80) Filter Cutoff (CC#74) Knob Mod.3 (CC#20)
BrassReed P0:UP Off Octave Up Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C062 Orch Perc & Hit Off U199:Dr-Orch.Perc. On Octave Up F/A Attack (CC#73) Knob Mod.3 (CC#20)
Orchestral P0:UP Off Lock JS(-Y) F/A Decay (CC#75) Knob Mod.4 (CC#21)
C063 Holy Pipes Off U053:Str-FastBowing 1 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Organ P0:UP Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)

12
# Name Arp.SW A Pattern Run SW1 Knob 1-B Knob 3-B
Category B Pattern Run SW2 Knob 2-B Knob 4-B
C064 Modern Piano Off U032:Pno-Arpeggio 2 On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Keyboard P2:ALTERNATE1 On Lock JS(-Y) & Ribbon F/A Decay (CC#75) Knob Mod.4 (CC#21)
C065 Strings Of Silk Off U056:Str-Classical 2 On Octave Down Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Strings U053:Str-FastBowing 1 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C066 FourStar*Choice On P4:RANDOM On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
MotionSynth P4:RANDOM On Lock JS(-Y) Filter Cutoff (CC#74) Knob Mod.4 (CC#21)
C067 * Time Crisis * On P4:RANDOM On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U088:Bs-Groove Analog On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C068 Invisible Sun On P4:RANDOM On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
BassSplits U135:Dr-HipHop 2 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C069 YoureShaftedMate On U022:Syn-StaccatoTech On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U164:Dr-House4onFloor On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C070 D'nB 'n'AllMySon On U176:Dr-Drum'n'Bass 1 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Complex & SE U064:Bs/Rf-D'n'B On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C071 ClubbinGarage On U075:Bs/Rf-DreamTrans On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U169:Dr-Std.Garage On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C072 CaribicSituation On U015:Syn-6toneOstinat On Mod.SW1 (CC#80) Expression (CC#11) Knob Mod.3 (CC#20)
World U190:Dr-Percussion On Lock JS(-Y) Pan (CC#10) Knob Mod.4 (CC#21)
C073 Small Orchestra Off U002:Syn-Route+UpDown On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Orchestral U000:Syn-StepSawDown On Lock JS(X) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C074 Cosmic Sweeper Off U051:Gt-CountryPickng On Mod.SW1 (CC#80) F/A Attack (CC#73) F/A Sustain (CC#70)
Synth U188:Dr-Tablature On Lock JS(-Y) F/A Decay (CC#75) Knob Mod.4 (CC#21)
C075 > Nice'n Thin < On U007:Syn-8th Chunk On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Pads U050:Gt-BalladPicking On Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
C076 Bellish Pad Off U120:Dr-BD/HH/SD 16th On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Bell/Mallet/Perc U097:Bs-Techno 4 Off Lock JS(-Y) F/A Release (CC#72) Knob Mod.4 (CC#21)
C077 Dirty Drawbars Off U163:Dr-House Me On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Organ U021:Syn-SteppingNote On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C078 Trance Split On P2:ALTERNATE1 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Ds/Hits U090:Bs-Dance 1 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C079 Old Vox Organ Off U181:Dr-Jump Up DnB On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Organ P0:UP Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C080 Big Bottom Clav Off U101:Bs-Euro On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Keyboard P0:UP Off Lock JS(-Y) & Ribbon Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C081 SyrupySynthStrs Off U000:Syn-StepSawDown On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Strings U010:Syn-ExpressTriad On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C082 || TRANSIT || Off U010:Syn-ExpressTriad On Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.3 (CC#20)
MotionSynth P2:ALTERNATE1 On Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
C083 Tranzation/Knobs On U020:Syn-Steady! On Mod.SW1 (CC#80) Filter Cutoff (CC#74) Expression (CC#11)
BassSplits U135:Dr-HipHop 2 On Lock JS(-Y) Filter Resonance (CC#71) Knob Mod.4 (CC#21)
C084 Trancendental On U080:Bs/Rf-Trance 1 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U164:Dr-House4onFloor On Lock JS(-Y) Pan (CC#10) Knob Mod.4 (CC#21)
C085 Chill Ending On U134:Dr-HipHop 1 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U106:Bs-Hip Hop On Lock JS(-Y) Knob Mod.2 (CC#19) Portamento Time (CC#05)
C086 Old Tubes! On U133:Dr-Electro On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Organ U191:Dr-SmoothSamba 1 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C087 Funky Moves On U169:Dr-Std.Garage On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Complex & SE U069:Bs/Rf-FunkyMoves On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C088 Shogun Off U061:Str-AcroArpeggio On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
World U024:Syn-Random Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C089 Serenade On U057:Str-Classical 3 On Octave Up F/A Attack (CC#73) Knob Mod.3 (CC#20)
Orchestral U000:Syn-StepSawDown On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C090 Syzzle Synth Off P4:RANDOM On Portamento SW (CC#65) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Synth P0:UP Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C091 Solo+Arp &IcePad On U020:Syn-Steady! On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
LeadSplits U008:Syn-Gated 1 On Lock JS(-Y) Pan (CC#10) Knob Mod.4 (CC#21)
C092 Acoustics & Str Off U047:Gt-1 Strum On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Guitar/Plucked U051:Gt-CountryPickng On Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
C093 Elemental On P4:RANDOM On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Bell/Mallet/Perc P0:UP Off Octave Up Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C094 Arp Factory 2 On U000:Syn-StepSawDown On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) MFX Send1 (CC#93)
MotionSynth U016:Syn-Robot Comp On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) MFX Send2 (CC#91)
C095 Pipes&Choir SW Off U061:Str-AcroArpeggio On Mod.SW1 (CC#80) Mod.SW1 (CC#80) F/A Attack (CC#73)
Organ P0:UP Off Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)

13
# Name Arp.SW A Pattern Run SW1 Knob 1-B Knob 3-B
Category B Pattern Run SW2 Knob 2-B Knob 4-B
C096 Digi SynPiano Off U134:Dr-HipHop 1 On Octave Up F/A Attack (CC#73) Knob Mod.3 (CC#20)
Keyboard U075:Bs/Rf-DreamTrans On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C097 {Octave-Strings} Off P0:UP On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Strings U031:Pno-Arpeggio 1 Off Lock JS(-Y) F/A Release (CC#72) Knob Mod.4 (CC#21)
C098 <<SYNERGY>> Off U021:Syn-SteppingNote On Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.3 (CC#20)
MotionSynth P0:UP Off Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
C099 StreetCatScratch On U138:Dr-HipperHop On Portamento SW (CC#65) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
LeadSplits U192:Dr-SmoothSamba 2 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C100 Zero Sleep On U078:Bs/Rf-PizzoDance On Octave Up Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U157:Dr-Straight 4oF On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C101 Rhythm Of Asia On U193:Dr-Raga-matic On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
World U056:Str-Classical 2 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C102 Stutter Pad On U082:Bs/Rf-Trance 3 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
MotionSynth U175:Dr-NuStep Garage On Lock JS(-Y) Filter Resonance (CC#71) Knob Mod.4 (CC#21)
C103 FilterREZ JAM!! On U186:Dr-Latin On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
BassSplits U137:Dr-HyperHop On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C104 Delhi/gate On U043:Gt-Stab Rhythm On Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.3 (CC#20)
Synth U197:Dr-EthnicDancePr On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C105 Piano Concerto Off U061:Str-AcroArpeggio On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20)
Orchestral U113:Bs-Root/Fifth On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C106 =Sync to Drum 2= On U003:Syn-CrescDecresc On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Synth U081:Bs/Rf-Trance 2 On Lock JS(-Y) Filter Resonance (CC#71) Knob Mod.4 (CC#21)
C107 The Night Sky On U008:Syn-Gated 1 On Mod.SW1 (CC#80) Portamento Time (CC#05) Knob Mod.3 (CC#20)
Pads P0:UP Off Portamento SW (CC#65) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C108 Stereo Mallets Off U013:Syn-5toneVelTrip On Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.3 (CC#20)
Bell/Mallet/Perc U000:Syn-StepSawDown On Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
C109 Sax Banquet On U175:Dr-NuStep Garage On Octave Up F/A Attack (CC#73) Knob Mod.3 (CC#20)
BrassReed U192:Dr-SmoothSamba 2 On Lock JS(-Y) F/A Decay (CC#75) Knob Mod.4 (CC#21)
C110 AimForTheMonster On P4:RANDOM On Mod.SW1 (CC#80) Filter Cutoff (CC#74) Knob Mod.3 (CC#20)
Complex & SE U100:Bs-Echo On Lock JS(+Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C111 Velo*Perc*Organ Off U128:Dr-Cyber Breaks On Mod.SW1 (CC#80) Filter EG Int. (CC#79) Knob Mod.3 (CC#20)
Organ U191:Dr-SmoothSamba 1 On Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
C112 Dark Bell EP Off P0:UP On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
Keyboard P0:UP Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C113 Gig Split Off U135:Dr-HipHop 2 On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
BassSplits P0:UP Off Lock JS(-Y) & Ribbon Expression (CC#11) Knob Mod.4 (CC#21)
C114 Millennium Pad On P4:RANDOM On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
MotionSynth P4:RANDOM On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C115 Chewing Gun On U156:Dr-BuildUp4Floor On Portamento SW (CC#65) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Synth U095:Bs-Techno 2 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C116 OrganVel->Brass On U168:Dr-New Disco 2 On Octave Up F/A Attack (CC#73) Knob Mod.3 (CC#20)
Organ U108:Bs-Funk On Lock JS(-Y) & Ribbon Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C117 < Wah-Solo-Jam > On U141:Dr-Spare Me On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
LeadSplits U109:Bs-Soul On Lock JS(X) Filter Resonance (CC#71) Knob Mod.4 (CC#21)
C118 Acid Clav On U008:Syn-Gated 1 On Mod.SW1 (CC#80) F/A Decay (CC#75) Knob Mod.3 (CC#20)
Keyboard U130:Dr-Acid Drum On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C119 Kleen Guitah On U125:Dr-BigBeats 1 On Mod.SW1 (CC#80) CC#02 Expression (CC#11)
Guitar/Plucked U044:Gt-16 Strum Oct On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C120 Home Suite Home On U010:Syn-ExpressTriad On Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.3 (CC#20)
LeadSplits U048:Gt-Down Strum On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C121 Bows&KnobHarpsi Off U010:Syn-ExpressTriad On Octave Down Expression (CC#11) Knob Mod.3 (CC#20)
Orchestral U061:Str-AcroArpeggio On Lock JS(-Y) Volume (CC#07) Knob Mod.4 (CC#21)
C122 Noisy Funk Synth Off U074:Bs/Rf-Bossa On Mod.SW1 (CC#80) F/A Attack (CC#73) F/A Sustain (CC#70)
Synth U158:Dr-Trance4Floor On Lock JS(-Y) F/A Decay (CC#75) Knob Mod.4 (CC#21)
C123 *Dance with me!* On U077:Bs/Rf-3am Trance On Mod.SW1 (CC#80) Filter EG Int. (CC#79) Knob Mod.3 (CC#20)
MotionSynth U121:Dr-LoungeBeatBox On Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21)
C124 Wavetable Guitar On U122:Dr-16BeatShuffle On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Guitar/Plucked U010:Syn-ExpressTriad On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C125 Fat Horn Section On U060:Str-Dynamic Off Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20)
BrassReed U186:Dr-Latin On Lock JS(-Y) F/A Decay (CC#75) Knob Mod.4 (CC#21)
C126 Analog Baff -Y Off U092:Bs-Dance 3 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Ds/Hits P0:UP Off Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)
C127 Init.Combination Off P0:UP Off Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20)
Rhythmic Pattern P0:UP Off Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21)

14
Programs (Preload)
Bank A
Arpeggiator Arpeggiator
# Name Category # Name Category
SW Arpeggio Pattern SW Arpeggio Pattern
A000 d Big Sweep Stab FastSynth Off U076:Bs/Rf-EpicTrance A064 d Polysix Pad FastSynth Off P4:RANDOM
A001 s Acoustic Piano Keyboard Off U031:Pno-Arpeggio 1 A065 s M1 Piano Keyboard Off U030:Org-HouseOrgan
A002 s Auto Pilot Hit/Arpg On U020:Syn-Steady! A066 d Flip Blip Hit/Arpg On P0:UP
A003 d Legato Strings Strings Off P2:ALTERNATE1 A067 d AnalogStrings1&2 Strings Off P3:ALTERNATE2
A004 d Trance/GarageKit Drums Off U164:Dr-House4onFloor A068 d Mega Drum Hit Drums Off U177: Dr-Drum'n'Bass 2
A005 d Bass 4 Da Phunk Bass/Synth Bass Off U109:Bs-Soul A069 d M1 Organ Bass Bass/Synth Bass Off U092:Bs-Dance 3
A006 d Brass Of Power Brass Off U061:Str-AcroArpeggio A070 d Velo Resonant FastSynth Off U013:Syn-5toneVelTrip
A007 d Jazz Organ 1 Organ Off U045:Gt-Bossa A071 d Additive Organ Organ Off P2:ALTERNATE1
A008 d VS Bell Boy Bell/Mallet Off P1:DOWN A072 d Digital Bells 1 Bell/Mallet Off P4:RANDOM
A009 d Korgmatose SlowSynth Off P2:ALTERNATE1 A073 d ClassicAnaPad SlowSynth Off P3:ALTERNATE2
A010 d 2VCO Planet Lead LeadSynth Off P2:ALTERNATE1 A074 d Detune Leader LeadSynth Off U098:Bs-Techno 5
A011 d Drive Bass Bass/Synth Bass Off U066:Bs/Rf-NuHopChrd2 A075 d House Bass Bass/Synth Bass Off U105:Bs-House
A012 d Acoustic Guitar Guitar/Plucked Off U035:Gt-Strumming 3 A076 d Power-Chords&FX Guitar/Plucked Off U024:Syn-Random
A013 s VCF Modulation MotionSynth Off P0:UP A077 d BPF Sweep Pad MotionSynth Off U061:Str-AcroArpeggio
A014 d Reed Of Power Woodwind/Reed Off U059:Str-Tagadah 1/2 A078 d Classic Tines Keyboard Off U032:Pno-Arpeggio 2
A015 d Xpanded Voice SE Off P4:RANDOM A079 d Big Break Down SE Off U028:Syn-Penta-Fall
A016 d Rezbo FastSynth Off U094:Bs-Techno 1 A080 d Paddy Whack FastSynth Off P4:RANDOM
A017 s Tremolo Wurly Keyboard Off U045:Gt-Bossa A081 s SynPiano X Keyboard Off U046:Gt-Picking
A018 d NetherlandHit Hit/Arpg Off U108:Bs-Funk A082 d Chipper Dayglow Hit/Arpg Off U092:Bs-Dance 3
A019 d WatcherOfTheSky Strings Off U053:Str-FastBowing 1 A083 d Acid Square Bass Bass/Synth Bass Off U094:Bs-Techno 1
A020 d Standard Kit 1 Drums Off U177:Dr-Drum'n'Bass 2 A084 d Filter Drums Drums On U181:Dr-Jump Up DnB
A021 d Nice&Expensive Vocal/Airy Off U082:Bs/Rf-Trance 3 A085 d Talkin' Keys Vocal/Airy Off U004:Syn-Quarks
A022 s Trumpet Brass Off U056:Str-Classical 2 A086 d Fat Brass Brass Off U022:Syn-StaccatoTech
A023 d BX3 Velo Switch Organ Off U030:Org-HouseOrgan A087 d Velo Pulse Clav FastSynth Off P0:UP
A024 d Vibraphone Bell/Mallet Off P0:UP A088 s Ensemble Bell Bell/Mallet Off U021:Syn-SteppingNote
A025 d Overture Pad SlowSynth Off P2:ALTERNATE1 A089 d ASineOfTheTimes SlowSynth Off U055:Str-Classical 1
A026 d Phat Saw Lead LeadSynth Off P0:UP A090 s JuicyBleep-age LeadSynth Off U094:Bs-Techno 1
A027 d Club Ac Bass Bass/Synth Bass Off U102:Bs-Drum'n'Bass A091 s DarkCore Bass Bass/Synth Bass Off U042:Gt-Soul Strum
A028 d Wet Dist. Guitar Guitar/Plucked Off U061:Str-AcroArpeggio A092 d Harp Guitar/Plucked Off P2:ALTERNATE1
A029 d Tinklin' Pad MotionSynth Off U019:Syn-Trickle A093 d Swirling Dreams MotionSynth Off P0:UP
A030 s Flute Woodwind/Reed Off P2:ALTERNATE1 A094 s DoubleReed Woodwind/Reed Off P2:ALTERNATE1
A031 d JoyStick Machine SE Off P0:UP A095 d Monster Island SE Off P0:UP
A032 d Perky Bleeper FastSynth Off U076:Bs/Rf-EpicTrance A096 s Reso Comp FastSynth Off U067:Bs/Rf-2Step
A033 d Studio Stage EP Keyboard Off P4:RANDOM A097 d Dyno Tine EP Keyboard Off P4:RANDOM
A034 d Chord Trigger Hit/Arpg On U036:Gt-Strumming 4 A098 d Progressv Trance Hit/Arpg On U020:Syn-Steady!
A035 d Camera Strings Strings Off P2:ALTERNATE1 A099 d PizzAnsamble Strings Off U021:Syn-SteppingNote
A036 s WellAardHouse LeadSynth Off P2:ALTERNATE1 A100 d ! {Tricky} Kit ! Drums Off U120:Dr-BD/HH/SD 16th
A037 d Choir of Light Vocal/Airy Off P2:ALTERNATE1 A101 d Deep Detune Bass Bass/Synth Bass Off P2:ALTERNATE1
A038 d 5th Stab FastSynth Off P2:ALTERNATE1 A102 d Cosmic Furnace FastSynth Off P0:UP
A039 d Distortion Organ Organ Off P4:RANDOM A103 d Pipe Mixture Organ Off P2:ALTERNATE1
A040 d Monkey Skulls Bell/Mallet Off U017:Syn-Syncopation A104 d Krystal Bells Bell/Mallet Off P3:ALTERNATE2
A041 d Breakdown String SlowSynth Off P1:DOWN A105 d Strings Synth SlowSynth Off P0:UP
A042 d Smooth Sine Lead LeadSynth Off U100:Bs-Echo A106 d Detox Lead LeadSynth Off U000:Syn-StepSawDown
A043 d SuperSwitch Bass Bass/Synth Bass Off U073:Bs/Rf-Acid Jazz A107 d Wah Space Bass Bass/Synth Bass Off U110:Bs-Phunky Wah
A044 d Chorus E.Guitar Guitar/Plucked Off U052:Gt-PrincessaA.G. A108 d Da Mute...Joy -Y Guitar/Plucked Off U011:Syn-Speed Seq.
A045 d Crimson 5ths MotionSynth Off P4:RANDOM A109 d Sinistar*Android MotionSynth Off P4:RANDOM
A046 d TenorSax Growl-Y Woodwind/Reed Off U017:Syn-Syncopation A110 d Piano Pad Keyboard Off U042:Gt-Soul Strum
A047 d Orbiting Probes SE Off P4:RANDOM A111 d Loop-Iteria SE Off P4:RANDOM
A048 d Noisy Stabber FastSynth On U014:Syn-6tone Techno A112 d Super Saw Brass FastSynth Off U059:Str-Tagadah 1/2
A049 d Funky Clav Keyboard Off U016:Syn-Robot Comp A113 d Romance Piano Keyboard Off P2:ALTERNATE1
A050 d BlastFromDaPast Hit/Arpg Off U113:Bs-Root/Fifth A114 d Techno Organ Hit Hit/Arpg Off U022:Syn-StaccatoTech
A051 s D'n'B/GarageBass Bass/Synth Bass Off U097:Bs-Techno 4 A115 d Boost RnB Bass Bass/Synth Bass Off U106:Bs-Hip Hop
A052 d Psycho Kit Drums Off U130:Dr-Acid Drum A116 d BD&SD Kit 1 Drums Off P1:DOWN
A053 d Digital Voice Vocal/Airy Off P1:DOWN A117 d The AirVox Vocal/Airy Off U002:Syn-Route+UpDown
A054 d Horns & Ensemble Brass Off U086:Bs/Rf-Hard House A118 d Trombone Ens. Brass Off U031:Pno-Arpeggio 1
A055 d Transweep FastSynth Off U075:Bs/Rf-DreamTrans A119 d PowerRezSweep FastSynth Off P4:RANDOM
A056 d Sitar Sitar Guitar/Plucked Off U006:Syn-Repeat A120 s Thin Bell-s-park Bell/Mallet Off U019:Syn-Trickle
A057 d Portamento Pad SlowSynth Off P1:DOWN A121 d Cross Sweeper SlowSynth Off P4:RANDOM
A058 d Ripper LeadSynth Off U093:Bs-TeaBea A122 d Nu HPF Lead LeadSynth Off U091:Bs-Dance 2
A059 d Low Finger Bass Bass/Synth Bass Off U105:Bs-House A123 d Motion Bass/Lead Bass/Synth Bass Off U076:Bs/Rf-EpicTrance
A060 d Processed E.Gtr. Guitar/Plucked Off U051:Gt-CountryPickng A124 s Jazz Guitar Guitar/Plucked Off U052:Gt-PrincessaA.G.
A061 d Transformation MotionSynth Off P1:DOWN A125 d Space Pod for 2 MotionSynth Off P1:DOWN
A062 d Fisa Americana Woodwind/Reed Off U004:Syn-Quarks A126 s Harmonica Woodwind/Reed Off U058:Str-Tagadah
A063 d Soundscapes SE Off P2:ALTERNATE1 A127 d Steam Sweeps SE Off P2:ALTERNATE1

s: single program, d: double program, d : drums program s: single program, d: double program, d : drums program 15
Bank B
Arpeggiator Arpeggiator
# Name Category # Name Category
SW Arpeggio Pattern SW Arpeggio Pattern
B000 d EuphoricTrancer FastSynth On U080:Bs/Rf-Trance 1 B064 d InverseSQwave FastSynth On U015:Syn-6toneOstinat
B001 d Attack Piano Keyboard Off P2:ALTERNATE1 B065 d Warm E.Grand Keyboard Off U031:Pno-Arpeggio 1
B002 d Noise Shot Hit/Arpg On U099:Bs-Techno 6 B066 d Scattersynth MotionSynth Off P2:ALTERNATE1
B003 d Arco Strings Strings Off U061:Str-AcroArpeggio B067 d HybridStrg/Choir Strings Off U046:Gt-Picking
B004 d HipHop Kit Drums Off U134:Dr-HipHop 1 B068 d Dragon Gong Drums Off U014:Syn-6tone Techno
B005 d Ana Bass 2 Bass/Synth Bass Off U092:Bs-Dance 3 B069 d Tekno Organ*Bass Bass/Synth Bass Off U067:Bs/Rf-2Step
B006 d SFZ Brass ST Brass Off U032:Pno-Arpeggio 2 B070 d 5th Sweeper FastSynth On P2:ALTERNATE1
B007 d Full Drawbars Organ Off U096:Bs-Techno 3 B071 d Dark Jazz-Organ Organ Off U108:Bs-Funk
B008 d Moving Bellz Bell/Mallet Off P4:RANDOM B072 d Hybrid Bell Bell/Mallet Off P4:RANDOM
B009 d Rez. Down SlowSynth Off P1:DOWN B073 d Digi Ice Pad SlowSynth Off P2:ALTERNATE1
B010 d HipHop Lead LeadSynth Off U090:Bs-Dance 1 B074 d Digitized Raver LeadSynth Off U092:Bs-Dance 3
B011 s DistortedTeaBea Bass/Synth Bass Off U101:Bs-Euro B075 d Feedback MG Bass Bass/Synth Bass Off U106:Bs-Hip Hop
B012 d Nylon Guitar Guitar/Plucked Off U046:Gt-Picking B076 d Joystick Gtr(-Y) Guitar/Plucked Off P0:UP
B013 d Gating Voice Pad MotionSynth Off P0:UP B077 d OXYGEN MotionSynth Off U021:Syn-SteppingNote
B014 d SopranoSax Br.-Y Woodwind/Reed Off P2:ALTERNATE1 B078 d Night Tines EP Keyboard Off P4:RANDOM
B015 d <Techno Vox Box> SE Off U030:Org-HouseOrgan B079 d Sonic Blast SE Off P4:RANDOM
B016 d Rez. Sweep FastSynth Off P0:UP B080 d Future Syn Pad FastSynth Off P4:RANDOM
B017 d Velo Whirly Keyboard Off U031:Pno-Arpeggio 1 B081 d White Pad EP Keyboard Off P2:ALTERNATE1
B018 d Percussive Hits Hit/Arpg Off U014:Syn-6tone Techno B082 d Jungle Melody Hit/Arpg Off U105:Bs-House
B019 d The Pad SlowSynth Off P4:RANDOM B083 d Ana Bass 1 Bass/Synth Bass Off U098:Bs-Techno 5
B020 d Standard Kit 2 Drums Off U122:Dr-16BeatShuffle B084 d Drum'n'Bass Kit Drums Off U181:Dr-Jump Up DnB
B021 d Oooh Voices ST Vocal/Airy Off P2:ALTERNATE1 B085 d Take Voices Vocal/Airy Off U062:Str-Str.Melody
B022 s Trombone Hard Brass Off U061:Str-AcroArpeggio B086 d Tight Brass Brass Off U006:Syn-Repeat
B023 d Classic Click Organ Off U084:Bs/Rf-Dance+Comp B087 d Turn Back Stab FastSynth Off U006:Syn-Repeat
B024 d Bali Gamelon Bell/Mallet Off U090:Bs-Dance 1 B088 d Tropico Bells Bell/Mallet Off P4:RANDOM
B025 d Reactor Pad SlowSynth Off P0:UP B089 d Simple Sine Pad SlowSynth Off P2:ALTERNATE1
B026 d BrightPulseLead LeadSynth Off U011:Syn-Speed Seq. B090 d Seq DDL Lead LeadSynth Off U098:Bs-Techno 5
B027 d Acoustic Bass Bass/Synth Bass Off U112:Bs-Walkin' B091 s 2 Step Bass Bass/Synth Bass Off U102:Bs-Drum'n'Bass
B028 d Mute Monster Guitar/Plucked Off U038:Gt-16 ChordStrum B092 s Koto Guitar/Plucked Off P0:UP
B029 d Pods In The Pad MotionSynth Off P4:RANDOM B093 d Astral Dreams MotionSynth Off P4:RANDOM
B030 d Old Shakuhachi Woodwind/Reed Off P2:ALTERNATE1 B094 s English Horn Woodwind/Reed Off U074:Bs/Rf-Bossa
B031 d VenusianStories SE Off P4:RANDOM B095 d Dark Night SE Off U000:Syn-StepSawDown
B032 d Analog Piano FastSynth Off U076:Bs/Rf-EpicTrance B096 d Metalic Rez FastSynth Off U006:Syn-Repeat
B033 d Stereo E.Piano Keyboard Off P4:RANDOM B097 d Pro-Dyno EP Keyboard Off P4:RANDOM
B034 d VCF Sample&Hold Hit/Arpg On P0:UP B098 d Goa Message Hit/Arpg On P1:DOWN
B035 d Few Bows Here Strings Off P2:ALTERNATE1 B099 d Octave Strings Strings Off U020:Syn-Steady!
B036 d X-Mod Raver LeadSynth Off U000:Syn-StepSawDown B100 d Orchestra&Ethnic Drums Off U198: Dr-Delhicatessen
B037 d Slow Choir ST Vocal/Airy Off U045:Gt-Bossa B101 d The Tea-Bea Bass/Synth Bass Off U098:Bs-Techno 5
B038 d Garage PWM FastSynth Off U072:Bs/Rf-UKGarage 3 B102 d Synth Sweeper FastSynth Off P2:ALTERNATE1
B039 d Perc Short Decay Organ Off U002:Syn-Route+UpDown B103 d Church Pipes Organ Off U003:Syn-CrescDecresc
B040 d Log Drum Bell/Mallet Off U050:Gt-BalladPicking B104 d Tinkle Bells Bell/Mallet Off P3:ALTERNATE2
B041 d Symphonic Ensemb SlowSynth Off U055:Str-Classical 1 B105 d Noble Brite Pad SlowSynth Off P4:RANDOM
B042 d Espress Lead LeadSynth Off U011:Syn-Speed Seq. B106 d Old & Analog LeadSynth Off P0:UP
B043 s Slap Bass v/s Bass/Synth Bass Off U073:Bs/Rf-Acid Jazz B107 d Nu Skool Bass Bass/Synth Bass Off U067:Bs/Rf-2Step
B044 d Strato-Chime Guitar/Plucked Off U050:Gt-BalladPicking B108 d Funkin' Guitar Guitar/Plucked Off U073:Bs/Rf-Acid Jazz
B045 d Aqua Phonics MotionSynth On U074:Bs/Rf-Bossa B109 d Spectrum Alloy MotionSynth Off U021:Syn-SteppingNote
B046 d AltoSax2Breath-Y Woodwind/Reed Off U045:Gt-Bossa B110 d HarpsyKorg 8'+4' Keyboard Off U020:Syn-Steady!
B047 d The Great Wall SE Off P4:RANDOM B111 d Goa Lover SE On P2:ALTERNATE1
B048 d Mega Big Synth FastSynth Off P2:ALTERNATE1 B112 d SynthBrass FastSynth Off U059:Str-Tagadah 1/2
B049 s Clav Keyboard Off U013:Syn-5toneVelTrip B113 d Phantom Of Tine Keyboard Off P4:RANDOM
B050 d StaccatoPizzHit Hit/Arpg Off U092:Bs-Dance 3 B114 d Rave Synth Hit/Arpg Off U019:Syn-Trickle
B051 s Drum'n'Bass Bass Bass/Synth Bass Off U063:Bs/Rf-Jungle B115 d Dark R&B Bass Bass/Synth Bass Off U107:Bs-Hop/Funk
B052 d Psycho Pitch Kit Drums Off U118: Dr-16 Beat B116 d BD&SD Kit 2 Drums Off U173: Dr-FunkUpGarage
B053 d Fresh Breath Vocal/Airy Off P2:ALTERNATE1 B117 d Vocalesque Vocal/Airy Off U016:Syn-Robot Comp
B054 d Classic Fanfare Brass Off U061:Str-AcroArpeggio B118 d Glen & The Boys Brass Off U061:Str-AcroArpeggio
B055 d Blasta Brasster FastSynth Off U076:Bs/Rf-EpicTrance B119 d Dual Filterz FastSynth On U003:Syn-CrescDecresc
B056 d Indian Stars Guitar/Plucked Off U164:Dr-House4onFloor B120 d Future Bell Bell/Mallet Off U074:Bs/Rf-Bossa
B057 d Clouds of Air SlowSynth Off U032:Pno-Arpeggio 2 B121 d Ultra Res. Sweep SlowSynth Off U011:Syn-Speed Seq.
B058 s Nu Skool Bleeps LeadSynth Off U079:Bs/Rf-Goa Trance B122 d Glide Lead LeadSynth Off P4:RANDOM
B059 d Stein Bass Bass/Synth Bass Off U111:Bs-Disco Slapper B123 d Nasty Bass Bass/Synth Bass Off U097:Bs-Techno 4
B060 d SingleCoil+Piezo Guitar/Plucked Off U049:Gt-2Step GtrPick B124 s Vintage Stratt Guitar/Plucked Off U035:Gt-Strumming 3
B061 d Cyclic X-Fades MotionSynth On U003:Syn-CrescDecresc B125 d Symphonic Waves MotionSynth Off P4:RANDOM
B062 s Musette Woodwind/Reed Off U074:Bs/Rf-Bossa B126 d Spitz Bottle Woodwind/Reed Off U019:Syn-Trickle
B063 d MotionSoundTrack SE Off P4:RANDOM B127 d DJ Touch SE Off U108:Bs-Funk

16 s: single program, d: double program, d : drums program s: single program, d: double program, d : drums program
Bank C
Arpeggiator Arpeggiator
# Name Category # Name Category
SW Arpeggio Pattern SW Arpeggio Pattern
C000 d Comp Trance Stab FastSynth Off U079:Bs/Rf-Goa Trance C064 d Square Snaps FastSynth On U030:Org-HouseOrgan
C001 s Classic Piano Keyboard Off U074:Bs/Rf-Bossa C065 d 90's Piano Keyboard Off U030:Org-HouseOrgan
C002 d Arp Twins Hit/Arpg On U013:Syn-5toneVelTrip C066 d Bounce Shot MotionSynth Off P0:UP
C003 d Stereo Strings Strings Off U002:Syn-Route+UpDown C067 d Analog Velvet Strings Off P4:RANDOM
C004 d House Kit Drums Off U162: Dr-Remix City 3 C068 d Marc Tree Drums Off U006:Syn-Repeat
C005 d Bazooka Bass Bass/Synth Bass Off U077:Bs/Rf-3am Trance C069 d Hard Velo Bass Bass/Synth Bass Off U013:Syn-5toneVelTrip
C006 d Burnin' Brass Brass Off U061:Str-AcroArpeggio C070 d Cyber Choir FastSynth On U016:Syn-Robot Comp
C007 d Gospel PercOrgan Organ Off U023:Syn-Vice Squad C071 d Sine DWGS-Organ Organ Off U021:Syn-SteppingNote
C008 d Magical Bells Bell/Mallet Off P0:UP C072 s Digital Bells 2 Bell/Mallet Off P4:RANDOM
C009 d Antartic Wind SlowSynth Off U021:Syn-SteppingNote C073 d Harmonic Pad SlowSynth On P4:RANDOM
C010 d Trancer Lead LeadSynth Off U022:Syn-StaccatoTech C074 d Syn Pipes LeadSynth Off U091:Bs-Dance 2
C011 s The Growler Bass/Synth Bass Off U087:Bs-Stagger C075 d Digi Syn Bass Bass/Synth Bass Off U084:Bs/Rf-Dance+Comp
C012 d FingertipsGuitar Guitar/Plucked Off U035:Gt-Strumming 3 C076 s Vox Wah Chicks Guitar/Plucked Off P4:RANDOM
C013 d Flashlight Pad MotionSynth Off P2:ALTERNATE1 C077 d Dolphin Ride MotionSynth Off U074:Bs/Rf-Bossa
C014 d Sax Ensemble Woodwind/Reed Off U000:Syn-StepSawDown C078 d Hybrid Digi EP Keyboard Off U045:Gt-Bossa
C015 d Gliding Squares FastSynth Off P0:UP C079 d Video Blaster SE Off P0:UP
C016 d Square Rez FastSynth Off U084:Bs/Rf-Dance+Comp C080 d Pop Synth Pad FastSynth Off P0:UP
C017 d Classic Wurly Keyboard Off U016:Syn-Robot Comp C081 d Reson Piano Keyboard Off U014:Syn-6tone Techno
C018 d Organ Impact Hit/Arpg Off U101:Bs-Euro C082 d Big Hit in India Hit/Arpg Off U021:Syn-SteppingNote
C019 d Euro 8va Bass Bass/Synth Bass Off U101:Bs-Euro C083 d Jungle Rez Bass Bass/Synth Bass Off U107:Bs-Hop/Funk
C020 d Jazz/Brush Kits Drums Off U186: Dr-Latin C084 d D'n'B Gate Kit Drums Off U128:Dr-Cyber Breaks
C021 d Aaah Voices ST Vocal/Airy Off U006:Syn-Repeat C085 d Vocalscaping Vocal/Airy Off P4:RANDOM
C022 s Muted Trumpet Brass Off P2:ALTERNATE1 C086 d Brass Expression Brass Off U036:Gt-Strumming 4
C023 d Percussion BX3 Organ Off U111:Bs-Disco Slapper C087 d Thunderlog FastSynth Off U085:Bs/Rf-KalimbaGrv
C024 s Marimba Bell/Mallet Off P1:DOWN C088 d Bottle-Bell Bell/Mallet Off P4:RANDOM
C025 d Tsunami Waves SlowSynth Off U062:Str-Str.Melody C089 d Smoothy Pad SlowSynth Off U074:Bs/Rf-Bossa
C026 d Square Wave Lead LeadSynth Off U090:Bs-Dance 1 C090 d Syncro City LeadSynth Off U023:Syn-Vice Squad
C027 s Fretless Bass Bass/Synth Bass Off U108:Bs-Funk C091 d Ramp Jungle Bass Bass/Synth Bass Off U032:Pno-Arpeggio 2
C028 d Amp D. Guitar Guitar/Plucked Off P0:UP C092 d Old 12-String Guitar/Plucked Off U046:Gt-Picking
C029 d OutOfTheClouds MotionSynth Off P0:UP C093 d Flying Machines MotionSynth Off P0:UP
C030 d BambuSilverFlute Woodwind/Reed Off U000:Syn-StepSawDown C094 s Bassoon Woodwind/Reed Off P0:UP
C031 d Distant Lights SE Off P4:RANDOM C095 d Compu-shift SE Off P3:ALTERNATE2
C032 d The ANAPIZZ FastSynth Off U078:Bs/Rf-PizzoDance C096 d S&H Reso Comp FastSynth Off P0:UP
C033 d Vintage EP Keyboard Off P4:RANDOM C097 d Pro-Stage EP Keyboard Off U021:Syn-SteppingNote
C034 d Synchro Science Hit/Arpg On P0:UP C098 d Motion Raver Hit/Arpg On U099:Bs-Techno 6
C035 s String Quartet Strings Off U006:Syn-Repeat C099 d PizzicatoSection Strings Off U058:Str-Tagadah
C036 d Busy Sync LeadSynth Off P0:UP C100 d Percussion Kit Drums Off U192: Dr-SmoothSamba 2
C037 d Garage SQ Bass Bass/Synth Bass Off U021:Syn-SteppingNote C101 s Blaster Bass Bass/Synth Bass Off U093:Bs-TeaBea
C038 d Power Snap Synth FastSynth Off U016:Syn-Robot Comp C102 d Band Passed FastSynth Off P4:RANDOM
C039 d Old Tone-Wheel Organ Off U084:Bs/Rf-Dance+Comp C103 d M1 Organ Organ Off U013:Syn-5toneVelTrip
C040 d Velo Kalimba Bell/Mallet Off P4:RANDOM C104 s GlassBell Bright Bell/Mallet Off U028:Syn-Penta-Fall
C041 d Money Pad SlowSynth Off P2:ALTERNATE1 C105 d Analog Pad SlowSynth Off P4:RANDOM
C042 d Thin AnaLead LeadSynth Off P3:ALTERNATE2 C106 d Octo Lead LeadSynth Off U000:Syn-StepSawDown
C043 s E.Bass Pick 2 Bass/Synth Bass Off P3:ALTERNATE2 C107 d Karma Sutra Bass/Synth Bass Off U108:Bs-Funk
C044 d Dynamic E.Guitar Guitar/Plucked Off U041:Gt-Reggae Strum C108 d CleanMute-Guitar Guitar/Plucked Off U037:Gt-Strumming 5
C045 d Rezzo Release MotionSynth Off P4:RANDOM C109 d Stereo Rez Sweep MotionSynth Off P4:RANDOM
C046 d TenorSax Brth.-Y Woodwind/Reed Off U059:Str-Tagadah 1/2 C110 d Theatrical Pad SlowSynth Off P3:ALTERNATE2
C047 d New Voyage SE Off P0:UP C111 d CyborgFactoryHit SE Off U021:Syn-SteppingNote
C048 d Techno Phonic FastSynth Off U022:Syn-StaccatoTech C112 d Soft Synth Brass FastSynth Off U030:Org-HouseOrgan
C049 d Sticky Rez Clav Keyboard Off P4:RANDOM C113 d Sweeping EP Keyboard Off P4:RANDOM
C050 d Brass Impact Hit Hit/Arpg Off U084:Bs/Rf-Dance+Comp C114 d Techno Stat Hit/Arpg Off U021:Syn-SteppingNote
C051 d UK Garage Bass Bass/Synth Bass Off U063:Bs/Rf-Jungle C115 d Phat Bass Bass/Synth Bass Off U101:Bs-Euro
C052 d UGLY HoUSe Kit Drums Off U133: Dr-Electro C116 d Cymbals Kit Drums Off U196: Dr-Sinistar
C053 d Arctic Voices Vocal/Airy Off P4:RANDOM C117 d Full Vox Pad Vocal/Airy Off U021:Syn-SteppingNote
C054 d Film Brass Brass Off P2:ALTERNATE1 C118 d Big Band Plunger Brass Off U009:Syn-Gated 2
C055 d Polyphonic Line FastSynth Off P2:ALTERNATE1 C119 d Filter Morpher FastSynth Off U003:Syn-CrescDecresc
C056 d Santur Guitar/Plucked Off U021:Syn-SteppingNote C120 d Breathy Bells Bell/Mallet Off U009:Syn-Gated 2
C057 d Ravelian Pad SlowSynth Off P4:RANDOM C121 d Cinema Pad SlowSynth Off P4:RANDOM
C058 d Fat Syn Sync LeadSynth Off U096:Bs-Techno 3 C122 d Electro Lead LeadSynth Off P0:UP
C059 s E.Bass Finger Bass/Synth Bass Off U107:Bs-Hop/Funk C123 d 30303 Mega Bass Bass/Synth Bass Off U095:Bs-Techno 2
C060 s PedalSteelGuitar Guitar/Plucked Off U062:Str-Str.Melody C124 s E.G. Harmonics Guitar/Plucked Off U017:Syn-Syncopation
C061 d Stereo WaveSweep MotionSynth Off P0:UP C125 d Moon Talker MotionSynth Off P4:RANDOM
C062 d Fisa Cassotto Woodwind/Reed Off U061:Str-AcroArpeggio C126 s Recorder Woodwind/Reed Off P4:RANDOM
C063 d One Note Stories SE Off P4:RANDOM C127 d Wispy Dry Wind SE Off P2:ALTERNATE1

s: single program, d: double program, d : drums program s: single program, d: double program, d : drums program 17
Bank D
Arpeggiator
# Name Category
SW Arpeggio Pattern
D000 d Ana Brass/Lead FastSynth Off P2:ALTERNATE1
D001 d L/R Piano(Knob1) Keyboard Off P4:RANDOM
D002 d Wild Arp Hit/Arpg On U013:Syn-5toneVelTrip
D003 d Symphonic Bows Strings Off P3:ALTERNATE2
D004 d WAcKy HiPHop Kit Drums Off U181: Dr-Jump Up DnB
D005 d MG Pulse Bass Bass/Synth Bass Off U073:Bs/Rf-Acid Jazz
D006 d Octave Brass Exp Brass Off U084:Bs/Rf-Dance+Comp
D007 d Jazz Organ 2 Organ Off U021:Syn-SteppingNote
D008 d Mallet Clocker Bell/Mallet On P4:RANDOM
D009 d Freedom Pad SlowSynth Off U021:Syn-SteppingNote
D010 d A leadload LeadSynth Off P0:UP
D011 d Acid Dist Bass Bass/Synth Bass Off U094:Bs-Techno 1
D012 d Spanish Guitar Guitar/Plucked Off U045:Gt-Bossa
D013 d Motion Ocean ! MotionSynth Off P0:UP
D014 d BariSax Growl -Y Woodwind/Reed Off P2:ALTERNATE1
D015 d Flute Pad FastSynth Off P4:RANDOM
D016 d Fire Wave FastSynth Off U011:Syn-Speed Seq.
D017 d R&B E.Piano Keyboard Off U106:Bs-Hip Hop
D018 d Old Record Hit Hit/Arpg Off U004:Syn-Quarks
D019 d Poinker Bass Bass/Synth Bass Off U089:Bs-Flash
D020 d Processed Kit Drums Off U143:Dr-In The Pocket
D021 d Ooh/Aah VoicesST Vocal/Airy Off U040:Gt-ElecGtr Strum
D022 d Classic F.Horn Brass Off U061:Str-AcroArpeggio
D023 d Killer B Organ Off U020:Syn-Steady!
D024 d Mondo'Rimba Bell/Mallet Off U074:Bs/Rf-Bossa
D025 d {(Meditate}) SlowSynth Off P3:ALTERNATE2
D026 d AMSFeedbackLead LeadSynth Off U000:Syn-StepSawDown
D027 d Sweet Fretless Bass/Synth Bass Off U090:Bs-Dance 1
D028 d Feedback D. Gtr. Guitar/Plucked Off U000:Syn-StepSawDown
D029 d Station Of Waves MotionSynth Off P4:RANDOM
D030 s Jazz Clarinet Woodwind/Reed Off U020:Syn-Steady!
D031 d Vanishing Planet SE On P4:RANDOM
D032 d Syn Pizz FastSynth Off U077:Bs/Rf-3am Trance
D033 d Classic E.Piano Keyboard Off U069:Bs/Rf-FunkyMoves
D034 d Arp Angeles Hit/Arpg On U004:Syn-Quarks
D035 s Solo Violin Strings Off P2:ALTERNATE1
D036 d Sync Kronicity LeadSynth Off U084:Bs/Rf-Dance+Comp
D037 d 30303 Square Bass/Synth Bass Off U098:Bs-Techno 5
D038 d Trumpet Ens. Brass Off U043:Gt-Stab Rhythm
D039 d "Dirty ""B""" Organ Off U104:Bs-Open Basses
D040 d Log Drum & Bells Bell/Mallet On U085:Bs/Rf-KalimbaGrv
D041 d Mellow Movie Pad SlowSynth Off P2:ALTERNATE1
D042 s Dance Lead LeadSynth Off P2:ALTERNATE1
D043 s E.Bass Pick 1 Bass/Synth Bass Off U069:Bs/Rf-FunkyMoves
D044 d Nu Strat Guitar/Plucked Off U036:Gt-Strumming 4
D045 d Virtual Traveler MotionSynth Off P4:RANDOM
D046 d AltoSax1 Growl-Y Woodwind/Reed Off P0:UP
D047 d Hemispheres SE Off P4:RANDOM
D048 d Power Saw FastSynth Off U068:Bs/Rf-FunkGarage
D049 d Clav Snap Keyboard Off U030:Org-HouseOrgan
D050 d Hit Me 2 Times!! Hit/Arpg Off U092:Bs-Dance 3
D051 s Cyber Tom Bass/Synth Bass Off U113:Bs-Root/Fifth
D052 d That Heaven Vibe SlowSynth Off U085:Bs/Rf-KalimbaGrv
D053 d Dream Voices Vocal/Airy Off P4:RANDOM
D054 d French Horn Sect Brass Off U061:Str-AcroArpeggio
D055 d Garage Organ Organ Off U068:Bs/Rf-FunkGarage
D056 d Indian Frets Gtr Guitar/Plucked Off U050:Gt-BalladPicking
D057 d Brass Pad SlowSynth Off U053:Str-FastBowing 1
D058 d Brian's Sync LeadSynth Off P4:RANDOM
D059 d SynBassRes Bass/Synth Bass Off U078:Bs/Rf-PizzoDance
D060 d PiezoMix Guitar Guitar/Plucked Off U052:Gt-PrincessaA.G.
D061 d Glass Vox MotionSynth On P0:UP
D062 d MixFisaMaster Woodwind/Reed Off U045:Gt-Bossa
D063 d Frozen Glaciers SE Off P4:RANDOM

18 s: single program, d: double program, : drums program


Bank G /g(d) Arpeggiator SW... Off, Arpeggio
pattern...P000:Up
# Name Category # Name Category # Name Category

G001 s Acoustic Piano Keyboard G057 s Trumpet Brass G113 d Tinkle Bell Bell/Mallet
G002 s Bright Piano Keyboard G058 s Trombone 1 Brass G114 s Agogo Bell/Mallet
G003 s El.Grand Piano Keyboard G059 s Tuba Brass G115 d Steel Drums Drums
G004 d Honkey-Tonk Keyboard G060 s Muted Trumpet 1 Brass G116 s Woodblock Drums
G005 s Electric Piano 1 Keyboard G061 s French Horn Brass G117 s Taiko Drums
G006 s Electric Piano 2 Keyboard G062 s Brass Section 1 Brass G118 s Melodic Tom 1 Drums
G007 s Harpsichord Keyboard G063 d Synth Brass 1 FastSynth G119 s Synth Drum Drums
G008 s Clavi. Keyboard G064 s Synth Brass 2 FastSynth G120 s Reverse Cymbal SE
G009 s Celesta Bell/Mallet G065 s Soprano Sax Woodwind/Reed G121 s Gtr.Fret Noise Guitar/Plucked
G010 d Glockenspiel Bell/Mallet G066 s Alto Sax Woodwind/Reed G122 s Breath Noise SE
G011 s Music Box Bell/Mallet G067 s Tenor Sax Woodwind/Reed G123 d Seashore SE
G012 s Vibraphone Bell/Mallet G068 s Baritone Sax Woodwind/Reed G124 d Bird Tweet 1 SE
G013 s Marimba Bell/Mallet G069 s Oboe Woodwind/Reed G125 s Telephone Ring 1 SE
G014 s Xylophone Bell/Mallet G070 s English Horn Woodwind/Reed G126 d Helicopter SE
G015 s Tubular Bells Bell/Mallet G071 s Bassoon Woodwind/Reed G127 d Applause SE
G016 s Santur Guitar/Plucked G072 s Clarinet Woodwind/Reed G128 s Gun Shot SE
G017 s Drawbar Organ 1 Organ G073 s Piccolo Woodwind/Reed g(d)001 d STANDARD Kit Drums
G018 s PercussiveOrgan1 Organ G074 s Flute Woodwind/Reed g(d)009 d ROOM Kit Drums
G019 s Rock Organ Organ G075 s Recorder Woodwind/Reed g(d)017 d POWER Kit Drums
G020 s Church Organ Organ G076 s Pan Flute Woodwind/Reed g(d)025 d ELECTRONIC Kit Drums
G021 d Reed Organ Organ G077 d Blown Bottle Woodwind/Reed g(d)026 d ANALOG Kit Drums
G022 d Accordion 1 Woodwind/Reed G078 d Shakuhachi Woodwind/Reed g(d)033 d JAZZ Kit Drums
G023 s Harmonica Woodwind/Reed G079 s Whistle Woodwind/Reed g(d)041 d BRUSH Kit Drums
G024 d Bandoneon Woodwind/Reed G080 s Ocarina Woodwind/Reed g(d)049 d ORCHESTRA Kit Drums
G025 s Nylon Guitar 1 Guitar/Plucked G081 d Detuned Square FastSynth g(d)057 d SFX Kit Drums
G026 s Steel Guitar Guitar/Plucked G082 d Detuned Sawtooth FastSynth
s: single program, d: double program,
G027 s Jazz Guitar Guitar/Plucked G083 d Synth Calliope FastSynth d : drums program
G028 s Clean Guitar Guitar/Plucked G084 d Chiff Lead FastSynth
G029 s Muted Guitar Guitar/Plucked G085 d Charang LeadSynth
G030 s Overdrive Guitar Guitar/Plucked G086 d Air Voice Vocal/Airy
G031 s DistortionGuitar Guitar/Plucked G087 d 5th Sawtooth LeadSynth
G032 s Guitar Harmonics Guitar/Plucked G088 s Bass & Lead LeadSynth
G033 d Acoustic Bass Bass/Synth Bass G089 d Fantasia FastSynth
G034 d Fingered Bass Bass/Synth Bass G090 s Warm Pad SlowSynth
G035 d Picked Bass Bass/Synth Bass G091 d Polyphonic Synth FastSynth
G036 d Fretless Bass Bass/Synth Bass G092 d Space Voice Vocal/Airy
G037 d Slap Bass 1 Bass/Synth Bass G093 d Bowed Glass SlowSynth
G038 d Slap Bass 2 Bass/Synth Bass G094 d Metallic Pad SlowSynth
G039 d Synth Bass 1 Bass/Synth Bass G095 d Halo Pad Vocal/Airy
G040 s Synth Bass 2 Bass/Synth Bass G096 s Sweep Pad MotionSynth
G041 s Violin Strings G097 d Ice Rain FastSynth
G042 s Viola Strings G098 d Sound Track SlowSynth
G043 s Cello Strings G099 d Crystal Bell/Mallet
G044 s Contrabass Strings G100 d Atmosphere FastSynth
G045 s Tremolo Strings Strings G101 d Brightness FastSynth
G046 s Pizzicato Str. Strings G102 d Goblins MotionSynth
G047 s Orchestral Harp Guitar/Plucked G103 s Echo Drops FastSynth
G048 d Timpani Drums G104 d Star Theme FastSynth
G049 s Strings Strings G105 s Sitar 1 Guitar/Plucked
G050 s Slow Strings Strings G106 s Banjo Guitar/Plucked
G051 d Synth Strings 1 Strings G107 s Shamisen Guitar/Plucked
G052 s Synth Strings 2 Strings G108 s Koto Guitar/Plucked
G053 s Choir Aahs 1 Vocal/Airy G109 s Kalimba Bell/Mallet
G054 s Voice Oohs Vocal/Airy G110 d Bagpipe Woodwind/Reed
G055 s Synth Vox Vocal/Airy G111 s Fiddle Strings
G056 s Orchestra Hit Hit/Arpg G112 s Shanai Woodwind/Reed

s: single program, d: double program, s: single program, d: double program,


d : drums program d : drums program
19
Drum kits (Preload)
00: Standard Kit 1 01: Standard Kit 2 02: Processed Kit
High Drumsample (ROM) Low Drumsample (ROM) Ex BUS High Drumsample (ROM) Low Drumsample (ROM) Ex BUS High Drumsample (ROM) Low Drumsample (ROM) Ex BUS
A0
A#0
B0
C1 275: Taiko-Rim 274: Taiko-Open Off L/R 275: Taiko-Rim 274: Taiko-Open Off L/R 275: Taiko-Rim 274: Taiko-Open Off L/R
C#1 276: Tsuzumi 276: Tsuzumi Off L/R 276: Tsuzumi 276: Tsuzumi Off L/R 276: Tsuzumi 276: Tsuzumi Off L/R
D1 249: Djembe-Open 249: Djembe-Open Off L/R 249: Djembe-Open 249: Djembe-Open Off L/R 249: Djembe-Open 249: Djembe-Open Off L/R
D#1 251: Djembe-Slap 250: Djembe-Mute Off L/R 251: Djembe-Slap 250: Djembe-Mute Off L/R 251: Djembe-Slap 250: Djembe-Mute Off L/R
E1 261: Baya-Ghe 260: Baya-Open 9 L/R 261: Baya-Ghe 260: Baya-Open 9 L/R 261: Baya-Ghe 260: Baya-Open 7 L/R
F1 262: Baya-Mute 1 264: Baya-Mute 3 Off L/R 262: Baya-Mute 1 264: Baya-Mute 3 Off L/R 262: Baya-Mute 1 264: Baya-Mute 3 Off L/R
F#1 266: Baya-Mute 5 265: Baya-Mute 4 Off L/R 266: Baya-Mute 5 265: Baya-Mute 4 Off L/R 266: Baya-Mute 5 265: Baya-Mute 4 Off L/R
G1 268: Tabla-Open 268: Tabla-Open Off L/R 268: Tabla-Open 268: Tabla-Open Off L/R 268: Tabla-Open 268: Tabla-Open Off L/R
G#1 269: Tabla-Tin 273: Tabla-Mute 4 Off L/R 269: Tabla-Tin 273: Tabla-Mute 4 Off L/R 269: Tabla-Tin 273: Tabla-Mute 4 Off L/R
A1 227: Drumstick Hit Off L/R 227: Drumstick Hit Off L/R 227: Drumstick Hit 227: Drumstick Hit Off L/R
A#1 157: Cymbal Reverse Off L/R 157: Cymbal Reverse Off L/R 157: Cymbal Reverse Off L/R
B1 073: SD-Reverse Off IFX1 073: SD-Reverse Off IFX1 073: SD-Reverse Off IFX1
C2 000: BD-Dry 1 000: BD-Dry 1 Off IFX1 014: BD-Tubby 014: BD-Tubby Off IFX1 016: BD-Tight 016: BD-Tight Off IFX1
C#2 003: BD-Dry 4 003: BD-Dry 4 Off IFX1 015: BD-Gated 015: BD-Gated Off IFX1 017: BD-Squash 017: BD-Squash Off IFX1
D2 006: BD-Soft 006: BD-Soft Off IFX1 036: BD-Chili 036: BD-Chili Off IFX1 015: BD-Gated 015: BD-Gated Off IFX1
D#2 007: BD-Soft Room 007: BD-Soft Room Off IFX1 025: BD-Hip 4 025: BD-Hip 4 Off IFX1 014: BD-Tubby 014: BD-Tubby Off IFX1
E2 010: BD-Pillow 010: BD-Pillow Off IFX1 037: BD-PhatJaz 037: BD-PhatJaz Off IFX1 011: BD-Woofer 011: BD-Woofer Off IFX1
F2 048: SD-Full Room 048: SD-Full Room Off IFX1 093: SD-Chili 050: SD-Jazz Ring Off IFX1 048: SD-Full Room 048: SD-Full Room Off IFX1
F#2 054: SD-Classic Room 054: SD-Classic Room Off IFX1 099: SD-Ambi Hit 2 54: SD-Classic Room Off IFX1 064: SD-Cracker Room 064: SD-Cracker Room Off IFX1
G2 051: SD-Amb.Piccolo 1 051: SD-Amb.Piccolo 1 Off IFX1 092: SD-Brasser 053: SD-Paper Off IFX1 052: SD-Amb.Piccolo 2 052: SD-Amb.Piccolo 2 Off IFX1
G#2 053: SD-Paper 053: SD-Paper Off IFX1 085: SD-Vintage 4 056: SD-Brush Tap 1 Off IFX1 062: SD-Processed 1 062: SD-Processed 1 Off IFX1
A2 042: SD-Dry 3 042: SD-Dry 3 Off IFX1 078: SD-Hip 5 078: SD-Hip 5 Off IFX1 061: SD-Yowie 061: SD-Yowie Off IFX1
A#2 040: SD-Dry 1 040: SD-Dry 1 Off IFX1 044: SD-GhostSet roll 044: SD-GhostSet roll Off IFX1 059: SD-Atomic 059: SD-Atomic Off IFX1
B2 002: BD-Dry 3 002: BD-Dry 3 Off IFX1 005: BD-Dry 6 005: BD-Dry 6 Off IFX1 013: BD-Terminator 013: BD-Terminator Off IFX1
C3 001: BD-Dry 2 001: BD-Dry 2 Off IFX1 004: BD-Dry 5 004: BD-Dry 5 Off IFX1 012: BD-Mondo Kill 012: BD-Mondo Kill Off IFX1
C#3 065: Sidestick-Dry 065: Sidestick-Dry Off L/R 066: Sidestick-Amb 066: Sidestick-Amb Off L/R 066: Sidestick-Amb 066: Sidestick-Amb Off L/R
D3 052: SD-Amb.Piccolo 2 052: SD-Amb.Piccolo 2 Off IFX1 045: SD-GhostSet f 047: SD-GhostSet p2 Off IFX1 060: SD-Big Rock 060: SD-Big Rock Off IFX1
D#3 229: Hand Claps 229: Hand Claps Off L/R 229: Hand Claps 229: Hand Claps Off L/R 229: Hand Claps 229: Hand Claps Off L/R
E3 060: SD-Big Rock 060: SD-Big Rock Off IFX1 094: SD-Klanger 046: SD-GhostSet p1 Off IFX1 063: SD-Processed 2 063: SD-Processed 2 Off IFX1
F3 106: Tom 2-Floor 106: Tom 2-Floor Off L/R 103: Tom 1-Floor 103: Tom 1-Floor Off L/R 109: Tom 3-Floor 109: Tom 3-Floor Off L/R
F#3 119: H.Hat 1-Closed 2 119: H.Hat 1-Closed 2 1 L/R 126: H.Hat 2-Closed 2 125: H.Hat 2-Closed 1 1 L/R 126: H.Hat 2-Closed 2 125: H.Hat 2-Closed 1 1 L/R
G3 106: Tom 2-Floor 106: Tom 2-Floor Off L/R 103: Tom 1-Floor 103: Tom 1-Floor Off L/R 108: Tom 3-Lo 108: Tom 3-Lo Off L/R
G#3 121: H.Hat 1-FootOpen 120: H.Hat 1-Foot 1 L/R 128: H.Hat 2-FootOpen 127: H.Hat 2-Foot 1 L/R 128: H.Hat 2-FootOpen 127: H.Hat 2-Foot 1 L/R
A3 105: Tom 2-Lo 105: Tom 2-Lo Off L/R 102: Tom 1-Lo 102: Tom 1-Lo Off L/R 108: Tom 3-Lo 108: Tom 3-Lo Off L/R
A#3 122: H.Hat 1-Open 1 123: H.Hat 1-Open 2 1 L/R 131: H.Hat 2-Sizzle 129: H.Hat 2-Open 1 1 L/R 129: H.Hat 2-Open 1 130: H.Hat 2-Open 2 1 L/R
B3 105: Tom 2-Lo 105: Tom 2-Lo Off L/R 102: Tom 1-Lo 102: Tom 1-Lo Off L/R 108: Tom 3-Lo 108: Tom 3-Lo Off L/R
C4 104: Tom 2-Hi 104: Tom 2-Hi Off L/R 101: Tom 1-Hi 101: Tom 1-Hi Off L/R 107: Tom 3-Hi 107: Tom 3-Hi Off L/R
C#4 153: Crash Cymbal 2 Off L/R 153: Crash Cymbal 2 Off L/R 153: Crash Cymbal 2 Off L/R
D4 104: Tom 2-Hi 104: Tom 2-Hi Off L/R 101: Tom 1-Hi 101: Tom 1-Hi Off L/R 107: Tom 3-Hi 107: Tom 3-Hi Off L/R
D#4 162: Ride-Edge 1 162: Ride-Edge 1 Off L/R 162: Ride-Edge 1 162: Ride-Edge 1 Off L/R 162: Ride-Edge 1 162: Ride-Edge 1 Off L/R
E4 155: China Cymbal 155: China Cymbal Off L/R 155: China Cymbal 155: China Cymbal Off L/R 155: China Cymbal 155: China Cymbal Off L/R
F4 165: Ride-Cup 165: Ride-Cup Off L/R 165: Ride-Cup 165: Ride-Cup Off L/R 165: Ride-Cup 165: Ride-Cup Off L/R
F#4 290: Tambourine-Acc.1 288: Tambourine-Push Off L/R 290: Tambourine-Acc.1 288: Tambourine-Push Off L/R 290: Tambourine-Acc.1 288: Tambourine-Push Off L/R
G4 156: Splash Cymbal 156: Splash Cymbal Off L/R 156: Splash Cymbal 156: Splash Cymbal Off L/R 156: Splash Cymbal 156: Splash Cymbal Off L/R
G#4 305: Cowbell 1 Off L/R 305: Cowbell 1 Off L/R 305: Cowbell 1 Off L/R
A4 152: Crash Cymbal 1 Off L/R 152: Crash Cymbal 1 Off L/R 152: Crash Cymbal 1 Off L/R
A#4 277: Vibraslap Off L/R 277: Vibraslap Off L/R 277: Vibraslap Off L/R
B4 163: Ride-Edge 2 163: Ride-Edge 2 Off L/R 163: Ride-Edge 2 163: Ride-Edge 2 Off L/R 163: Ride-Edge 2 163: Ride-Edge 2 Off L/R
C5 245: Bongo Hi-Open 245: Bongo Hi-Open Off L/R 245: Bongo Hi-Open 245: Bongo Hi-Open Off L/R 245: Bongo Hi-Open 245: Bongo Hi-Open Off L/R
C#5 242: Bongo Lo-Open 242: Bongo Lo-Open Off L/R 242: Bongo Lo-Open 242: Bongo Lo-Open Off L/R 242: Bongo Lo-Open 242: Bongo Lo-Open Off L/R
D5 237: Conga Hi-MtSlap 241: Conga-Toe Off L/R 237: Conga Hi-MtSlap 241: Conga-Toe Off L/R 237: Conga Hi-MtSlap 241: Conga-Toe Off L/R
D#5 235: Conga Hi-Open 235: Conga Hi-Open Off L/R 235: Conga Hi-Open 235: Conga Hi-Open Off L/R 235: Conga Hi-Open 235: Conga Hi-Open Off L/R
E5 232: Conga Lo-Open 232: Conga Lo-Open Off L/R 232: Conga Lo-Open 232: Conga Lo-Open Off L/R 232: Conga Lo-Open 232: Conga Lo-Open Off L/R
F5 285: Timbale Hi-Rim 1 284: Timbale Hi-Edge Off L/R 285: Timbale Hi-Rim 1 284: Timbale Hi-Edge Off L/R 110: Tom-Processed 110: Tom-Processed Off L/R
F#5 281: Timbale Lo-Open 281: Timbale Lo-Open Off L/R 281: Timbale Lo-Open 281: Timbale Lo-Open Off L/R 285: Timbale Hi-Rim 1 284: Timbale Hi-Edge Off L/R
G5 304: Agogo Bell Off L/R 304: Agogo Bell Off L/R 110: Tom-Processed 110: Tom-Processed Off L/R
G#5 304: Agogo Bell Off L/R 304: Agogo Bell Off L/R 281: Timbale Lo-Open 281: Timbale Lo-Open Off L/R
A5 299: Cabasa-Up 300: Cabasa-Down Off L/R 299: Cabasa-Up 300: Cabasa-Down Off L/R 110: Tom-Processed 110: Tom-Processed Off L/R
A#5 258: Maracas-Push 258: Maracas-Push Off L/R 258: Maracas-Push 258: Maracas-Push Off L/R 258: Maracas-Push 258: Maracas-Push Off L/R
B5 316: Samba Whistle 2 L/R 316: Samba Whistle 2 L/R 110: Tom-Processed 110: Tom-Processed Off L/R
C6 316: Samba Whistle 2 L/R 316: Samba Whistle 2 L/R 110: Tom-Processed 110: Tom-Processed Off L/R
C#6 256: Guiro-Short 257: Guiro-Tap 3 L/R 256: Guiro-Short 257: Guiro-Tap 3 L/R 301: Cabasa-Tap 299: Cabasa-Up Off L/R
D6 255: Guiro-Long 3 L/R 255: Guiro-Long 3 L/R 110: Tom-Processed 110: Tom-Processed Off L/R
D#6 278: Claves Off L/R 278: Claves Off L/R 278: Claves 278: Claves Off L/R
E6 279: Woodblock 1 Off L/R 279: Woodblock 1 Off L/R 279: Woodblock 1 279: Woodblock 1 Off L/R
F6 279: Woodblock 1 Off L/R 279: Woodblock 1 Off L/R 279: Woodblock 1 279: Woodblock 1 Off L/R
F#6 295: Cuica-Hi 4 L/R 295: Cuica-Hi 4 L/R 295: Cuica-Hi 2 L/R
G6 296: Cuica-Lo 4 L/R 296: Cuica-Lo 4 L/R 296: Cuica-Lo 296: Cuica-Lo 2 L/R
G#6 293: Triangle-Mute 293: Triangle-Mute 5 L/R 293: Triangle-Mute 293: Triangle-Mute 5 L/R 293: Triangle-Mute 293: Triangle-Mute 3 L/R
A6 292: Triangle-Open 5 L/R 292: Triangle-Open 5 L/R 292: Triangle-Open 292: Triangle-Open 3 L/R
A#6 297: Shaker 1 297: Shaker 1 Off L/R 297: Shaker 1 297: Shaker 1 Off L/R 297: Shaker 1 297: Shaker 1 Off L/R
B6 312: Marc Tree Off L/R 312: Marc Tree Off L/R 312: Marc Tree Off L/R
C7 174: 88-BD 2(R&B) 6 L/R 174: 88-BD 2(R&B) 6 L/R 174: 88-BD 2(R&B) 4 L/R
C#7 187: 88-HHat Closed 187: 88-HHat Closed 7 L/R 187: 88-HHat Closed 187: 88-HHat Closed 7 L/R 187: 88-HHat Closed 187: 88-HHat Closed 5 L/R
D7 181: 88-SD 1(New) 181: 88-SD 1(New) Off L/R 181: 88-SD 1(New) 181: 88-SD 1(New) Off L/R 181: 88-SD 1(New) 181: 88-SD 1(New) Off L/R
D#7 188: 88-HHat Open 7 L/R 188: 88-HHat Open 7 L/R 188: 88-HHat Open 5 L/R
E7 191: 88-Crash 191: 88-Crash Off L/R 191: 88-Crash 191: 88-Crash Off L/R 191: 88-Crash 191: 88-Crash Off L/R
F7 195: 88-Cowbell 195: 88-Cowbell Off L/R 195: 88-Cowbell 195: 88-Cowbell Off L/R 195: 88-Cowbell 195: 88-Cowbell Off L/R
F#7 186: 88-Claps Off L/R 186: 88-Claps Off L/R 186: 88-Claps Off L/R
G7 196: 88-Maraca Off L/R 196: 88-Maraca Off L/R 196: 88-Maraca Off L/R
G#7 171: SD-Orch.Roll 2 8 L/R 171: SD-Orch.Roll 2 8 L/R 171: SD-Orch.Roll 2 170: SD-Orch.Roll 1 6 L/R
A7 172: SD-Orchestral 172: SD-Orchestral 8 L/R 172: SD-Orchestral 172: SD-Orchestral 8 L/R 172: SD-Orchestral 172: SD-Orchestral 6 L/R
A#7 314: Bell Tree Off L/R 314: Bell Tree Off L/R 314: Bell Tree Off L/R
B7 354: Stadium Off L/R 354: Stadium Off L/R 354: Stadium Off L/R
C8 355: Applause Off L/R 355: Applause Off L/R 355: Applause Off L/R
20 Ex: Exclusive Group, BUS: BUS Select
03: Jazz/Brush Kit 04: House Kit 05: Tricky Kit
High Drumsample (ROM) Low Drumsample (ROM) Ex BUS High Drumsample (ROM) Low Drumsample (ROM) Ex BUS High Drumsample (ROM) Low Drumsample (ROM) Ex BUS
A0
A#0
B0
C1 103: Tom 1-Floor 103: Tom 1-Floor Off L/R 315: Flexatone Off L/R 325: Yea Solo 326: Year solo Off L/R
C#1 276: Tsuzumi 276: Tsuzumi Off L/R 257: Guiro-Tap 258: Maracas-Push 6 L/R 329: Uhhhh Solo 328: Hit It Off L/R
D1 102: Tom 1-Lo 102: Tom 1-Lo Off L/R 391: Swish Terra 391: Swish Terra Off L/R 327: Uhh Solo Off L/R
D#1 275: Taiko-Rim 274: Taiko-Open Off L/R 319: Cyber Drum 319: Cyber Drum Off L/R 335: CompuVoice-When 334: CompuVoice-Do it Off L/R
E1 101: Tom 1-Hi 101: Tom 1-Hi Off L/R 311: Finger Cymbal 311: Finger Cymbal Off L/R 331: CompuVoice-Noise 330: CompuVoice-Beep 9 L/R
F1 101: Tom 1-Hi 101: Tom 1-Hi Off L/R 291: Tambourine-Acc.2 Off L/R 332: CompuVoice-Chi 333: CompuVoice-Test Off L/R
F#1 307: Chacha Bell Off L/R 288: Tambourine-Push 289: Tambourine-Pull Off L/R 337: CompuVoice-Ti 336: CompuVoice-Toi Off L/R
G1 228: Finger Snap 228: Finger Snap Off L/R 310: Rap Sleighbell Off L/R 343: PC Vox-Dunc 342: PC Vox-Sis Off L/R
G#1 229: Hand Claps 229: Hand Claps Off L/R 309: Sleigh Bell 309: Sleigh Bell Off L/R 348: PC Vox-Zee 345: PC Vox-For Off L/R
A1 227: Drumstick Hit Off L/R 312: Marc Tree 312: Marc Tree Off L/R 349: PC Vox-Ae 350: PC Vox-Pa Off L/R
A#1 014: BD-Tubby 014: BD-Tubby Off IFX1 177: 99-BD 2 177: 99-BD 2 Off IFX1 350: PC Vox-Pa 351: PC Vox-Sh Off L/R
B1 002: BD-Dry 3 002: BD-Dry 3 Off IFX1 018: BD-Dance 1 018: BD-Dance 1 Off IFX1 352: PC Vox-O 353: PC Vox-Tu Off L/R
C2 011: BD-Woofer 011: BD-Woofer Off IFX1 178: 99-BD 3 178: 99-BD 3 Off IFX1 174: 88-BD 2(R&B) 174: 88-BD 2(R&B) Off IFX1
C#2 003: BD-Dry 4 003: BD-Dry 4 Off IFX1 021: BD-Dance 4 021: BD-Dance 4 Off IFX1 026: BD-Dark 180: 99-BD 5 Off IFX1
D2 006: BD-Soft 006: BD-Soft Off IFX1 029: BD-Short88 029: BD-Short88 Off IFX1 022: BD-Hip 1 023: BD-Hip 2 Off IFX1
D#2 008: BD-Jazz 1 008: BD-Jazz 1 Off IFX1 017: BD-Squash 017: BD-Squash Off IFX1 180: 99-BD 5 180: 99-BD 5 Off IFX1
E2 009: BD-Jazz 2 009: BD-Jazz 2 Off IFX1 174: 88-BD 2(R&B) 174: 88-BD 2(R&B) Off IFX1 034: BD-Dance Soft 029: BD-Short88 Off IFX1
F2 053: SD-Paper 053: SD-Paper Off IFX1 181: 88-SD 1(New) 181: 88-SD 1(New) Off IFX1 091: SD-AmbiHop 091: SD-AmbiHop Off IFX1
F#2 041: SD-Dry 2 041: SD-Dry 2 Off IFX1 183: 99-SD 1 183: 99-SD 1 Off IFX1 098: SD-Ambi Hit 1 Off IFX1
G2 040: SD-Dry 1 040: SD-Dry 1 Off IFX1 077: SD-Hip 4 077: SD-Hip 4 Off IFX1 092: SD-Brasser Off IFX1
G#2 051: SD-Amb.Piccolo 1 051: SD-Amb.Piccolo 1 Off IFX1 072: SD-Sizzle 072: SD-Sizzle Off IFX1 097: SD-Ambi Pop 088: SD-AmbiCrackle 1 Off IFX1
A2 050: SD-Jazz Ring 050: SD-Jazz Ring Off IFX1 071: SD-Noise Off IFX1 096: SD-Dry Present Off IFX1
A#2 055: SD-Brush Hit Off IFX1 074: SD-Hip 1 Off IFX1 087: SD-Vintage 6 087: SD-Vintage 6 Off IFX1
B2 009: BD-Jazz 2 009: BD-Jazz 2 Off IFX1 179: 99-BD 4 179: 99-BD 4 Off IFX1 005: BD-Dry 6 026: BD-Dark Off IFX1
C3 010: BD-Pillow 010: BD-Pillow Off IFX1 176: 99-BD 1 176: 99-BD 1 Off IFX1 027: BD-Pop 029: BD-Short88 Off IFX1
C#3 065: Sidestick-Dry 065: Sidestick-Dry Off L/R 185: 88-Rimshot 185: 88-Rimshot Off L/R 066: Sidestick-Amb Off IFX1
D3 057: SD-Brush Tap 2 Off IFX1 182: 88-SD 2(Old) 182: 88-SD 2(Old) Off IFX1 082: SD-Vintage 1 082: SD-Vintage 1 Off IFX1
D#3 056: SD-Brush Tap 1 Off IFX1 186: 88-Claps 186: 88-Claps Off L/R 230: Hand Claps-Hip 231: Hand Claps-Happy Off L/R
E3 058: SD-Brush Swirl Off IFX1 184: 99-SD 2 184: 99-SD 2 Off IFX1 079: SD-Hip 6 Off IFX1
F3 115: Tom-Brush Floor 115: Tom-Brush Floor Off L/R 192: 88-Tom 192: 88-Tom Off L/R 192: 88-Tom 192: 88-Tom Off L/R
F#3 119: H.Hat 1-Closed 2 118: H.Hat 1-Closed 1 1 L/R 189: 99-HHat Closed 189: 99-HHat Closed 1 L/R 139: H.Hat-Tight 1 140: H.Hat-Tight 2 1 L/R
G3 114: Tom-Brush Hi 114: Tom-Brush Hi Off L/R 192: 88-Tom 192: 88-Tom Off L/R 192: 88-Tom 192: 88-Tom Off L/R
G#3 120: H.Hat 1-Foot 120: H.Hat 1-Foot 1 L/R 190: 99-HHat Open 190: 99-HHat Open 1 L/R 142: H.Hat-Old Cl 2 145: H.Hat-Hip 1 1 L/R
A3 114: Tom-Brush Hi 114: Tom-Brush Hi Off L/R 192: 88-Tom 192: 88-Tom Off L/R 192: 88-Tom 192: 88-Tom Off L/R
A#3 122: H.Hat 1-Open 1 123: H.Hat 1-Open 2 1 L/R 190: 99-HHat Open 190: 99-HHat Open 1 L/R 149: H.Hat-ClangyOpen 135: H.Hat-Crisp Open 1 L/R
B3 113: Tom-Jazz Floor 113: Tom-Jazz Floor Off L/R 150: H.Hat-Whispy Off L/R 117: Tom-Old R&B 117: Tom-Old R&B Off L/R
C4 112: Tom-Jazz Hi Rim 111: Tom-Jazz Hi Off L/R 187: 88-HHat Closed 187: 88-HHat Closed 2 L/R 117: Tom-Old R&B 117: Tom-Old R&B Off L/R
C#4 152: Crash Cymbal 1 Off L/R 191: 88-Crash 191: 88-Crash Off L/R 396: Noise-FM Mod Off L/R
D4 112: Tom-Jazz Hi Rim 111: Tom-Jazz Hi Off L/R 188: 88-HHat Open 188: 88-HHat Open 2 L/R 117: Tom-Old R&B 117: Tom-Old R&B Off L/R
D#4 162: Ride-Edge 1 162: Ride-Edge 1 Off L/R 160: Ride-Dance 99 160: Ride-Dance 99 Off L/R 163: Ride-Edge 2 163: Ride-Edge 2 Off L/R
E4 155: China Cymbal 155: China Cymbal Off L/R 153: Crash Cymbal 2 Off L/R 191: 88-Crash Off L/R
F4 165: Ride-Cup 165: Ride-Cup Off L/R 161: Ride-Dance DDD1 161: Ride-Dance DDD1 Off L/R 165: Ride-Cup Off L/R
F#4 290: Tambourine-Acc.1 288: Tambourine-Push Off L/R 291: Tambourine-Acc.2 290: Tambourine-Acc.1 Off L/R 290: Tambourine-Acc.1 Off L/R
G4 156: Splash Cymbal 156: Splash Cymbal Off L/R 156: Splash Cymbal 156: Splash Cymbal Off L/R 159: Crash-Dance DDD1 Off L/R
G#4 305: Cowbell 1 305: Cowbell 1 Off L/R 195: 88-Cowbell 195: 88-Cowbell Off L/R 305: Cowbell 1 Off L/R
A4 154: Crash Cymbal 3 154: Crash Cymbal 3 Off L/R 158: Crash-Dance 99 158: Crash-Dance 99 Off L/R 383: Explosion Off L/R
A#4 277: Vibraslap Off L/R 207: Zap 3 207: Zap 3 Off L/R 388: ChurchBell Off L/R
B4 163: Ride-Edge 2 163: Ride-Edge 2 Off L/R 157: Cymbal Reverse 157: Cymbal Reverse Off L/R 366: Crickets 2 366: Crickets 2 Off L/R
C5 245: Bongo Hi-Open 245: Bongo Hi-Open Off L/R 205: Zap 1 205: Zap 1 Off L/R 245: Bongo Hi-Open 245: Bongo Hi-Open Off L/R
C#5 242: Bongo Lo-Open 242: Bongo Lo-Open Off L/R 206: Zap 2 206: Zap 2 Off L/R 242: Bongo Lo-Open 242: Bongo Lo-Open Off L/R
D5 237: Conga Hi-MtSlap 241: Conga-Toe Off L/R 194: 88-Clave Off L/R 237: Conga Hi-MtSlap 241: Conga-Toe Off L/R
D#5 235: Conga Hi-Open 235: Conga Hi-Open Off L/R 193: 88-Conga 193: 88-Conga Off L/R 235: Conga Hi-Open 235: Conga Hi-Open Off L/R
E5 232: Conga Lo-Open 232: Conga Lo-Open Off L/R 193: 88-Conga 193: 88-Conga Off L/R 232: Conga Lo-Open 232: Conga Lo-Open Off L/R
F5 285: Timbale Hi-Rim 1 284: Timbale Hi-Edge Off L/R 324: Metal Hit Off L/R 310: Rap Sleighbell 310: Rap Sleighbell Off L/R
F#5 281: Timbale Lo-Open 281: Timbale Lo-Open Off L/R 132: H.Hat-Chili Off L/R 217: DJ-BD Rub Off L/R
G5 304: Agogo Bell Off L/R 323: Industry Loop 2 Off L/R 218: DJ-SD Rub Off L/R
G#5 304: Agogo Bell Off L/R 127: H.Hat 2-Foot Off L/R 219: DJ-Record Stop 220: DJ-Reverse Off L/R
A5 299: Cabasa-Up 300: Cabasa-Down Off L/R 204: Dance Perc-Hous2 Off L/R 299: Cabasa-Up Off L/R
A#5 258: Maracas-Push Off L/R 196: 88-Maraca Off L/R 258: Maracas-Push 258: Maracas-Push Off L/R
B5 316: Samba Whistle 2 L/R 199: Vocal SD 199: Vocal SD Off L/R 196: 88-Maraca Off L/R
C6 316: Samba Whistle 2 L/R 377: Car Crash Off L/R 320: SD-Metal Striker Off L/R
C#6 256: Guiro-Short 257: Guiro-Tap 3 L/R 293: Triangle-Mute 3 L/R 374: Car Engine Off L/R
D6 255: Guiro-Long 3 L/R 395: Noise-White Off L/R 323: Industry Loop 2 Off L/R
D#6 278: Claves Off L/R 292: Triangle-Open 3 L/R 323: Industry Loop 2 Off L/R
E6 279: Woodblock 1 Off L/R 400: GtCutNois1 Off L/R 375: Car Stop Off L/R
F6 279: Woodblock 1 Off L/R 146: H.Hat-Hip 2 Off L/R 291: Tambourine-Acc.2 Off L/R
F#6 295: Cuica-Hi 4 L/R 151: H.Hat-Alpo Close 151: H.Hat-Alpo Close 4 L/R 323: Industry Loop 2 Off L/R
G6 296: Cuica-Lo 4 L/R 402: StringSlap Off L/R 402: StringSlap 4 L/R
G#6 293: Triangle-Mute 293: Triangle-Mute 5 L/R 147: H.Hat-AmbCrackle Off L/R 202: Dance Perc-Hip 5 L/R
A6 292: Triangle-Open 5 L/R 406: Dist.Slide 1 Off L/R 205: Zap 1 Off L/R
A#6 297: Shaker 1 297: Shaker 1 Off L/R 135: H.Hat-Crisp Open 4 L/R 387: Bubble Off L/R
B6 312: Marc Tree Off L/R 391: Swish Terra 391: Swish Terra Off L/R 377: Car Crash Off L/R
C7 174: 88-BD 2(R&B) 6 L/R 391: Swish Terra Off L/R 173: 88-BD 1(Rap) Off L/R
C#7 187: 88-HHat Closed 187: 88-HHat Closed 7 L/R 152: Crash Cymbal 1 152: Crash Cymbal 1 Off L/R 187: 88-HHat Closed 187: 88-HHat Closed Off L/R
D7 181: 88-SD 1(New) 181: 88-SD 1(New) Off L/R 155: China Cymbal 155: China Cymbal Off L/R 182: 88-SD 2(Old) 182: 88-SD 2(Old) Off L/R
D#7 188: 88-HHat Open 7 L/R 162: Ride-Edge 1 162: Ride-Edge 1 Off L/R 188: 88-HHat Open Off L/R
E7 191: 88-Crash 191: 88-Crash Off L/R 238: Conga Hi-Slap 1 242: Bongo Lo-Open Off L/R 317: Chinese Gong Off L/R
F7 195: 88-Cowbell 195: 88-Cowbell Off L/R 235: Conga Hi-Open 233: Conga Lo-MtSlap Off L/R 194: 88-Clave 194: 88-Clave Off L/R
F#7 186: 88-Claps Off L/R 165: Ride-Cup 165: Ride-Cup Off L/R 385: Wind Off L/R
G7 196: 88-Maraca Off L/R 239: Conga Hi-Slap 2 236: Conga Hi-Mute Off L/R 386: Stream Off L/R
G#7 171: SD-Orch.Roll 2 170: SD-Orch.Roll 1 8 L/R 305: Cowbell 1 305: Cowbell 1 Off L/R 340: Two... Solo 341: One... Solo Off L/R
A7 172: SD-Orchestral 172: SD-Orchestral 8 L/R 307: Chacha Bell 307: Chacha Bell Off L/R 338: Four... Solo 339: Three... Solo Off L/R
A#7 314: Bell Tree Off L/R 305: Cowbell 1 305: Cowbell 1 Off L/R 314: Bell Tree Off L/R
B7 354: Stadium Off L/R 256: Guiro-Short 6 L/R 390: Space Lore Off L/R
C8 355: Applause Off L/R 257: Guiro-Tap 257: Guiro-Tap 6 L/R 367: Hart Beat Off L/R

Ex: Exclusive Group, BUS: BUS Select 21


06: Drum'n'Bass Kit 07: Hip Hop Kit 08: Psycho Kit
High Drumsample (ROM) Low Drumsample (ROM) Ex BUS High Drumsample (ROM) Low Drumsample (ROM) Ex BUS High Drumsample (ROM) Low Drumsample (ROM) Ex BUS
A0
A#0
B0
C1 275: Taiko-Rim 274: Taiko-Open Off L/R 275: Taiko-Rim 274: Taiko-Open Off L/R 317: Chinese Gong 317: Chinese Gong Off L/R
C#1 276: Tsuzumi 276: Tsuzumi Off L/R 276: Tsuzumi 276: Tsuzumi Off L/R 294: Triangle-Roll 294: Triangle-Roll Off IFX1
D1 249: Djembe-Open 249: Djembe-Open Off L/R 249: Djembe-Open 249: Djembe-Open Off L/R 315: Flexatone 315: Flexatone Off IFX1
D#1 251: Djembe-Slap 250: Djembe-Mute Off L/R 251: Djembe-Slap 250: Djembe-Mute Off L/R 274: Taiko-Open 274: Taiko-Open Off L/R
E1 261: Baya-Ghe 260: Baya-Open 10 L/R 261: Baya-Ghe 260: Baya-Open 9 L/R 263: Baya-Mute 2 263: Baya-Mute 2 Off L/R
F1 262: Baya-Mute 1 264: Baya-Mute 3 Off L/R 262: Baya-Mute 1 264: Baya-Mute 3 Off L/R 072: SD-Sizzle 072: SD-Sizzle Off IFX1
F#1 266: Baya-Mute 5 265: Baya-Mute 4 Off L/R 266: Baya-Mute 5 265: Baya-Mute 4 Off L/R 058: SD-Brush Swirl 058: SD-Brush Swirl Off IFX1
G1 268: Tabla-Open 268: Tabla-Open Off L/R 268: Tabla-Open 268: Tabla-Open Off L/R 070: SD-Rap 2 070: SD-Rap 2 Off IFX1
G#1 269: Tabla-Tin 273: Tabla-Mute 4 Off L/R 269: Tabla-Tin 273: Tabla-Mute 4 Off L/R 073: SD-Reverse 073: SD-Reverse 4 IFX1
A1 227: Drumstick Hit Off L/R 227: Drumstick Hit Off L/R 015: BD-Gated 015: BD-Gated Off L/R
A#1 157: Cymbal Reverse Off L/R 157: Cymbal Reverse Off L/R 157: Cymbal Reverse 157: Cymbal Reverse 5 IFX1
B1 073: SD-Reverse Off IFX1 073: SD-Reverse Off IFX1 013: BD-Terminator 013: BD-Terminator Off L/R
C2 037: BD-PhatJaz 037: BD-PhatJaz Off IFX1 037: BD-PhatJaz Off IFX1 017: BD-Squash 017: BD-Squash Off L/R
C#2 014: BD-Tubby Off IFX1 022: BD-Hip 1 Off IFX1 009: BD-Jazz 2 009: BD-Jazz 2 Off L/R
D2 005: BD-Dry 6 005: BD-Dry 6 Off IFX1 021: BD-Dance 4 021: BD-Dance 4 Off IFX1 205: Zap 1 205: Zap 1 Off L/R
D#2 039: BD-Klanger 022: BD-Hip 1 Off IFX1 035: BD-AmbiRocker 035: BD-AmbiRocker Off IFX1 358: Footstep 1 359: Footstep 2 Off L/R
E2 010: BD-Pillow 010: BD-Pillow Off IFX1 180: 99-BD 5 Off IFX1 319: Cyber Drum 319: Cyber Drum Off L/R
F2 100: SD-Ambi Hit 3 100: SD-Ambi Hit 3 Off IFX1 086: SD-Vintage 5 Off IFX1 267: Tabla-Na 268: Tabla-Open Off IFX1
F#2 076: SD-Hip 3 076: SD-Hip 3 Off IFX1 098: SD-Ambi Hit 1 Off IFX1 172: SD-Orchestral 172: SD-Orchestral 1 IFX1
G2 094: SD-Klanger 051: SD-Amb.Piccolo 1 Off IFX1 089: SD-AmbiCrackle 2 Off IFX1 070: SD-Rap 2 070: SD-Rap 2 Off IFX1
G#2 080: SD-Ringy 080: SD-Ringy Off IFX1 083: SD-Vintage 2 Off IFX1 068: SD-Dance 068: SD-Dance 1 IFX1
A2 093: SD-Chili 093: SD-Chili Off IFX1 076: SD-Hip 3 Off IFX1 052: SD-Amb.Piccolo 2 049: SD-Off Center Off IFX1
A#2 040: SD-Dry 1 040: SD-Dry 1 Off IFX1 067: SD-Amb.House Off IFX1 059: SD-Atomic 059: SD-Atomic Off IFX1
B2 028: BD-Ringy 029: BD-Short88 Off IFX1 175: 88-BD 3 Off IFX1 249: Djembe-Open 249: Djembe-Open Off L/R
C3 032: BD-Ambi Crackle 031: BD-Ambi Off IFX1 031: BD-Ambi Off IFX1 019: BD-Dance 2 019: BD-Dance 2 Off L/R
C#3 065: Sidestick-Dry 185: 88-Rimshot Off L/R 065: Sidestick-Dry Off L/R 285: Timbale Hi-Rim 1 285: Timbale Hi-Rim 1 Off IFX1
D3 093: SD-Chili 093: SD-Chili Off IFX1 095: SD-Whopper Off IFX1 050: SD-Jazz Ring 050: SD-Jazz Ring Off IFX1
D#3 231: Hand Claps-Happy 230: Hand Claps-Hip Off L/R 231: Hand Claps-Happy Off L/R 207: Zap 3 207: Zap 3 Off IFX1
E3 090: SD-AmbiCrackle 3 090: SD-AmbiCrackle 3 Off IFX1 082: SD-Vintage 1 Off IFX1 182: 88-SD 2(Old) 182: 88-SD 2(Old) Off IFX1
F3 117: Tom-Old R&B 117: Tom-Old R&B Off L/R 116: Tom-Dirty Funk 116: Tom-Dirty Funk Off L/R 105: Tom 2-Lo 105: Tom 2-Lo Off IFX1
F#3 134: H.Hat-Crisp Cl 2 134: H.Hat-Crisp Cl 2 1 L/R 147: H.Hat-AmbCrackle 1 L/R 189: 99-HHat Closed 189: 99-HHat Closed 2 L/R
G3 117: Tom-Old R&B 117: Tom-Old R&B Off L/R 116: Tom-Dirty Funk 116: Tom-Dirty Funk Off L/R 115: Tom-Brush Floor 115: Tom-Brush Floor Off IFX1
G#3 119: H.Hat 1-Closed 2 119: H.Hat 1-Closed 2 1 L/R 142: H.Hat-Old Cl 2 1 L/R 188: 88-HHat Open 188: 88-HHat Open 2 L/R
A3 117: Tom-Old R&B 117: Tom-Old R&B Off L/R 116: Tom-Dirty Funk 116: Tom-Dirty Funk Off L/R 198: Real E.Tom 198: Real E.Tom Off IFX1
A#3 135: H.Hat-Crisp Open 123: H.Hat 1-Open 2 1 L/R 135: H.Hat-Crisp Open 1 L/R 292: Triangle-Open 190: 99-HHat Open 2 L/R
B3 137: H.Hat-Vintage 1 137: H.Hat-Vintage 1 Off L/R 117: Tom-Old R&B 117: Tom-Old R&B Off L/R 198: Real E.Tom Off IFX1
C4 147: H.Hat-AmbCrackle 147: H.Hat-AmbCrackle Off L/R 117: Tom-Old R&B 117: Tom-Old R&B Off L/R 111: Tom-Jazz Hi Off IFX1
C#4 153: Crash Cymbal 2 Off L/R 153: Crash Cymbal 2 Off L/R 168: Orch Cym.-Open 154: Crash Cymbal 3 Off IFX1
D4 144: H.Hat-Old Open 144: H.Hat-Old Open Off L/R 117: Tom-Old R&B 117: Tom-Old R&B Off L/R 108: Tom 3-Lo Off IFX1
D#4 162: Ride-Edge 1 162: Ride-Edge 1 Off L/R 162: Ride-Edge 1 Off L/R 164: Ride-Jazz 163: Ride-Edge 2 Off IFX1
E4 396: Noise-FM Mod 393: Cricket Spectrum Off L/R 155: China Cymbal Off L/R 394: Air Vortex 394: Air Vortex Off IFX1
F4 165: Ride-Cup 165: Ride-Cup Off L/R 165: Ride-Cup Off L/R 219: DJ-Record Stop 208: DJ-Scratch 1 Off IFX1
F#4 290: Tambourine-Acc.1 288: Tambourine-Push Off L/R 290: Tambourine-Acc.1 Off L/R 219: DJ-Record Stop 208: DJ-Scratch 1 Off L/R
G4 291: Tambourine-Acc.2 289: Tambourine-Pull Off L/R 156: Splash Cymbal Off L/R 221: DJ-Old Record 221: DJ-Old Record Off L/R
G#4 146: H.Hat-Hip 2 Off L/R 305: Cowbell 1 Off L/R 406: Dist.Slide 1 407: Dist.Slide 2 Off IFX1
A4 152: Crash Cymbal 1 Off L/R 152: Crash Cymbal 1 Off L/R 168: Orch Cym.-Open 168: Orch Cym.-Open Off L/R
A#4 381: MachineGun 381: MachineGun Off L/R 277: Vibraslap Off L/R 155: China Cymbal 154: Crash Cymbal 3 Off IFX1
B4 161: Ride-Dance DDD1 161: Ride-Dance DDD1 Off L/R 163: Ride-Edge 2 163: Ride-Edge 2 Off L/R 309: Sleigh Bell 309: Sleigh Bell Off L/R
C5 245: Bongo Hi-Open 245: Bongo Hi-Open Off L/R 245: Bongo Hi-Open 245: Bongo Hi-Open Off L/R 277: Vibraslap 277: Vibraslap Off IFX1
C#5 242: Bongo Lo-Open 242: Bongo Lo-Open Off L/R 242: Bongo Lo-Open 242: Bongo Lo-Open Off L/R 170: SD-Orch.Roll 1 170: SD-Orch.Roll 1 Off IFX1
D5 237: Conga Hi-MtSlap 241: Conga-Toe Off L/R 237: Conga Hi-MtSlap 241: Conga-Toe Off L/R 305: Cowbell 1 308: Mambo Bell Off IFX1
D#5 235: Conga Hi-Open 235: Conga Hi-Open Off L/R 235: Conga Hi-Open 235: Conga Hi-Open Off L/R 291: Tambourine-Acc.2 302: Caxixi-Hard Off L/R
E5 232: Conga Lo-Open 232: Conga Lo-Open Off L/R 232: Conga Lo-Open 232: Conga Lo-Open Off L/R 390: Space Lore 390: Space Lore Off IFX1
F5 285: Timbale Hi-Rim 1 284: Timbale Hi-Edge Off L/R 285: Timbale Hi-Rim 1 284: Timbale Hi-Edge Off L/R 391: Swish Terra 391: Swish Terra Off IFX1
F#5 281: Timbale Lo-Open 281: Timbale Lo-Open Off L/R 281: Timbale Lo-Open 281: Timbale Lo-Open Off L/R 292: Triangle-Open 292: Triangle-Open Off IFX1
G5 202: Dance Perc-Hip Off L/R 304: Agogo Bell Off L/R 392: Xylophone Spectr 392: Xylophone Spectr Off IFX1
G#5 202: Dance Perc-Hip Off L/R 304: Agogo Bell Off L/R 290: Tambourine-Acc.1 289: Tambourine-Pull Off L/R
A5 299: Cabasa-Up 300: Cabasa-Down Off L/R 299: Cabasa-Up 300: Cabasa-Down Off L/R 319: Cyber Drum 394: Air Vortex Off IFX1
A#5 258: Maracas-Push 258: Maracas-Push Off L/R 258: Maracas-Push 258: Maracas-Push Off L/R 397: Tubular 397: Tubular Off IFX1
B5 045: SD-GhostSet f 045: SD-GhostSet f 9 IFX1 316: Samba Whistle 2 L/R 311: Finger Cymbal 311: Finger Cymbal Off IFX1
C6 044: SD-GhostSet roll 044: SD-GhostSet roll 9 IFX1 316: Samba Whistle 2 L/R 255: Guiro-Long 255: Guiro-Long Off IFX1
C#6 378: Train 2 L/R 256: Guiro-Short 257: Guiro-Tap 3 L/R 199: Vocal SD 199: Vocal SD Off L/R
D6 390: Space Lore 390: Space Lore 3 L/R 255: Guiro-Long 3 L/R 274: Taiko-Open 398: Gamelan Off IFX1
D#6 396: Noise-FM Mod Off L/R 278: Claves Off L/R 224: Band Hit 224: Band Hit Off IFX1
E6 394: Air Vortex Off L/R 279: Woodblock 1 Off L/R 389: Telephone Ring 389: Telephone Ring Off IFX1
F6 393: Cricket Spectrum 393: Cricket Spectrum Off L/R 279: Woodblock 1 Off L/R 358: Footstep 1 359: Footstep 2 Off L/R
F#6 374: Car Engine 4 L/R 295: Cuica-Hi 4 L/R 205: Zap 1 205: Zap 1 Off IFX1
G6 373: Door Slam 4 L/R 296: Cuica-Lo 4 L/R 393: Cricket Spectrum 393: Cricket Spectrum Off IFX1
G#6 293: Triangle-Mute 293: Triangle-Mute 5 L/R 293: Triangle-Mute 293: Triangle-Mute 5 L/R 396: Noise-FM Mod 396: Noise-FM Mod Off L/R
A6 292: Triangle-Open 5 L/R 292: Triangle-Open 5 L/R 395: Noise-White 395: Noise-White Off IFX1
A#6 297: Shaker 1 297: Shaker 1 Off L/R 297: Shaker 1 297: Shaker 1 Off L/R 396: Noise-FM Mod 396: Noise-FM Mod Off L/R
B6 314: Bell Tree Off L/R 312: Marc Tree Off L/R 304: Agogo Bell 304: Agogo Bell Off IFX1
C7 174: 88-BD 2(R&B) 6 L/R 174: 88-BD 2(R&B) 6 L/R 370: GunShot 370: GunShot Off IFX1
C#7 187: 88-HHat Closed 187: 88-HHat Closed 7 L/R 187: 88-HHat Closed 187: 88-HHat Closed 7 L/R 311: Finger Cymbal 312: Marc Tree Off IFX1
D7 181: 88-SD 1(New) 181: 88-SD 1(New) Off L/R 181: 88-SD 1(New) 181: 88-SD 1(New) Off L/R 316: Samba Whistle 316: Samba Whistle 3 IFX1
D#7 188: 88-HHat Open 7 L/R 188: 88-HHat Open 7 L/R 323: Industry Loop 2 320: SD-Metal Striker Off IFX1
E7 191: 88-Crash 191: 88-Crash Off L/R 191: 88-Crash 191: 88-Crash Off L/R 217: DJ-BD Rub 217: DJ-BD Rub Off L/R
F7 195: 88-Cowbell 195: 88-Cowbell Off L/R 195: 88-Cowbell 195: 88-Cowbell Off L/R 318: Industry 318: Industry Off IFX1
F#7 186: 88-Claps Off L/R 186: 88-Claps Off L/R 407: Dist.Slide 2 406: Dist.Slide 1 Off L/R
G7 196: 88-Maraca Off L/R 196: 88-Maraca Off L/R 403: HarpGliss 371: Rainstick Off L/R
G#7 171: SD-Orch.Roll 2 8 L/R 171: SD-Orch.Roll 2 8 L/R 253: Castanet-Dble 1 277: Vibraslap Off L/R
A7 172: SD-Orchestral 172: SD-Orchestral 8 L/R 172: SD-Orchestral 172: SD-Orchestral 8 L/R 219: DJ-Record Stop 220: DJ-Reverse Off L/R
A#7 314: Bell Tree Off L/R 314: Bell Tree Off L/R 209: DJ-Scratch 2 208: DJ-Scratch 1 Off L/R
B7 354: Stadium Off L/R 354: Stadium Off L/R 369: Tribe 369: Tribe Off L/R
C8 355: Applause Off L/R 355: Applause Off L/R 195: 88-Cowbell 195: 88-Cowbell Off IFX1
22 Ex: Exclusive Group, BUS: BUS Select
09: Percussion Kit 10: Orchestra&Ethnic 11: Cymbals Catalog
High Drumsample (ROM) Low Drumsample (ROM) Ex BUS High Drumsample (ROM) Low Drumsample (ROM) Ex BUS High Drumsample (ROM) Low Drumsample (ROM) Ex BUS
A0
A#0
B0
C1 275: Taiko-Rim 274: Taiko-Open Off L/R 222: Orchestra Hit 222: Orchestra Hit Off L/R
C#1 276: Tsuzumi 276: Tsuzumi Off L/R 222: Orchestra Hit 222: Orchestra Hit Off L/R
D1 249: Djembe-Open 249: Djembe-Open Off IFX1 222: Orchestra Hit 222: Orchestra Hit Off L/R
D#1 251: Djembe-Slap 250: Djembe-Mute Off IFX1 222: Orchestra Hit 222: Orchestra Hit Off L/R
E1 261: Baya-Ghe 260: Baya-Open 5 L/R 222: Orchestra Hit 222: Orchestra Hit Off L/R 258: Maracas-Push Off L/R
F1 262: Baya-Mute 1 264: Baya-Mute 3 Off L/R 222: Orchestra Hit 222: Orchestra Hit Off L/R 259: Maracas-Pull Off L/R
F#1 266: Baya-Mute 5 265: Baya-Mute 4 Off L/R 222: Orchestra Hit 222: Orchestra Hit Off L/R 302: Caxixi-Hard Off L/R
G1 268: Tabla-Open 268: Tabla-Open Off L/R 222: Orchestra Hit 222: Orchestra Hit Off L/R 202: Dance Perc-Hip Off L/R
G#1 269: Tabla-Tin 273: Tabla-Mute 4 Off L/R 222: Orchestra Hit 222: Orchestra Hit Off L/R 288: Tambourine-Push 6 L/R
A1 271: Tabla-Mute 2 272: Tabla-Mute 3 Off L/R 222: Orchestra Hit 222: Orchestra Hit Off L/R 289: Tambourine-Pull 6 L/R
A#1 267: Tabla-Na 270: Tabla-Mute 1 6 L/R 222: Orchestra Hit 222: Orchestra Hit Off L/R 290: Tambourine-Acc.1 6 L/R
B1 270: Tabla-Mute 1 271: Tabla-Mute 2 Off L/R 222: Orchestra Hit 222: Orchestra Hit Off L/R 291: Tambourine-Acc.2 6 L/R
C2 166: BD-Orchestral Off L/R 166: BD-Orchestral 166: BD-Orchestral Off L/R 024: BD-Hip 3 024: BD-Hip 3 Off L/R
C#2 369: Tribe Off L/R 170: SD-Orch.Roll 1 170: SD-Orch.Roll 1 1 L/R 125: H.Hat 2-Closed 1 1 L/R
D2 228: Finger Snap Off L/R 172: SD-Orchestral 172: SD-Orchestral Off L/R 093: SD-Chili 093: SD-Chili Off L/R
D#2 229: Hand Claps Off L/R 171: SD-Orch.Roll 2 171: SD-Orch.Roll 2 1 L/R 126: H.Hat 2-Closed 2 1 L/R
E2 293: Triangle-Mute 1 L/R 172: SD-Orchestral 172: SD-Orchestral 1 L/R 118: H.Hat 1-Closed 1 1 L/R
F2 292: Triangle-Open 1 L/R 168: Orch Cym.-Open 168: Orch Cym.-Open 2 L/R 119: H.Hat 1-Closed 2 1 L/R
F#2 254: Castanet-Dble 2 Off IFX1 167: Orch Cym.-Closed 167: Orch Cym.-Closed 2 L/R 130: H.Hat 2-Open 2 1 L/R
G2 252: Castanet-Single Off IFX1 274: Taiko-Open 274: Taiko-Open Off L/R 123: H.Hat 1-Open 2 1 L/R
G#2 253: Castanet-Dble 1 Off IFX1 170: SD-Orch.Roll 1 170: SD-Orch.Roll 1 3 L/R 129: H.Hat 2-Open 1 1 L/R
A2 255: Guiro-Long 2 L/R 172: SD-Orchestral 172: SD-Orchestral Off L/R 122: H.Hat 1-Open 1 1 L/R
A#2 256: Guiro-Short 256: Guiro-Short 2 L/R 171: SD-Orch.Roll 2 171: SD-Orch.Roll 2 3 L/R 131: H.Hat 2-Sizzle 1 L/R
B2 257: Guiro-Tap 2 L/R 172: SD-Orchestral 172: SD-Orchestral 3 L/R 124: H.Hat 1-Sizzle 1 L/R
C3 277: Vibraslap Off IFX1 293: Triangle-Mute 293: Triangle-Mute 4 L/R 120: H.Hat 1-Foot 1 L/R
C#3 278: Claves Off IFX1 294: Triangle-Roll 294: Triangle-Roll 4 L/R 127: H.Hat 2-Foot 1 L/R
D3 194: 88-Clave Off IFX1 292: Triangle-Open 292: Triangle-Open 4 L/R 121: H.Hat 1-FootOpen 1 L/R
D#3 296: Cuica-Lo 3 IFX1 317: Chinese Gong 317: Chinese Gong Off IFX1 128: H.Hat 2-FootOpen 1 L/R
E3 295: Cuica-Hi 3 IFX1 291: Tambourine-Acc.2 291: Tambourine-Acc.2 Off L/R 132: H.Hat-Chili Off L/R
F3 281: Timbale Lo-Open Off IFX1 279: Woodblock 1 279: Woodblock 1 Off IFX1 136: H.Hat-Grange Off L/R
F#3 279: Woodblock 1 Off IFX1 253: Castanet-Dble 1 253: Castanet-Dble 1 Off L/R 133: H.Hat-Crisp Cl 1 Off L/R
G3 283: Timbale Lo-Rim Off IFX1 279: Woodblock 1 279: Woodblock 1 Off IFX1 137: H.Hat-Vintage 1 Off L/R
G#3 279: Woodblock 1 Off IFX1 254: Castanet-Dble 2 254: Castanet-Dble 2 Off L/R 134: H.Hat-Crisp Cl 2 3 L/R
A3 282: Timbale Lo-Mute Off IFX1 279: Woodblock 1 279: Woodblock 1 Off IFX1 138: H.Hat-Vintage 2 Off L/R
A#3 201: Vocal Woodblock Off IFX1 252: Castanet-Single 252: Castanet-Single Off L/R 135: H.Hat-Crisp Open 3 L/R
B3 284: Timbale Hi-Edge Off IFX1 279: Woodblock 1 279: Woodblock 1 Off IFX1 139: H.Hat-Tight 1 Off L/R
C4 286: Timbale Hi-Rim 2 Off IFX1 279: Woodblock 1 279: Woodblock 1 Off IFX1 140: H.Hat-Tight 2 3 L/R
C#4 307: Chacha Bell Off IFX1 169: Timpani 169: Timpani Off L/R 144: H.Hat-Old Open 3 L/R
D4 285: Timbale Hi-Rim 1 Off IFX1 169: Timpani 169: Timpani Off L/R 141: H.Hat-Old Cl 1 Off L/R
D#4 308: Mambo Bell Off IFX1 169: Timpani 169: Timpani Off L/R 149: H.Hat-ClangyOpen 3 L/R
E4 287: Timbale-Paila Off IFX1 169: Timpani 169: Timpani Off L/R 142: H.Hat-Old Cl 2 Off L/R
F4 242: Bongo Lo-Open Off L/R 249: Djembe-Open 249: Djembe-Open Off IFX1 143: H.Hat-Old Cl 3 Off L/R
F#4 305: Cowbell 1 Off L/R 250: Djembe-Mute 250: Djembe-Mute Off IFX1 151: H.Hat-Alpo Close Off L/R
G4 243: Bongo Lo-Slap Off L/R 251: Djembe-Slap 251: Djembe-Slap Off IFX1 147: H.Hat-AmbCrackle Off L/R
G#4 306: Cowbell 2 Off L/R 302: Caxixi-Hard 303: Caxixi-Soft Off L/R 150: H.Hat-Whispy Off L/R
A4 245: Bongo Hi-Open Off L/R 309: Sleigh Bell 309: Sleigh Bell Off IFX1 148: H.Hat-Ambi Off L/R
A#4 200: Vocal Cowbell Off L/R 299: Cabasa-Up 300: Cabasa-Down Off L/R 146: H.Hat-Hip 2 Off L/R
B4 246: Bongo Hi-Slap 246: Bongo Hi-Slap Off L/R 311: Finger Cymbal 311: Finger Cymbal Off L/R 145: H.Hat-Hip 1 Off L/R
C5 232: Conga Lo-Open 232: Conga Lo-Open Off L/R 261: Baya-Ghe 261: Baya-Ghe Off IFX1 189: 99-HHat Closed 4 L/R
C#5 234: Conga Lo-Slap Off L/R 260: Baya-Open 260: Baya-Open Off IFX1 309: Sleigh Bell Off L/R
D5 233: Conga Lo-MtSlap Off L/R 262: Baya-Mute 1 262: Baya-Mute 1 Off IFX1 190: 99-HHat Open 4 L/R
D#5 237: Conga Hi-MtSlap Off L/R 263: Baya-Mute 2 263: Baya-Mute 2 Off IFX1 310: Rap Sleighbell Off L/R
E5 235: Conga Hi-Open 235: Conga Hi-Open Off L/R 264: Baya-Mute 3 264: Baya-Mute 3 Off IFX1 187: 88-HHat Closed 5 L/R
F5 236: Conga Hi-Mute Off L/R 265: Baya-Mute 4 265: Baya-Mute 4 Off IFX1 188: 88-HHat Open 5 L/R
F#5 240: Conga-Heel Off L/R 266: Baya-Mute 5 266: Baya-Mute 5 Off IFX1 154: Crash Cymbal 3 Off L/R
G5 238: Conga Hi-Slap 1 Off L/R 267: Tabla-Na 267: Tabla-Na Off IFX1 191: 88-Crash Off L/R
G#5 241: Conga-Toe Off L/R 268: Tabla-Open 268: Tabla-Open Off IFX1 152: Crash Cymbal 1 Off L/R
A5 239: Conga Hi-Slap 2 Off L/R 269: Tabla-Tin 269: Tabla-Tin Off IFX1 155: China Cymbal Off L/R
A#5 304: Agogo Bell Off IFX1 270: Tabla-Mute 1 270: Tabla-Mute 1 Off IFX1 153: Crash Cymbal 2 Off L/R
B5 304: Agogo Bell Off IFX1 271: Tabla-Mute 2 271: Tabla-Mute 2 Off IFX1 156: Splash Cymbal Off L/R
C6 259: Maracas-Pull 258: Maracas-Push Off IFX1 272: Tabla-Mute 3 272: Tabla-Mute 3 Off IFX1 160: Ride-Dance 99 Off L/R
C#6 297: Shaker 1 297: Shaker 1 Off L/R 273: Tabla-Mute 4 273: Tabla-Mute 4 Off IFX1 158: Crash-Dance 99 Off L/R
D6 298: Shaker 2 298: Shaker 2 Off L/R 274: Taiko-Open 274: Taiko-Open Off IFX1 161: Ride-Dance DDD1 Off L/R
D#6 301: Cabasa-Tap 300: Cabasa-Down Off L/R 276: Tsuzumi Off IFX1 159: Crash-Dance DDD1 Off L/R
E6 301: Cabasa-Tap 299: Cabasa-Up Off L/R 275: Taiko-Rim 275: Taiko-Rim Off IFX1 162: Ride-Edge 1 Off L/R
F6 302: Caxixi-Hard 303: Caxixi-Soft Off L/R 232: Conga Lo-Open Off IFX1 163: Ride-Edge 2 Off L/R
F#6 288: Tambourine-Push Off L/R 233: Conga Lo-MtSlap 239: Conga Hi-Slap 2 Off IFX1 164: Ride-Jazz Off L/R
G6 290: Tambourine-Acc.1 290: Tambourine-Acc.1 Off L/R 236: Conga Hi-Mute 246: Bongo Hi-Slap Off IFX1 165: Ride-Cup Off L/R
G#6 289: Tambourine-Pull Off L/R 238: Conga Hi-Slap 1 Off IFX1 157: Cymbal Reverse Off L/R
A6 291: Tambourine-Acc.2 291: Tambourine-Acc.2 Off IFX1 399: Tambura 399: Tambura Off L/R 156: Splash Cymbal Off L/R
A#6 309: Sleigh Bell 309: Sleigh Bell Off L/R 371: Rainstick 371: Rainstick Off L/R 158: Crash-Dance 99 Off L/R
B6 316: Samba Whistle 4 L/R 403: HarpGliss 403: HarpGliss Off L/R 160: Ride-Dance 99 Off L/R
C7 316: Samba Whistle 4 L/R 371: Rainstick 371: Rainstick Off L/R 165: Ride-Cup Off L/R
C#7 314: Bell Tree Off L/R 000: BD-Dry 1 000: BD-Dry 1 Off IFX1 190: 99-HHat Open Off L/R
D7 316: Samba Whistle 4 L/R 000: BD-Dry 1 000: BD-Dry 1 Off L/R 142: H.Hat-Old Cl 2 Off L/R
D#7 312: Marc Tree Off L/R 398: Gamelan 398: Gamelan Off L/R 143: H.Hat-Old Cl 3 Off L/R
E7 316: Samba Whistle 4 L/R 398: Gamelan 398: Gamelan Off L/R 134: H.Hat-Crisp Cl 2 Off L/R
F7 310: Rap Sleighbell 310: Rap Sleighbell Off L/R 361: Bird 1 361: Bird 1 11 L/R 189: 99-HHat Closed Off L/R
F#7 371: Rainstick Off L/R 393: Cricket Spectrum Off L/R 125: H.Hat 2-Closed 1 Off L/R
G7 317: Chinese Gong Off L/R 369: Tribe 369: Tribe Off L/R 187: 88-HHat Closed Off L/R
G#7 361: Bird 1 Off L/R 000: BD-Dry 1 000: BD-Dry 1 Off L/R
A7 362: Bird 2 Off L/R 398: Gamelan 398: Gamelan Off L/R
A#7 361: Bird 1 Off L/R 398: Gamelan Off L/R
B7 393: Cricket Spectrum Off L/R 398: Gamelan 398: Gamelan Off L/R
C8 312: Marc Tree Off L/R 398: Gamelan 398: Gamelan Off L/R

Ex: Exclusive Group, BUS: BUS Select 23


12: BD&SD Catalog 1 13: BD&SD Catalog 2 14: 01/W Total Kit
High Drumsample (ROM) Low Drumsample (ROM) Ex BUS High Drumsample (ROM) Low Drumsample (ROM) Ex BUS High Drumsample (ROM) Low Drumsample (ROM) Ex BUS
A0 311: Finger Cymbal Off IFX1
A#0 295: Cuica-Hi 296: Cuica-Lo Off IFX1
B0 291: Tambourine-Acc.2 Off IFX1
C1 275: Taiko-Rim 274: Taiko-Open Off IFX1
C#1 252: Castanet-Single 253: Castanet-Dble 1 Off IFX1
D1 249: Djembe-Open 249: Djembe-Open Off IFX1
D#1 251: Djembe-Slap 250: Djembe-Mute Off IFX1
E1 261: Baya-Ghe 260: Baya-Open 8 IFX1
F1 262: Baya-Mute 1 264: Baya-Mute 3 Off IFX1
F#1 266: Baya-Mute 5 265: Baya-Mute 4 Off IFX1
G1 263: Baya-Mute 2 264: Baya-Mute 3 Off IFX1
G#1 269: Tabla-Tin 273: Tabla-Mute 4 Off IFX1
A1 013: BD-Terminator 013: BD-Terminator Off IFX1
A#1 064: SD-Cracker Room 073: SD-Reverse 9 IFX1
B1 009: BD-Jazz 2 Off IFX1
C2 000: BD-Dry 1 000: BD-Dry 1 Off IFX1 005: BD-Dry 6 005: BD-Dry 6 Off IFX1 011: BD-Woofer 011: BD-Woofer Off IFX1
C#2 001: BD-Dry 2 001: BD-Dry 2 Off IFX1 018: BD-Dance 1 018: BD-Dance 1 Off IFX1 010: BD-Pillow 010: BD-Pillow Off IFX1
D2 002: BD-Dry 3 002: BD-Dry 3 Off IFX1 019: BD-Dance 2 019: BD-Dance 2 Off IFX1 012: BD-Mondo Kill 012: BD-Mondo Kill Off IFX1
D#2 003: BD-Dry 4 003: BD-Dry 4 Off IFX1 178: 99-BD 3 178: 99-BD 3 Off IFX1 177: 99-BD 2 177: 99-BD 2 Off IFX1
E2 004: BD-Dry 5 004: BD-Dry 5 Off IFX1 021: BD-Dance 4 021: BD-Dance 4 Off IFX1 174: 88-BD 2(R&B) 173: 88-BD 1(Rap) 10 IFX1
F2 006: BD-Soft 006: BD-Soft Off IFX1 022: BD-Hip 1 022: BD-Hip 1 Off IFX1 048: SD-Full Room 048: SD-Full Room Off IFX1
F#2 007: BD-Soft Room 007: BD-Soft Room Off IFX1 023: BD-Hip 2 023: BD-Hip 2 Off IFX1 072: SD-Sizzle Off IFX1
G2 008: BD-Jazz 1 008: BD-Jazz 1 Off IFX1 024: BD-Hip 3 024: BD-Hip 3 Off IFX1 059: SD-Atomic 059: SD-Atomic Off IFX1
G#2 009: BD-Jazz 2 009: BD-Jazz 2 Off IFX1 025: BD-Hip 4 025: BD-Hip 4 Off IFX1 055: SD-Brush Hit 056: SD-Brush Tap 1 Off IFX1
A2 010: BD-Pillow 010: BD-Pillow Off IFX1 027: BD-Pop 027: BD-Pop Off IFX1 183: 99-SD 1 183: 99-SD 1 Off IFX1
A#2 011: BD-Woofer 011: BD-Woofer Off IFX1 029: BD-Short88 029: BD-Short88 Off IFX1 066: Sidestick-Amb 066: Sidestick-Amb Off IFX1
B2 012: BD-Mondo Kill 012: BD-Mondo Kill Off IFX1 030: BD-Dance99 030: BD-Dance99 Off IFX1 182: 88-SD 2(Old) 181: 88-SD 1(New) Off IFX1
C3 013: BD-Terminator 013: BD-Terminator Off IFX1 031: BD-Ambi 031: BD-Ambi Off IFX1 103: Tom 1-Floor 103: Tom 1-Floor Off IFX1
C#3 014: BD-Tubby 014: BD-Tubby Off IFX1 032: BD-Ambi Crackle 032: BD-Ambi Crackle Off IFX1 110: Tom-Processed 110: Tom-Processed Off IFX1
D3 015: BD-Gated 015: BD-Gated Off IFX1 033: BD-Ambi Soft 033: BD-Ambi Soft Off IFX1 101: Tom 1-Hi 101: Tom 1-Hi Off IFX1
D#3 016: BD-Tight 016: BD-Tight Off IFX1 035: BD-AmbiRocker 035: BD-AmbiRocker Off IFX1 110: Tom-Processed 110: Tom-Processed Off IFX1
E3 017: BD-Squash 017: BD-Squash Off IFX1 036: BD-Chili 036: BD-Chili Off IFX1 101: Tom 1-Hi 101: Tom 1-Hi Off IFX1
F3 020: BD-Dance 3 020: BD-Dance 3 Off IFX1 180: 99-BD 5 180: 99-BD 5 Off IFX1 119: H.Hat 1-Closed 2 118: H.Hat 1-Closed 1 1 IFX1
F#3 026: BD-Dark 026: BD-Dark Off IFX1 175: 88-BD 3 175: 88-BD 3 Off IFX1 110: Tom-Processed 110: Tom-Processed Off IFX1
G3 028: BD-Ringy 028: BD-Ringy Off IFX1 038: BD-Cannon 038: BD-Cannon Off IFX1 123: H.Hat 1-Open 2 119: H.Hat 1-Closed 2 1 IFX1
G#3 034: BD-Dance Soft 034: BD-Dance Soft Off IFX1 039: BD-Klanger 039: BD-Klanger Off IFX1 188: 88-HHat Open 187: 88-HHat Closed 2 IFX1
A3 037: BD-PhatJaz 037: BD-PhatJaz Off IFX1 173: 88-BD 1(Rap) 173: 88-BD 1(Rap) Off IFX1 122: H.Hat 1-Open 1 1 IFX1
A#3 166: BD-Orchestral 166: BD-Orchestral Off IFX1 174: 88-BD 2(R&B) 174: 88-BD 2(R&B) Off IFX1 190: 99-HHat Open Off IFX1
B3 040: SD-Dry 1 040: SD-Dry 1 Off IFX1 176: 99-BD 1 176: 99-BD 1 Off IFX1 121: H.Hat 1-FootOpen 120: H.Hat 1-Foot 1 IFX1
C4 041: SD-Dry 2 041: SD-Dry 2 Off IFX1 177: 99-BD 2 177: 99-BD 2 Off IFX1 152: Crash Cymbal 1 Off IFX1
C#4 042: SD-Dry 3 042: SD-Dry 3 Off IFX1 179: 99-BD 4 179: 99-BD 4 Off IFX1 153: Crash Cymbal 2 Off IFX1
D4 043: SD-Normal 043: SD-Normal Off IFX1 067: SD-Amb.House 067: SD-Amb.House Off IFX1 155: China Cymbal Off IFX1
D#4 044: SD-GhostSet roll 044: SD-GhostSet roll Off IFX1 068: SD-Dance 068: SD-Dance Off IFX1 163: Ride-Edge 2 163: Ride-Edge 2 Off IFX1
E4 047: SD-GhostSet p2 047: SD-GhostSet p2 Off IFX1 069: SD-Rap 1 069: SD-Rap 1 Off IFX1 165: Ride-Cup Off IFX1
F4 046: SD-GhostSet p1 046: SD-GhostSet p1 Off IFX1 070: SD-Rap 2 070: SD-Rap 2 Off IFX1 297: Shaker 1 298: Shaker 2 Off IFX1
F#4 045: SD-GhostSet f 045: SD-GhostSet f Off IFX1 071: SD-Noise 071: SD-Noise Off IFX1 290: Tambourine-Acc.1 288: Tambourine-Push Off IFX1
G4 048: SD-Full Room 048: SD-Full Room Off IFX1 072: SD-Sizzle 072: SD-Sizzle Off IFX1 299: Cabasa-Up 300: Cabasa-Down Off IFX1
G#4 049: SD-Off Center 049: SD-Off Center Off IFX1 074: SD-Hip 1 074: SD-Hip 1 Off IFX1 293: Triangle-Mute 3 IFX1
A4 050: SD-Jazz Ring 050: SD-Jazz Ring Off IFX1 075: SD-Hip 2 075: SD-Hip 2 Off IFX1 292: Triangle-Open 3 IFX1
A#4 051: SD-Amb.Piccolo 1 051: SD-Amb.Piccolo 1 Off IFX1 076: SD-Hip 3 076: SD-Hip 3 Off IFX1 286: Timbale Hi-Rim 2 284: Timbale Hi-Edge Off IFX1
B4 052: SD-Amb.Piccolo 2 052: SD-Amb.Piccolo 2 Off IFX1 077: SD-Hip 4 077: SD-Hip 4 Off IFX1 281: Timbale Lo-Open 281: Timbale Lo-Open Off IFX1
C5 053: SD-Paper 053: SD-Paper Off IFX1 079: SD-Hip 6 079: SD-Hip 6 Off IFX1 242: Bongo Lo-Open 242: Bongo Lo-Open Off IFX1
C#5 054: SD-Classic Room 054: SD-Classic Room Off IFX1 080: SD-Ringy 080: SD-Ringy Off IFX1 246: Bongo Hi-Slap 245: Bongo Hi-Open Off IFX1
D5 055: SD-Brush Hit 055: SD-Brush Hit Off IFX1 081: SD-Tiny 081: SD-Tiny Off IFX1 232: Conga Lo-Open 232: Conga Lo-Open Off IFX1
D#5 056: SD-Brush Tap 1 056: SD-Brush Tap 1 Off IFX1 082: SD-Vintage 1 082: SD-Vintage 1 Off IFX1 235: Conga Hi-Open 235: Conga Hi-Open Off IFX1
E5 057: SD-Brush Tap 2 057: SD-Brush Tap 2 Off IFX1 083: SD-Vintage 2 083: SD-Vintage 2 Off IFX1 237: Conga Hi-MtSlap 241: Conga-Toe Off IFX1
F5 058: SD-Brush Swirl 058: SD-Brush Swirl Off IFX1 084: SD-Vintage 3 084: SD-Vintage 3 Off IFX1 305: Cowbell 1 Off IFX1
F#5 059: SD-Atomic 059: SD-Atomic Off IFX1 085: SD-Vintage 4 085: SD-Vintage 4 Off IFX1 229: Hand Claps Off IFX1
G5 060: SD-Big Rock 060: SD-Big Rock Off IFX1 086: SD-Vintage 5 086: SD-Vintage 5 Off IFX1 166: BD-Orchestral Off IFX1
G#5 061: SD-Yowie 061: SD-Yowie Off IFX1 087: SD-Vintage 6 087: SD-Vintage 6 Off IFX1 73: SD-Reverse 4 IFX1
A5 062: SD-Processed 1 062: SD-Processed 1 Off IFX1 088: SD-AmbiCrackle 1 088: SD-AmbiCrackle 1 Off IFX1 61: SD-Yowie 4 IFX1
A#5 063: SD-Processed 2 063: SD-Processed 2 Off IFX1 089: SD-AmbiCrackle 2 089: SD-AmbiCrackle 2 Off IFX1 171: SD-Orch.Roll 2 170: SD-Orch.Roll 1 5 IFX1
B5 064: SD-Cracker Room 064: SD-Cracker Room Off IFX1 090: SD-AmbiCrackle 3 090: SD-AmbiCrackle 3 Off IFX1 172: SD-Orchestral 172: SD-Orchestral 5 IFX1
C6 170: SD-Orch.Roll 1 170: SD-Orch.Roll 1 Off IFX1 092: SD-Brasser 092: SD-Brasser Off IFX1 168: Orch Cym.-Open 167: Orch Cym.-Closed 6 IFX1
C#6 065: Sidestick-Dry 065: Sidestick-Dry Off IFX1 093: SD-Chili 093: SD-Chili Off IFX1 309: Sleigh Bell Off IFX1
D6 171: SD-Orch.Roll 2 171: SD-Orch.Roll 2 Off IFX1 094: SD-Klanger 094: SD-Klanger Off IFX1 217: DJ-BD Rub 218: DJ-SD Rub 7 IFX1
D#6 152: Crash Cymbal 1 152: Crash Cymbal 1 Off L/R 096: SD-Dry Present 096: SD-Dry Present Off IFX1 219: DJ-Record Stop 220: DJ-Reverse 7 IFX1
E6 172: SD-Orchestral 172: SD-Orchestral Off IFX1 098: SD-Ambi Hit 1 098: SD-Ambi Hit 1 Off IFX1 221: DJ-Old Record 7 IFX1
F6 073: SD-Reverse 073: SD-Reverse Off IFX1 099: SD-Ambi Hit 2 099: SD-Ambi Hit 2 Off IFX1 391: Swish Terra 318: Industry Off IFX1
F#6 118: H.Hat 1-Closed 1 118: H.Hat 1-Closed 1 1 L/R 187: 88-HHat Closed 187: 88-HHat Closed 1 L/R 222: Orchestra Hit 222: Orchestra Hit Off IFX1
G6 078: SD-Hip 5 078: SD-Hip 5 Off IFX1 100: SD-Ambi Hit 3 100: SD-Ambi Hit 3 Off IFX1 223: Pizz Hit 223: Pizz Hit Off IFX1
G#6 120: H.Hat 1-Foot 120: H.Hat 1-Foot 1 L/R 189: 99-HHat Closed 189: 99-HHat Closed 1 L/R 224: Band Hit 224: Band Hit Off IFX1
A6 091: SD-AmbiHop 091: SD-AmbiHop Off IFX1 181: 88-SD 1(New) 181: 88-SD 1(New) Off IFX1 396: Noise-FM Mod 394: Air Vortex Off IFX1
A#6 122: H.Hat 1-Open 1 122: H.Hat 1-Open 1 1 L/R 190: 99-HHat Open 190: 99-HHat Open 1 L/R 317: Chinese Gong Off IFX1
B6 095: SD-Whopper 095: SD-Whopper Off IFX1 182: 88-SD 2(Old) 182: 88-SD 2(Old) Off IFX1 314: Bell Tree Off IFX1
C7 097: SD-Ambi Pop 097: SD-Ambi Pop Off IFX1 183: 99-SD 1 183: 99-SD 1 Off IFX1 312: Marc Tree 312: Marc Tree Off IFX1
C#7 184: 99-SD 2 184: 99-SD 2 Off IFX1 354: Stadium Off IFX1
D7 199: Vocal SD 199: Vocal SD Off IFX1 355: Applause Off IFX1
D#7 389: Telephone Ring 315: Flexatone 11 IFX1
E7 358: Footstep 1 358: Footstep 1 Off IFX1
F7 359: Footstep 2 359: Footstep 2 Off IFX1
F#7 369: Tribe Off IFX1
G7 361: Bird 1 361: Bird 1 Off IFX1
G#7 362: Bird 2 362: Bird 2 Off IFX1
A7 319: Cyber Drum 319: Cyber Drum Off IFX1
A#7 395: Noise-White 370: GunShot Off IFX1
B7 393: Cricket Spectrum 393: Cricket Spectrum Off IFX1
C8 390: Space Lore 390: Space Lore Off IFX1
24 Ex: Exclusive Group, BUS: BUS Select
15:Trance/GarageKit
High Drumsample (ROM) Low Drumsample (ROM) Ex BUS
A0
A#0
B0
C1 338: Four... Solo Off L/R
C#1 325: Yea Solo Off L/R
D1 339: Three... Solo Off L/R
D#1 326: Year solo Off L/R
E1 340: Two... Solo Off L/R
F1 341: One... Solo Off L/R
F#1 329: Uhhhh Solo Off L/R
G1 207: Zap 3 Off L/R
G#1 228: Finger Snap Off L/R
A1 206: Zap 2 Off L/R
A#1 157: Cymbal Reverse Off L/R
B1 157: Cymbal Reverse Off L/R
C2 178: 99-BD 3 Off L/R
C#2 012: BD-Mondo Kill Off L/R
D2 178: 99-BD 3 Off IFX1
D#2 017: BD-Squash Off L/R
E2 021: BD-Dance 4 Off L/R
F2 048: SD-Full Room Off L/R
F#2 064: SD-Cracker Room Off L/R
G2 078: SD-Hip 5 Off L/R
G#2 085: SD-Vintage 4 Off L/R
A2 099: SD-Ambi Hit 2 Off L/R
A#2 081: SD-Tiny Off L/R
B2 180: 99-BD 5 Off L/R
C3 178: 99-BD 3 Off L/R
C#3 203: Dance Perc-Hous1 Off L/R
D3 183: 99-SD 1 Off L/R
D#3 186: 88-Claps Off L/R
E3 184: 99-SD 2 Off L/R
F3 198: Real E.Tom Off L/R
F#3 189: 99-HHat Closed Off L/R
G3 198: Real E.Tom Off L/R
G#3 135: H.Hat-Crisp Open Off L/R
A3 198: Real E.Tom Off L/R
A#3 190: 99-HHat Open Off L/R
B3 198: Real E.Tom Off L/R
C4 198: Real E.Tom Off L/R
C#4 158: Crash-Dance 99 Off L/R
D4 198: Real E.Tom Off L/R
D#4 160: Ride-Dance 99 Off L/R
E4 153: Crash Cymbal 2 Off L/R
F4 070: SD-Rap 2 Off L/R
F#4 288: Tambourine-Push 1 L/R
G4 087: SD-Vintage 6 Off L/R
G#4 289: Tambourine-Pull 1 L/R
A4 069: SD-Rap 1 Off L/R
A#4 290: Tambourine-Acc.1 1 L/R
B4 291: Tambourine-Acc.2 1 L/R
C5 245: Bongo Hi-Open Off L/R
C#5 242: Bongo Lo-Open Off L/R
D5 237: Conga Hi-MtSlap Off L/R
D#5 235: Conga Hi-Open Off L/R
E5 232: Conga Lo-Open Off L/R
F5 233: Conga Lo-MtSlap Off L/R
F#5 234: Conga Lo-Slap Off L/R
G5 233: Conga Lo-MtSlap Off L/R
G#5 239: Conga Hi-Slap 2 Off L/R
A5 238: Conga Hi-Slap 1 Off L/R
A#5 243: Bongo Lo-Slap Off L/R
B5 246: Bongo Hi-Slap Off L/R
C6 220: DJ-Reverse Off L/R
C#6 215: DJ-1c Vocal Rub Off L/R
D6 214: DJ-Hit Rub Off L/R
D#6 219: DJ-Record Stop Off L/R
E6 216: DJ-1c Vocal Rub Off L/R
F6 212: DJ-Scratch 3c Off L/R
F#6 218: DJ-SD Rub Off L/R
G6 217: DJ-BD Rub Off L/R
G#6 293: Triangle-Mute Off L/R
A6 292: Triangle-Open Off L/R
A#6 230: Hand Claps-Hip Off L/R
B6 312: Marc Tree Off L/R
C7 174: 88-BD 2(R&B) Off L/R
C#7 187: 88-HHat Closed Off L/R
D7 182: 88-SD 2(Old) Off L/R
D#7 188: 88-HHat Open Off L/R
E7 191: 88-Crash Off L/R
F7 195: 88-Cowbell Off L/R
F#7 186: 88-Claps Off L/R
G7 196: 88-Maraca Off L/R
G#7 185: 88-Rimshot Off L/R
A7 181: 88-SD 1(New) Off L/R
A#7 194: 88-Clave Off L/R
B7 354: Stadium Off L/R
C8 311: Finger Cymbal Off L/R

Ex: Exclusive Group, BUS: BUS Select 25


GM Drum kits
00: STANDARD 01: ROOM 02: POWER 03: ELECTRONIC 04: ANALOG
Drumsample (ROM) Ex BUS Drumsample (ROM) Ex BUS Drumsample (ROM) Ex BUS Drumsample (ROM) Ex BUS Drumsample (ROM) Ex BUS
C1 172: SD-Orchestral 7 L/R 172: SD-Orchestral 7 L/R 172: SD-Orchestral 7 L/R 172: SD-Orchestral 7 L/R 172: SD-Orchestral 7 L/R
C#1 171: SD-Orch.Roll 2 7 L/R 171: SD-Orch.Roll 2 7 L/R 171: SD-Orch.Roll 2 7 L/R 171: SD-Orch.Roll 2 7 L/R 171: SD-Orch.Roll 2 7 L/R
D1 228: Finger Snap Off L/R 228: Finger Snap Off L/R 228: Finger Snap Off L/R 228: Finger Snap Off L/R 228: Finger Snap Off L/R
D#1 206: Zap 2 Off L/R 206: Zap 2 Off L/R 206: Zap 2 Off L/R 206: Zap 2 Off L/R 206: Zap 2 Off L/R
E1 395: Noise-White Off L/R 395: Noise-White Off L/R 395: Noise-White Off L/R 395: Noise-White Off L/R 395: Noise-White Off L/R
F1 209: DJ-Scratch 2 Off L/R 209: DJ-Scratch 2 Off L/R 209: DJ-Scratch 2 Off L/R 209: DJ-Scratch 2 Off L/R 209: DJ-Scratch 2 Off L/R
F#1 209: DJ-Scratch 2 Off L/R 209: DJ-Scratch 2 Off L/R 209: DJ-Scratch 2 Off L/R 209: DJ-Scratch 2 Off L/R 209: DJ-Scratch 2 Off L/R
G1 227: Drumstick Hit Off L/R 227: Drumstick Hit Off L/R 227: Drumstick Hit Off L/R 227: Drumstick Hit Off L/R 227: Drumstick Hit Off L/R
G#1 205: Zap 1 Off L/R 205: Zap 1 Off L/R 205: Zap 1 Off L/R 205: Zap 1 Off L/R 205: Zap 1 Off L/R
A1 360: Click Off L/R 360: Click Off L/R 360: Click Off L/R 360: Click Off L/R 360: Click Off L/R
A#1 292: Triangle-Open Off L/R 292: Triangle-Open Off L/R 292: Triangle-Open Off L/R 292: Triangle-Open Off L/R 292: Triangle-Open Off L/R
B1 016: BD-Tight Off L/R 001: BD-Dry 2 Off L/R 015: BD-Gated Off L/R 022: BD-Hip 1 Off L/R 174: 88-BD 2(R&B) Off L/R
C2 002: BD-Dry 3 Off L/R 002: BD-Dry 3 Off L/R 012: BD-Mondo Kill Off L/R 030: BD-Dance99 Off L/R 176: 99-BD 1 Off L/R
C#2 066: Sidestick-Amb Off L/R 066: Sidestick-Amb Off L/R 066: Sidestick-Amb Off L/R 066: Sidestick-Amb Off L/R 185: 88-Rimshot Off L/R
D2 048: SD-Full Room Off L/R 061: SD-Yowie Off L/R 060: SD-Big Rock Off L/R 198: Real E.Tom Off L/R 181: 88-SD 1(New) Off L/R
D#2 186: 88-Claps Off L/R 186: 88-Claps Off L/R 186: 88-Claps Off L/R 186: 88-Claps Off L/R 186: 88-Claps Off L/R
E2 048: SD-Full Room Off L/R 061: SD-Yowie Off L/R 060: SD-Big Rock Off L/R 098: SD-Ambi Hit 1 Off L/R 182: 88-SD 2(Old) Off L/R
F2 106: Tom 2-Floor Off L/R 109: Tom 3-Floor Off L/R 109: Tom 3-Floor Off L/R 198: Real E.Tom Off L/R 192: 88-Tom Off L/R
F#2 123: H.Hat 1-Open 2 1 L/R 123: H.Hat 1-Open 2 1 L/R 123: H.Hat 1-Open 2 1 L/R 131: H.Hat 2-Sizzle 1 L/R 188: 88-HHat Open 1 L/R
G2 106: Tom 2-Floor Off L/R 109: Tom 3-Floor Off L/R 109: Tom 3-Floor Off L/R 198: Real E.Tom Off L/R 192: 88-Tom Off L/R
G#2 127: H.Hat 2-Foot 1 L/R 127: H.Hat 2-Foot 1 L/R 127: H.Hat 2-Foot 1 L/R 127: H.Hat 2-Foot 1 L/R 188: 88-HHat Open 1 L/R
A2 105: Tom 2-Lo Off L/R 108: Tom 3-Lo Off L/R 108: Tom 3-Lo Off L/R 198: Real E.Tom Off L/R 192: 88-Tom Off L/R
A#2 130: H.Hat 2-Open 2 1 L/R 130: H.Hat 2-Open 2 1 L/R 130: H.Hat 2-Open 2 1 L/R 131: H.Hat 2-Sizzle 1 L/R 188: 88-HHat Open 1 L/R
B2 105: Tom 2-Lo Off L/R 108: Tom 3-Lo Off L/R 108: Tom 3-Lo Off L/R 198: Real E.Tom Off L/R 192: 88-Tom Off L/R
C3 104: Tom 2-Hi Off L/R 107: Tom 3-Hi Off L/R 107: Tom 3-Hi Off L/R 198: Real E.Tom Off L/R 192: 88-Tom Off L/R
C#3 153: Crash Cymbal 2 Off L/R 153: Crash Cymbal 2 Off L/R 153: Crash Cymbal 2 Off L/R 153: Crash Cymbal 2 Off L/R 160: Ride-Dance 99 Off L/R
D3 104: Tom 2-Hi Off L/R 107: Tom 3-Hi Off L/R 107: Tom 3-Hi Off L/R 198: Real E.Tom Off L/R 192: 88-Tom Off L/R
D#3 162: Ride-Edge 1 Off L/R 162: Ride-Edge 1 Off L/R 162: Ride-Edge 1 Off L/R 162: Ride-Edge 1 Off L/R 191: 88-Crash Off L/R
E3 155: China Cymbal Off L/R 155: China Cymbal Off L/R 155: China Cymbal Off L/R 152: Crash Cymbal 1 Off L/R 155: China Cymbal Off L/R
F3 164: Ride-Jazz Off L/R 164: Ride-Jazz Off L/R 164: Ride-Jazz Off L/R 164: Ride-Jazz Off L/R 164: Ride-Jazz Off L/R
F#3 291: Tambourine-Acc.2 Off L/R 291: Tambourine-Acc.2 Off L/R 291: Tambourine-Acc.2 Off L/R 291: Tambourine-Acc.2 Off L/R 291: Tambourine-Acc.2 Off L/R
G3 155: China Cymbal Off L/R 155: China Cymbal Off L/R 155: China Cymbal Off L/R 155: China Cymbal Off L/R 155: China Cymbal Off L/R
G#3 306: Cowbell 2 Off L/R 306: Cowbell 2 Off L/R 306: Cowbell 2 Off L/R 306: Cowbell 2 Off L/R 195: 88-Cowbell Off L/R
A3 153: Crash Cymbal 2 Off L/R 153: Crash Cymbal 2 Off L/R 153: Crash Cymbal 2 Off L/R 153: Crash Cymbal 2 Off L/R 153: Crash Cymbal 2 Off L/R
A#3 277: Vibraslap Off L/R 277: Vibraslap Off L/R 277: Vibraslap Off L/R 277: Vibraslap Off L/R 277: Vibraslap Off L/R
B3 161: Ride-Dance DDD1 Off L/R 161: Ride-Dance DDD1 Off L/R 161: Ride-Dance DDD1 Off L/R 161: Ride-Dance DDD1 Off L/R 161: Ride-Dance DDD1 Off L/R
C4 245: Bongo Hi-Open Off L/R 245: Bongo Hi-Open Off L/R 245: Bongo Hi-Open Off L/R 245: Bongo Hi-Open Off L/R 193: 88-Conga Off L/R
C#4 242: Bongo Lo-Open Off L/R 242: Bongo Lo-Open Off L/R 242: Bongo Lo-Open Off L/R 242: Bongo Lo-Open Off L/R 193: 88-Conga Off L/R
D4 237: Conga Hi-MtSlap Off L/R 237: Conga Hi-MtSlap Off L/R 237: Conga Hi-MtSlap Off L/R 237: Conga Hi-MtSlap Off L/R 192: 88-Tom Off L/R
D#4 235: Conga Hi-Open Off L/R 235: Conga Hi-Open Off L/R 235: Conga Hi-Open Off L/R 235: Conga Hi-Open Off L/R 192: 88-Tom Off L/R
E4 232: Conga Lo-Open Off L/R 232: Conga Lo-Open Off L/R 232: Conga Lo-Open Off L/R 232: Conga Lo-Open Off L/R 192: 88-Tom Off L/R
F4 286: Timbale Hi-Rim 2 Off L/R 286: Timbale Hi-Rim 2 Off L/R 286: Timbale Hi-Rim 2 Off L/R 286: Timbale Hi-Rim 2 Off L/R 286: Timbale Hi-Rim 2 Off L/R
F#4 281: Timbale Lo-Open Off L/R 281: Timbale Lo-Open Off L/R 281: Timbale Lo-Open Off L/R 281: Timbale Lo-Open Off L/R 281: Timbale Lo-Open Off L/R
G4 304: Agogo Bell Off L/R 304: Agogo Bell Off L/R 304: Agogo Bell Off L/R 304: Agogo Bell Off L/R 304: Agogo Bell Off L/R
G#4 304: Agogo Bell Off L/R 304: Agogo Bell Off L/R 304: Agogo Bell Off L/R 304: Agogo Bell Off L/R 304: Agogo Bell Off L/R
A4 299: Cabasa-Up Off L/R 299: Cabasa-Up Off L/R 299: Cabasa-Up Off L/R 299: Cabasa-Up Off L/R 299: Cabasa-Up Off L/R
A#4 258: Maracas-Push Off L/R 258: Maracas-Push Off L/R 258: Maracas-Push Off L/R 258: Maracas-Push Off L/R 258: Maracas-Push Off L/R
B4 316: Samba Whistle 2 L/R 316: Samba Whistle 2 L/R 316: Samba Whistle 2 L/R 316: Samba Whistle 2 L/R 316: Samba Whistle 2 L/R
C5 316: Samba Whistle 2 L/R 316: Samba Whistle 2 L/R 316: Samba Whistle 2 L/R 316: Samba Whistle 2 L/R 316: Samba Whistle 2 L/R
C#5 256: Guiro-Short 3 L/R 256: Guiro-Short 3 L/R 256: Guiro-Short 3 L/R 256: Guiro-Short 3 L/R 256: Guiro-Short 3 L/R
D5 255: Guiro-Long 3 L/R 255: Guiro-Long 3 L/R 255: Guiro-Long 3 L/R 255: Guiro-Long 3 L/R 255: Guiro-Long 3 L/R
D#5 278: Claves Off L/R 278: Claves Off L/R 278: Claves Off L/R 278: Claves Off L/R 278: Claves Off L/R
E5 279: Woodblock 1 Off L/R 279: Woodblock 1 Off L/R 279: Woodblock 1 Off L/R 279: Woodblock 1 Off L/R 279: Woodblock 1 Off L/R
F5 279: Woodblock 1 Off L/R 279: Woodblock 1 Off L/R 279: Woodblock 1 Off L/R 279: Woodblock 1 Off L/R 279: Woodblock 1 Off L/R
F#5 295: Cuica-Hi 4 L/R 295: Cuica-Hi 4 L/R 295: Cuica-Hi 4 L/R 295: Cuica-Hi 4 L/R 295: Cuica-Hi 4 L/R
G5 296: Cuica-Lo 4 L/R 296: Cuica-Lo 4 L/R 296: Cuica-Lo 4 L/R 296: Cuica-Lo 4 L/R 295: Cuica-Hi 4 L/R
G#5 293: Triangle-Mute 5 L/R 293: Triangle-Mute 5 L/R 293: Triangle-Mute 5 L/R 293: Triangle-Mute 5 L/R 293: Triangle-Mute 5 L/R
A5 292: Triangle-Open 5 L/R 292: Triangle-Open 5 L/R 292: Triangle-Open 5 L/R 292: Triangle-Open 5 L/R 292: Triangle-Open 5 L/R
A#5 300: Cabasa-Down Off L/R 300: Cabasa-Down Off L/R 300: Cabasa-Down Off L/R 300: Cabasa-Down Off L/R 300: Cabasa-Down Off L/R
B5 309: Sleigh Bell Off L/R 309: Sleigh Bell Off L/R 309: Sleigh Bell Off L/R 309: Sleigh Bell Off L/R 309: Sleigh Bell Off L/R
C6 312: Marc Tree Off L/R 312: Marc Tree Off L/R 312: Marc Tree Off L/R 312: Marc Tree Off L/R 312: Marc Tree Off L/R
C#6 252: Castanet-Single Off L/R 252: Castanet-Single Off L/R 252: Castanet-Single Off L/R 252: Castanet-Single Off L/R 252: Castanet-Single Off L/R
D6 282: Timbale Lo-Mute 6 L/R 282: Timbale Lo-Mute 6 L/R 282: Timbale Lo-Mute 6 L/R 282: Timbale Lo-Mute 6 L/R 282: Timbale Lo-Mute 6 L/R
D#6 281: Timbale Lo-Open 6 L/R 281: Timbale Lo-Open 6 L/R 281: Timbale Lo-Open 6 L/R 281: Timbale Lo-Open 6 L/R 281: Timbale Lo-Open 6 L/R
E6 354: Stadium Off L/R 354: Stadium Off L/R 354: Stadium Off L/R 354: Stadium Off L/R 354: Stadium Off L/R

Ex: Exclusive Group, BUS: BUS Select

26
05: JAZZ 06: BRUSH 07: ORCHESTRA 08: SFX
Drumsample (ROM) Ex BUS Drumsample (ROM) Ex BUS Drumsample (ROM) Ex BUS Drumsample (ROM) Ex BUS
C1 172: SD-Orchestral 7 L/R 172: SD-Orchestral 7 L/R 172: SD-Orchestral Off L/R
C#1 171: SD-Orch.Roll 2 7 L/R 171: SD-Orch.Roll 2 7 L/R 171: SD-Orch.Roll 2 Off L/R
D1 228: Finger Snap Off L/R 228: Finger Snap Off L/R 228: Finger Snap Off L/R
D#1 206: Zap 2 Off L/R 206: Zap 2 Off L/R 118: H.Hat 1-Closed 1 1 L/R
E1 395: Noise-White Off L/R 395: Noise-White Off L/R 120: H.Hat 1-Foot 1 L/R
F1 209: DJ-Scratch 2 Off L/R 209: DJ-Scratch 2 Off L/R 122: H.Hat 1-Open 1 1 L/R
F#1 209: DJ-Scratch 2 Off L/R 209: DJ-Scratch 2 Off L/R 162: Ride-Edge 1 Off L/R
G1 227: Drumstick Hit Off L/R 227: Drumstick Hit Off L/R 227: Drumstick Hit Off L/R
G#1 205: Zap 1 Off L/R 205: Zap 1 Off L/R 205: Zap 1 Off L/R
A1 360: Click Off L/R 360: Click Off L/R 360: Click Off L/R
A#1 292: Triangle-Open Off L/R 292: Triangle-Open Off L/R 292: Triangle-Open Off L/R
B1 003: BD-Dry 4 Off L/R 003: BD-Dry 4 Off L/R 007: BD-Soft Room Off L/R
C2 009: BD-Jazz 2 Off L/R 009: BD-Jazz 2 Off L/R 166: BD-Orchestral Off L/R
C#2 066: Sidestick-Amb Off L/R 066: Sidestick-Amb Off L/R: 066: Sidestick-Amb Off L/R
D2 053: SD-Paper Off L/R 056: SD-Brush Tap 1 Off L/R 172: SD-Orchestral Off L/R
D#2 186: 88-Claps Off L/R 055: SD-Brush Hit Off L/R 252: Castanet-Single Off L/R 206: Zap 2 Off L/R
E2 050: SD-Jazz Ring Off L/R 058: SD-Brush Swirl Off L/R 172: SD-Orchestral Off L/R 370: GunShot Off L/R
F2 113: Tom-Jazz Floor Off L/R 113: Tom-Jazz Floor Off L/R 169: Timpani Off L/R 208: DJ-Scratch 1 7 L/R
F#2 118: H.Hat 1-Closed 1 1 L/R 118: H.Hat 1-Closed 1 1 L/R 169: Timpani Off L/R 209: DJ-Scratch 2 7 L/R
G2 113: Tom-Jazz Floor Off L/R 113: Tom-Jazz Floor Off L/R 169: Timpani Off L/R 227: Drumstick Hit Off L/R
G#2 120: H.Hat 1-Foot 1 L/R 120: H.Hat 1-Foot 1 L/R 169: Timpani Off L/R 228: Finger Snap Off L/R
A2 111: Tom-Jazz Hi Off L/R 111: Tom-Jazz Hi Off L/R 169: Timpani Off L/R 360: Click Off L/R
A#2 122: H.Hat 1-Open 1 1 L/R 122: H.Hat 1-Open 1 1 L/R 169: Timpani Off L/R 397: Tubular Off L/R
B2 111: Tom-Jazz Hi Off L/R 111: Tom-Jazz Hi Off L/R 169: Timpani Off L/R 405: Fret Noise Off L/R
C3 111: Tom-Jazz Hi Off L/R 111: Tom-Jazz Hi Off L/R 169: Timpani Off L/R 400: GtCutNois1 Off L/R
C#3 152: Crash Cymbal 1 Off L/R 152: Crash Cymbal 1 Off L/R 169: Timpani Off L/R 401: GtCutNois2 Off L/R
D3 111: Tom-Jazz Hi Off L/R 111: Tom-Jazz Hi Off L/R 169: Timpani Off L/R 402: StringSlap Off L/R
D#3 162: Ride-Edge 1 Off L/R 162: Ride-Edge 1 Off L/R 169: Timpani Off L/R 228: Finger Snap Off L/R
E3 155: China Cymbal Off L/R 155: China Cymbal Off L/R 169: Timpani Off L/R 357: Laughing Off L/R
F3 164: Ride-Jazz Off L/R 164: Ride-Jazz Off L/R 169: Timpani Off L/R 356: Scream Off L/R
F#3 291: Tambourine-Acc.2 Off L/R 291: Tambourine-Acc.2 Off L/R 291: Tambourine-Acc.2 Off L/R 368: Punch Off L/R
G3 155: China Cymbal Off L/R 155: China Cymbal Off L/R 155: China Cymbal Off L/R 367: Hart Beat Off L/R
G#3 306: Cowbell 2 Off L/R 306: Cowbell 2 Off L/R 306: Cowbell 2 Off L/R 359: Footstep 2 Off L/R
A3 153: Crash Cymbal 2 Off L/R 153: Crash Cymbal 2 Off L/R 153: Crash Cymbal 2 Off L/R 358: Footstep 1 Off L/R
A#3 277: Vibraslap Off L/R 277: Vibraslap Off L/R 277: Vibraslap Off L/R 355: Applause Off L/R
B3 163: Ride-Edge 2 Off L/R 163: Ride-Edge 2 Off L/R 168: Orch Cym.-Open Off L/R 372: Door Creak Off L/R
C4 245: Bongo Hi-Open Off L/R 245: Bongo Hi-Open Off L/R 245: Bongo Hi-Open Off L/R 373: Door Slam Off L/R
C#4 242: Bongo Lo-Open Off L/R 242: Bongo Lo-Open Off L/R 242: Bongo Lo-Open Off L/R 209: DJ-Scratch 2 Off L/R
D4 237: Conga Hi-MtSlap Off L/R 237: Conga Hi-MtSlap Off L/R 237: Conga Hi-MtSlap Off L/R 312: Marc Tree Off L/R
D#4 235: Conga Hi-Open Off L/R 235: Conga Hi-Open Off L/R 235: Conga Hi-Open Off L/R 374: Car Engine Off L/R
E4 232: Conga Lo-Open Off L/R 232: Conga Lo-Open Off L/R 232: Conga Lo-Open Off L/R 375: Car Stop Off L/R
F4 286: Timbale Hi-Rim 2 Off L/R 286: Timbale Hi-Rim 2 Off L/R 286: Timbale Hi-Rim 2 Off L/R 376: Car Pass Off L/R
F#4 281: Timbale Lo-Open Off L/R 281: Timbale Lo-Open Off L/R 281: Timbale Lo-Open Off L/R 377: Car Crash Off L/R
G4 304: Agogo Bell Off L/R 304: Agogo Bell Off L/R 304: Agogo Bell Off L/R 366: Crickets 2 Off L/R
G#4 304: Agogo Bell Off L/R 304: Agogo Bell Off L/R 304: Agogo Bell Off L/R 378: Train Off L/R
A4 299: Cabasa-Up Off L/R 299: Cabasa-Up Off L/R 299: Cabasa-Up Off L/R 395: Noise-White Off L/R
A#4 258: Maracas-Push Off L/R 258: Maracas-Push Off L/R 258: Maracas-Push Off L/R 379: Helicopter Off L/R
B4 316: Samba Whistle 2 L/R 316: Samba Whistle 2 L/R 316: Samba Whistle 2 L/R 391: Swish Terra Off L/R
C5 316: Samba Whistle 2 L/R 316: Samba Whistle 2 L/R 316: Samba Whistle 2 L/R 380: Gun Shot 2 Off L/R
C#5 256: Guiro-Short 3 L/R 256: Guiro-Short 3 L/R 256: Guiro-Short 3 L/R 381: MachineGun Off L/R
D5 255: Guiro-Long 3 L/R 255: Guiro-Long 3 L/R 255: Guiro-Long 3 L/R 382: Laser Gun Off L/R
D#5 278: Claves Off L/R 278: Claves Off L/R 278: Claves Off L/R 383: Explosion Off L/R
E5 279: Woodblock 1 Off L/R 279: Woodblock 1 Off L/R 279: Woodblock 1 Off L/R 363: Dog Off L/R
F5 279: Woodblock 1 Off L/R 279: Woodblock 1 Off L/R 279: Woodblock 1 Off L/R 364: Gallop Off L/R
F#5 295: Cuica-Hi 4 L/R 295: Cuica-Hi 4 L/R 295: Cuica-Hi 4 L/R 361: Bird 1 Off L/R
G5 296: Cuica-Lo 4 L/R 296: Cuica-Lo 4 L/R 296: Cuica-Lo 4 L/R 371: Rainstick Off L/R
G#5 293: Triangle-Mute 5 L/R 293: Triangle-Mute 5 L/R 293: Triangle-Mute 5 L/R 384: Thunder Off L/R
A5 292: Triangle-Open 5 L/R 292: Triangle-Open 5 L/R 292: Triangle-Open 5 L/R 385: Wind Off L/R
A#5 300: Cabasa-Down Off L/R 300: Cabasa-Down Off L/R 300: Cabasa-Down Off L/R 395: Noise-White Off L/R
B5 309: Sleigh Bell Off L/R 309: Sleigh Bell Off L/R 309: Sleigh Bell Off L/R 386: Stream Off L/R
C6 312: Marc Tree Off L/R 312: Marc Tree Off L/R 312: Marc Tree Off L/R 387: Bubble Off L/R
C#6 252: Castanet-Single Off L/R 252: Castanet-Single Off L/R 252: Castanet-Single Off L/R
D6 282: Timbale Lo-Mute 6 L/R 282: Timbale Lo-Mute 6 L/R 282: Timbale Lo-Mute 6 L/R
D#6 281: Timbale Lo-Open 6 L/R 281: Timbale Lo-Open 6 L/R 281: Timbale Lo-Open 6 L/R
E6 355: Applause Off L/R 355: Applause Off L/R 355: Applause Off L/R

Ex: Exclusive Group, BUS: BUS Select

27
Multisamples

# Name # Name # Name # Name # Name # Name


000 A.Piano 071 Metal FM Bell 142 Funky Gtr 1-Stra 213 Detuned-PWM 284 DWGS-E.P.3 355 Crickets 2
001 A.Piano-M1 072 FM Bell 143 Funky Gtr 2-Stra 214 Detuned-PWM REV 285 DWGS-E.P.4 356 ChurchBell
002 E.Grand Piano 073 FM Glass Bell 144 Jazz Guitar 215 Analog Strings 1 286 DWGS-E.P.5 357 ChurchBell REV
003 E.P.-FM 1 074 Ensemble Bell 145 Pedal Steel Gtr. 216 AnaStrings 1 REV 287 DWGS-Organ 1 358 Thunder
004 E.P.-FM 1 LP 075 Flute 146 E.Gtr-Harmonics 217 Analog Strings 2 288 DWGS-Organ 2 359 Stream
005 E.P.-FM 2 076 Piccolo 147 OverDrive Guitar 218 AnaStrings 2 REV 289 DWGS-Organ 3 360 Bubble
006 E.P.-FM 3 077 Pan Flute 148 Dist. Guitar 1 219 White Pad 290 DWGS-Organ 4 361 Bubble REV
007 E.P.-FM 3 LP 078 Shakuhachi 149 Dist. Guitar 2 220 White Pad REV 291 DWGS-Organ 5 362 Dog
008 E.P.-Dyno Soft 079 Shakuhachi-Atk 150 Dist.Gtr-Harmo 221 Glass Vox 292 DWGS-Accordion 363 Gallop
009 E.P.-Dyno Sft LP 080 Bottle 151 Dist.Gtr-Mute 222 Glass Vox REV 293 DWGS Guitar 1 364 Gallop REV
010 E.P.-Dyno Medium 081 Recorder 152 Power Chord 223 Syn-Air Vox 294 DWGS-Guitar 2 365 Laughing
011 E.P.-Dyno Med LP 082 Ocarina 153 Fret Noise 224 Syn-Air Vox REV 295 DWGS-Bell 1 366 Scream
012 E.P.-Stage Soft 083 Clarinet 154 A.Bass 1 225 Syn-Ghostly 296 DWGS-Bell 2 367 Punch
013 E.P.-Sta Soft LP 084 DoubleReed 155 A.Bass 2 226 Syn-Ghostly REV 297 DWGS-Bell 3 368 Heart Beat
014 E.P.-Stage Hard 085 Oboe 156 A.Bass 2 LP 227 Syn-Air Pad 298 DWGS-Bell 4 369 Footstep 1
015 E.P.-Sta Hard LP 086 English Horn 157 FingerBass-Clear 228 Syn-Air Pad REV 299 DWGS-Clav 1 370 Footstep 2
016 E.P.-Wurly 087 Bassoon 158 Finger Bass 1 229 Syn-Flute Pad 300 DWGS-Clav 2 371 Door Creak
017 E.P.-Wurly LP 088 Baritone Sax-T1 159 Finger Bass 1 LP 230 Syn-FlutePad REV 301 DWGS-Clav 3 372 Door Slam
018 E.P. Pad 1 089 Baritone Sax 160 Finger Bass 2 231 Syn-DreamStrings 302 DWGS-Digi 1 373 Car Engine
019 E.P. Pad 1 LP 090 Tenor Sax-M1 161 Finger Bass 2 LP 232 Syn-DreamStr REV 303 DWGS-Digi 2 374 Car Engine LP
020 E.P. Pad 2 091 TenorSax-Medium 162 Pick Bass-M1 233 Syn-Golithan 304 DWGS-Digi 3 375 Car Stop
021 E.P. Pad 3 092 Alto Sax-01/W 163 Pick Bass-Hard 234 Syn-Golithan REV 305 DWGS-Wire 1 376 Car Pass
022 E.P. Pad 3 LP 093 Alto Sax-Soft 164 Pick Bass 235 Syn-Air Vortex 306 DWGS-Wire 2 377 Car Crash
023 Clav 1 094 SopranoSax-Soft 165 Pick Bass LP 236 Syn-AirVortexREV 307 DWGS-Sync 1 378 Train
024 Harpsichord-Sngl 095 Musette 166 SlapBass-ThumbJB 237 Syn-FX01Z 308 DWGS-Sync 2 379 Train REV
025 E.Organ-Perc 1 096 Musette LP 167 SlapBass-Thumb 1 238 Syn-FX01Z REV 309 DWGS-Sync 3 380 Helicopter
026 E.Organ-Perc 2 097 Accordion 168 SlapBass-Thum1LP 239 Syn-Palawan 310 Orchestra Hit 381 Helicopter REV
027 E.Organ-Perc 3 098 Harmonica 169 SlapBass-Thumb 2 240 Syn-Palawan REV 311 Pizz Hit 382 Gun Shot 2
028 E.Organ-2' Perc 099 Bagpipe 170 SlapBass-Thum2LP 241 WaveSweep 312 Band Hit 383 Machine Gun
029 E.Organ-M1 1 100 F.Horn-T1 171 SlapBass-Pull JB 242 WaveSweepA 313 Impact Hit L 384 Machine Gun REV
030 E.Organ-M1 2 101 French HornEns. 172 SlapBass-Pull 243 WaveSweepA REV 314 Impact Hit R 385 Laser Gun
031 E.Organ-N1 5 102 Flugel Horn 173 SlapBass-Mute 244 WaveSweepB 315 Philly Hit 386 Explosion
032 E.Organ-N1 3 103 Tuba 174 SlapBass-Mute LP 245 Syn-Clicker 316 Brass Fall 387 Wind
033 E.Organ-N1 3 LP 104 Trombone-Soft 175 SlapBass-M1 246 Syn-Clicker REV 317 Organ Hit 388 Timpani
034 E.Organ-Jazz 1TR 105 Trombone-Bright 176 Fretless Bass 247 Xylo-Spectrum 318 FunkyGuitarHit 389 Crash 1
035 E.Organ-Jazz 3TR 106 Trumpet-Medium 177 Fretless Bass-M1 248 Cricket Spectrum 319 Pop Guitar Hit 390 Crash 2
036 E.Organ-Perc 3rd 107 Trumpet-Muted 178 Bass Harmonics 249 Syn-FX07Z 320 ReggaeGuitar Hit 391 Cymbal Reverse
037 E.Organ-Vox 108 Brass Ens-Sharp 179 Bass Harmo LP 250 Swish Terra 321 Vox-Wah Gtr 392 Orch. Cymbal
038 E.Organ-Vox 1TR 109 Brass Ens-1 180 Sitar 251 Noise 322 GtCutNois 1 393 Ride-Jazz
039 E.Organ-Vox 2TR 110 Brass Ens-1 LP 181 Sitar&Tambura 252 Noise Spectrum 1 323 GtCutNois 2 394 Ride-Edge 1
040 E.Organ-Vox 3TR 111 Brass Ens-2 182 Sitar&Tambura LP 253 Noise Spectrum 2 324 String Slap 395 Ride-Edge 2
041 E.Organ-Soft 112 Brass Ens-2 LP 183 Santur 254 Space Lore 325 Voice Set 396 H.Hat-Closed
042 E.Organ-Full 113 Voice-Choir 184 Santur LP 255 Space Lore REV 326 Voice *Do it* 397 88-HHat Open
043 E.Organ-Dist 114 Voice-Choir REV 185 Mandolin 256 Telephone Ring 327 Voice *Do it* LP 398 88-Cowbell
044 Positive 1 115 Voice-Pop Ooh 186 Mandolin LP 257 Tele Ring REV 328 VibeChord 1 399 88-Tom
045 Positive 2 116 Voice-PopOoh REV 187 Banjo 258 Syn-FX02Z 329 VibeChord 2 400 88-Conga
046 Pipe-Mixture 1 117 Voice-Pop Ah 188 Banjo LP 259 Syn-FX02Z REV 330 VibeChord 1&2 401 88-Crash
047 Pipe-Mixture 2 118 Voice-Pop Ah REV 189 Shamisen 260 Pole 331 Cyber Drum 402 Tom
048 Pipe-Reed 119 Voice-Doo 190 Koto 261 Pole LP 332 Cyber Drum RPT 403 Tom-Brush
049 Pipe-Full 120 Voice-Doo LP 191 Harp 262 Gamelan Wave 333 Industry 404 Tom-Processed
050 Kalimba 121 Voice Wave 1 192 Harp LP 263 Saw 334 Industry RPT 405 Real E.Tom
051 Kalimba-Mute 122 Voice Wave 2 193 Harp-Glissando 264 Saw-MG3 335 SD-Metal Striker 406 Flexatone
052 Kalimba N1 123 String Ens. 194 Harp-Gliss REV 265 Saw-Chroma 336 SD-M.Striker RPT 407 Tambourine
053 Music Box 1 124 String Ens. REV 195 Sine Pop Bass 266 Pulse-02% 337 SD-Air Explosion 408 Tambourine-RPT
054 Music Box 1 LP 125 Pizzicato Ens. 196 Syn Bass-Reso 1 267 Pulse-05% 338 Metal Hit 4 409 Agogo Bell
055 Music Box 2 126 Violin 197 Syn Bass-Reso 2 268 Pulse-08% 339 Metal Hit 4 RPT 410 Cowbell
056 Music Box 2 LP 127 Viola 198 Syn Bass-Dirty 269 Pulse-16% 340 Industry-66 411 Marc Tree
057 Marimba 128 Cello&Contrabass 199 Syn Bass-FM 1 270 Pulse-33% 341 Industry-66 RPT 412 Marc Tree LP
058 Marimba LP 129 String Quartet 1 200 Syn Bass-FM 1 LP 271 Pulse-40% 342 Industry-21 413 Bell Tree
059 Xylophone 130 String Quartet 2 201 Syn Bass-FM 2 272 Square 343 BD-Cannon 414 Bell Tree LP
060 Vibraphone 131 String Qurt2 REV 202 Syn Bass-FM 2 LP 273 Sqr-mMG 344 Zap 1 415 Rainstick
061 Vibraphone LP 132 Pizzicato 203 Syn Bass-TB 274 Square-JP 345 Zap 2 416 TempleBlocks
062 Celesta 133 A.Guitar-Nylon 204 Syn Bass-RBSaw 275 Triangle-MG3 346 Scratch Hi 417 WoodBlock
063 Celesta LP 134 A.Guitar-Finger 205 Syn Bass-RBSqr 276 Ramp 347 DJ-Old Record 418 Click
064 Glockenspiel 135 A.Guitar-Pick 206 Sync 277 Ramp-mMG 348 Stadium 419 Castanet
065 Glockenspiel LP 136 A.Gtr-Harmonics 207 ChromRes 278 Sine 349 Applause 420 Taiko
066 Tubular Bell 137 Clean Gtr 1-Stra 208 Syn-Pop 279 Sine-JP 350 Birds 1 421 Orch BD
067 Log Drum 138 Clean Gtr 2-Stra 209 Detuned-Super 280 DWGS-Syn Sine 1 351 Birds 1 REV 422 Djembe-Open
068 Steel Drum 139 Clean Gtr 3-Tele 210 Detuned-SuperREV 281 DWGS-Syn Sine 2 352 Bird 2 423 Djembe-Mute
069 Steel Drum LP 140 Clean Gtr-Mute 1 211 Detuned-Super 2 282 DWGS-E.P.1 353 Crickets 1 424 Chinese Gong
070 Gamelan 141 Clean Gtr-Mute 2 212 Detun-Super2 REV 283 DWGS-E.P.2 354 Crickets 1 REV

28
Drumsamples

# Name # Name # Name # Name # Name # Name


000 BD-Dry 1 070 SD-Rap 2 140 H.Hat-Tight 2 210 DJ-Scratch 3a 280 Woodblock 2 350 PC Vox-Pa
001 BD-Dry 2 071 SD-Noise 141 H.Hat-Old Cl 1 211 DJ-Scratch 3b 281 Timbale Lo-Open 351 PC Vox-Sh
002 BD-Dry 3 072 SD-Sizzle 142 H.Hat-Old Cl 2 212 DJ-Scratch 3c 282 Timbale Lo-Mute 352 PC Vox-O
003 BD-Dry 4 073 SD-Reverse 143 H.Hat-Old Cl 3 213 DJ-Scratch 4 283 Timbale Lo-Rim 353 PC Vox-Tu
004 BD-Dry 5 074 SD-Hip 1 144 H.Hat-Old Open 214 DJ-Hit Rub 284 Timbale Hi-Edge 354 Stadium
005 BD-Dry 6 075 SD-Hip 2 145 H.Hat-Hip 1 215 DJ-1c Vocal Rub 285 Timbale Hi-Rim 1 355 Applause
006 BD-Soft 076 SD-Hip 3 146 H.Hat-Hip 2 216 DJ-1c Vocal Rub 286 Timbale Hi-Rim 2 356 Scream
007 BD-Soft Room 077 SD-Hip 4 147 H.Hat-AmbCrackle 217 DJ-BD Rub 287 Timbale-Paila 357 Laughing
008 BD-Jazz 1 078 SD-Hip 5 148 H.Hat-Ambi 218 DJ-SD Rub 288 Tambourine-Push 358 Footstep 1
009 BD-Jazz 2 079 SD-Hip 6 149 H.Hat-ClangyOpen 219 DJ-Record Stop 289 Tambourine-Pull 359 Footstep 2
010 BD-Pillow 080 SD-Ringy 150 H.Hat-Whispy 220 DJ-Reverse 290 Tambourine-Acc.1 360 Click
011 BD-Woofer 081 SD-Tiny 151 H.Hat-Alpo Close 221 DJ-Old Record 291 Tambourine-Acc.2 361 Bird 1
012 BD-Mondo Kill 082 SD-Vintage 1 152 Crash Cymbal 1 222 Orchestra Hit 292 Triangle-Open 362 Bird 2
013 BD-Terminator 083 SD-Vintage 2 153 Crash Cymbal 2 223 Pizz Hit 293 Triangle-Mute 363 Dog
014 BD-Tubby 084 SD-Vintage 3 154 Crash Cymbal 3 224 Band Hit 294 Triangle-Roll 364 Gallop
015 BD-Gated 085 SD-Vintage 4 155 China Cymbal 225 ImpactHit 295 Cuica-Hi 365 Crickets 1
016 BD-Tight 086 SD-Vintage 5 156 Splash Cymbal 226 Philly Hit 296 Cuica-Lo 366 Crickets 2
017 BD-Squash 087 SD-Vintage 6 157 Cymbal Reverse 227 Drumstick Hit 297 Shaker 1 367 Hart Beat
018 BD-Dance 1 088 SD-AmbiCrackle 1 158 Crash-Dance 99 228 Finger Snap 298 Shaker 2 368 Punch
019 BD-Dance 2 089 SD-AmbiCrackle 2 159 Crash-Dance DDD1 229 Hand Claps 299 Cabasa-Up 369 Tribe
020 BD-Dance 3 090 SD-AmbiCrackle 3 160 Ride-Dance 99 230 Hand Claps-Hip 300 Cabasa-Down 370 GunShot
021 BD-Dance 4 091 SD-AmbiHop 161 Ride-Dance DDD1 231 Hand Claps-Happy 301 Cabasa-Tap 371 Rainstick
022 BD-Hip 1 092 SD-Brasser 162 Ride-Edge 1 232 Conga Lo-Open 302 Caxixi-Hard 372 Door Creak
023 BD-Hip 2 093 SD-Chili 163 Ride-Edge 2 233 Conga Lo-MtSlap 303 Caxixi-Soft 373 Door Slam
024 BD-Hip 3 094 SD-Klanger 164 Ride-Jazz 234 Conga Lo-Slap 304 Agogo Bell 374 Car Engine
025 BD-Hip 4 095 SD-Whopper 165 Ride-Cup 235 Conga Hi-Open 305 Cowbell 1 375 Car Stop
026 BD-Dark 096 SD-Dry Present 166 BD-Orchestral 236 Conga Hi-Mute 306 Cowbell 2 376 Car Pass
027 BD-Pop 097 SD-Ambi Pop 167 Orch Cym.-Closed 237 Conga Hi-MtSlap 307 Chacha Bell 377 Car Crash
028 BD-Ringy 098 SD-Ambi Hit 1 168 Orch Cym.-Open 238 Conga Hi-Slap 1 308 Mambo Bell 378 Train
029 BD-Short88 099 SD-Ambi Hit 2 169 Timpani 239 Conga Hi-Slap 2 309 Sleigh Bell 379 Helicopter
030 BD-Dance99 100 SD-Ambi Hit 3 170 SD-Orch.Roll 1 240 Conga-Heel 310 Rap Sleighbell 380 Gun Shot 2
031 BD-Ambi 101 Tom 1-Hi 171 SD-Orch.Roll 2 241 Conga-Toe 311 Finger Cymbal 381 MachineGun
032 BD-Ambi Crackle 102 Tom 1-Lo 172 SD-Orchestral 242 Bongo Lo-Open 312 Marc Tree 382 Laser Gun
033 BD-Ambi Soft 103 Tom 1-Floor 173 88-BD 1(Rap) 243 Bongo Lo-Slap 313 Marc Tree LP 383 Explosion
034 BD-Dance Soft 104 Tom 2-Hi 174 88-BD 2(R&B) 244 Bongo Lo-Stick 314 Bell Tree 384 Thunder
035 BD-AmbiRocker 105 Tom 2-Lo 175 88-BD 3 245 Bongo Hi-Open 315 Flexatone 385 Wind
036 BD-Chili 106 Tom 2-Floor 176 99-BD 1 246 Bongo Hi-Slap 316 Samba Whistle 386 Stream
037 BD-PhatJaz 107 Tom 3-Hi 177 99-BD 2 247 Bongo Hi-Stick 1 317 Chinese Gong 387 Bubble
038 BD-Cannon 108 Tom 3-Lo 178 99-BD 3 248 Bongo Hi-Stick 2 318 Industry 388 ChurchBell
039 BD-Klanger 109 Tom 3-Floor 179 99-BD 4 249 Djembe-Open 319 Cyber Drum 389 Telephone Ring
040 SD-Dry 1 110 Tom-Processed 180 99-BD 5 250 Djembe-Mute 320 SD-Metal Striker 390 Space Lore
041 SD-Dry 2 111 Tom-Jazz Hi 181 88-SD 1(New) 251 Djembe-Slap 321 SD-Air Explosion 391 Swish Terra
042 SD-Dry 3 112 Tom-Jazz Hi Rim 182 88-SD 2(Old) 252 Castanet-Single 322 Industry Loop 1 392 Xylophone Spectr
043 SD-Normal 113 Tom-Jazz Floor 183 99-SD 1 253 Castanet-Dble 1 323 Industry Loop 2 393 Cricket Spectrum
044 SD-GhostSet roll 114 Tom-Brush Hi 184 99-SD 2 254 Castanet-Dble 2 324 Metal Hit 394 Air Vortex
045 SD-GhostSet f 115 Tom-Brush Floor 185 88-Rimshot 255 Guiro-Long 325 Yea Solo 395 Noise-White
046 SD-GhostSet p1 116 Tom-Dirty Funk 186 88-Claps 256 Guiro-Short 326 Year solo 396 Noise-FM Mod
047 SD-GhostSet p2 117 Tom-Old R&B 187 88-HHat Closed 257 Guiro-Tap 327 Uhh Solo 397 Tubular
048 SD-Full Room 118 H.Hat 1-Closed 1 188 88-HHat Open 258 Maracas-Push 328 Hit It 398 Gamelan
049 SD-Off Center 119 H.Hat 1-Closed 2 189 99-HHat Closed 259 Maracas-Pull 329 Uhhhh Solo 399 Tambura
050 SD-Jazz Ring 120 H.Hat 1-Foot 190 99-HHat Open 260 Baya-Open 330 CompuVoice-Beep 400 GtCutNois1
051 SD-Amb.Piccolo 1 121 H.Hat 1-FootOpen 191 88-Crash 261 Baya-Ghe 331 CompuVoice-Noise 401 GtCutNois2
052 SD-Amb.Piccolo 2 122 H.Hat 1-Open 1 192 88-Tom 262 Baya-Mute 1 332 CompuVoice-Chi 402 StringSlap
053 SD-Paper 123 H.Hat 1-Open 2 193 88-Conga 263 Baya-Mute 2 333 CompuVoice-Test 403 HarpGliss
054 SD-Classic Room 124 H.Hat 1-Sizzle 194 88-Clave 264 Baya-Mute 3 334 CompuVoice-Do it 404 Power Chord
055 SD-Brush Hit 125 H.Hat 2-Closed 1 195 88-Cowbell 265 Baya-Mute 4 335 CompuVoice-When 405 Fret Noise
056 SD-Brush Tap 1 126 H.Hat 2-Closed 2 196 88-Maraca 266 Baya-Mute 5 336 CompuVoice-Toi 406 Dist.Slide 1
057 SD-Brush Tap 2 127 H.Hat 2-Foot 197 FM E.Tom 267 Tabla-Na 337 CompuVoice-Ti 407 Dist.Slide 2
058 SD-Brush Swirl 128 H.Hat 2-FootOpen 198 Real E.Tom 268 Tabla-Open 338 "Four..." Solo 408 E.Guitar Pick 1
059 SD-Atomic 129 H.Hat 2-Open 1 199 Vocal SD 269 Tabla-Tin 339 "Three..." Solo 409 E.Guitar Pick 2
060 SD-Big Rock 130 H.Hat 2-Open 2 200 Vocal Cowbell 270 Tabla-Mute 1 340 "Two..." Solo 410 E.Guitar Pick 3
061 SD-Yowie 131 H.Hat 2-Sizzle 201 Vocal Woodblock 271 Tabla-Mute 2 341 "One..." Solo 411 Guitar Scratch
062 SD-Processed 1 132 H.Hat-Chili 202 Dance Perc-Hip 272 Tabla-Mute 3 342 PC Vox-Sis 412 Amp Noise
063 SD-Processed 2 133 H.Hat-Crisp Cl 1 203 Dance Perc-Hous1 273 Tabla-Mute 4 343 PC Vox-Dunc
064 SD-Cracker Room 134 H.Hat-Crisp Cl 2 204 Dance Perc-Hous2 274 Taiko-Open 344 PC Vox-Cks These sounds processed
with INFINITY™.
065 Sidestick-Dry 135 H.Hat-Crisp Open 205 Zap 1 275 Taiko-Rim 345 PC Vox-For
066 Sidestick-Amb 136 H.Hat-Grange 206 Zap 2 276 Tsuzumi 346 PC Vox-One
067 SD-Amb.House 137 H.Hat-Vintage 1 207 Zap 3 277 Vibraslap 347 PC Vox-If
068 SD-Dance 138 H.Hat-Vintage 2 208 DJ-Scratch 1 278 Claves 348 PC Vox-Zee
069 SD-Rap 1 139 H.Hat-Tight 1 209 DJ-Scratch 2 279 Woodblock 1 349 PC Vox-Ae

29
Preset Arpeggio Patterns / User Arpeggio Patterns (Preload)

# Name Length # Name Length # Name Length # Name Length # Name Length
P000 UP --- U036 Gt-Strumming 4 16 U077 Bs/Rf-3am Trance 32 U118 Dr-16 Beat 32 U159 Dr-Techno 16
P001 DOWN --- U037 Gt-Strumming 5 24 U078 Bs/Rf-PizzoDance 32 U119 Dr-BD/HH 16ths 32 U160 Dr-Remix City 1 32
P002 ALT1 --- U038 Gt-16 ChordStrum 16 U079 Bs/Rf-Goa Trance 16 U120 Dr-BD/HH/SD 16th 32 U161 Dr-Remix City 2 32
P003 ALT2 --- U039 Gt-Dotted16Strum 48 U080 Bs/Rf-Trance 1 32 U121 Dr-LoungeBeatBox 32 U162 Dr-Remix City 3 32
P004 RANDOM --- U040 Gt-ElecGtr Strum 8 U081 Bs/Rf-Trance 2 32 U122 Dr-16BeatShuffle 48 U163 Dr-House Me 32
U000 Syn-StepSawDown 16 U041 Gt-Reggae Strum 12 U082 Bs/Rf-Trance 3 32 U123 Dr-Syncro 32 U164 Dr-House4onFloor 32
U001 Syn-Dittos 16 U042 Gt-Soul Strum 32 U083 Bs/Rf-Killer 16 U124 Dr-BeatBoy 32 U165 Dr-Trip House 32
U002 Syn-Route+UpDown 16 U043 Gt-Stab Rhythm 16 U084 Bs/Rf-Dance+Comp 16 U125 Dr-BigBeats 1 32 U166 Dr-House 4x4 8
U003 Syn-CrescDecresc 22 U044 Gt-16 Strum Oct 48 U085 Bs/Rf-KalimbaGrv 32 U126 Dr-BigBeats 2 32 U167 Dr-New Disco 1 16
U004 Syn-Quarks 8 U045 Gt-Bossa 16 U086 Bs/Rf-Hard House 32 U127 Dr-Boy Bandz 32 U168 Dr-New Disco 2 16
U005 Syn-ONCE! 4 U046 Gt-Picking 32 U087 Bs-Stagger 8 U128 Dr-Cyber Breaks 32 U169 Dr-Std.Garage 32
U006 Syn-Repeat 16 U047 Gt-1 Strum 16 U088 Bs-Groove Analog 32 U129 Dr-Stinky 32 U170 Dr-2Step Garage1 32
U007 Syn-8th Chunk 16 U048 Gt-Down Strum 48 U089 Bs-Flash 32 U130 Dr-Acid Drum 32 U171 Dr-2Step Garage2 32
U008 Syn-Gated 1 16 U049 Gt-2Step GtrPick 16 U090 Bs-Dance 1 8 U131 Dr-AcidJazzFunk 32 U172 Dr-Garage'r'us 32
U009 Syn-Gated 2 16 U050 Gt-BalladPicking 32 U091 Bs-Dance 2 16 U132 Dr-DegreeOfFunk 32 U173 Dr-FunkUpGarage 32
U010 Syn-ExpressTriad 12 U051 Gt-CountryPickng 16 U092 Bs-Dance 3 16 U133 Dr-Electro 32 U174 Dr-Groovy Garage 32
U011 Syn-Speed Seq. 16 U052 Gt-PrincessaA.G. 16 U093 Bs-TeaBea 16 U134 Dr-HipHop 1 16 U175 Dr-NuStep Garage 32
U012 Syn-4toneVelTrip 16 U053 Str-FastBowing 1 32 U094 Bs-Techno 1 8 U135 Dr-HipHop 2 16 U176 Dr-Drum'n'Bass 1 48
U013 Syn-5toneVelTrip 16 U054 Str-FastBowing 2 32 U095 Bs-Techno 2 16 U136 Dr-HipHop 3 48 U177 Dr-Drum'n'Bass 2 32
U014 Syn-6tone Techno 16 U055 Str-Classical 1 16 U096 Bs-Techno 3 16 U137 Dr-HyperHop 32 U178 Dr-Drum'n'Bass 3 16
U015 Syn-6toneOstinat 16 U056 Str-Classical 2 32 U097 Bs-Techno 4 16 U138 Dr-HipperHop 32 U179 Dr-Drum'n'Bass 4 32
U016 Syn-Robot Comp 32 U057 Str-Classical 3 16 U098 Bs-Techno 5 16 U139 Dr-NuHop Grv 1 32 U180 Dr-Drum'n'Bass 5 32
U017 Syn-Syncopation 16 U058 Str-Tagadah 32 U099 Bs-Techno 6 16 U140 Dr-NuHop Grv 2 32 U181 Dr-Jump Up DnB 32
U018 Syn-TranceChord 16 U059 Str-Tagadah 1/2 16 U100 Bs-Echo 16 U141 Dr-Spare Me 32 U182 Dr-Jungle 32
U019 Syn-Trickle 48 U060 Str-Dynamic 16 U101 Bs-Euro 16 U142 Dr-Hop/Funk 32 U183 Dr-`Tude 32
U020 Syn-Steady! 16 U061 Str-AcroArpeggio 24 U102 Bs-Drum'n'Bass 32 U143 Dr-In The Pocket 32 U184 Dr-Jazz 16
U021 Syn-SteppingNote 16 U062 Str-Str.Melody 48 U103 Bs-On 2 48 U144 Dr-Killer 32 U185 Dr-Bossa Nova 32
U022 Syn-StaccatoTech 32 U063 Bs/Rf-Jungle 32 U104 Bs-Open Basses 32 U145 Dr-Nature RnB 32 U186 Dr-Latin 32
U023 Syn-Vice Squad 32 U064 Bs/Rf-D'n'B 32 U105 Bs-House 32 U146 Dr-New RnB 32 U187 Dr-CopaWithThis 32
U024 Syn-Random 16 U065 Bs/Rf-NuHopChrd1 48 U106 Bs-Hip Hop 32 U147 Dr-Childbeat 32 U188 Dr-Tablature 48
U025 Syn-Random Up 32 U066 Bs/Rf-NuHopChrd2 32 U107 Bs-Hop/Funk 32 U148 Dr-PopHop 32 U189 Dr-FunkyPerc 16
U026 Syn-Riff & Rest 48 U067 Bs/Rf-2Step 32 U108 Bs-Funk 32 U149 Dr-Princessa 32 U190 Dr-Percussion 32
U027 Syn-Rest & Riff 48 U068 Bs/Rf-FunkGarage 32 U109 Bs-Soul 32 U150 Dr-Striker 32 U191 Dr-SmoothSamba 1 16
U028 Syn-Penta-Fall 32 U069 Bs/Rf-FunkyMoves 32 U110 Bs-Phunky Wah 32 U151 Dr-Woodland 32 U192 Dr-SmoothSamba 2 16
U029 Syn-Chromatic 48 U070 Bs/Rf-UKGarage 1 32 U111 Bs-Disco Slapper 48 U152 Dr-That'sILL Yo! 32 U193 Dr-Raga-matic 48
U030 Org-HouseOrgan 16 U071 Bs/Rf-UKGarage 2 32 U112 Bs-Walkin' 48 U153 Dr-Wooden Beat 32 U194 Dr-AfricaThunder 32
U031 Pno-Arpeggio 1 16 U072 Bs/Rf-UKGarage 3 32 U113 Bs-Root/Fifth 32 U154 Dr-Your Destiny 32 U195 Dr-Ethnic Perc. 32
U032 Pno-Arpeggio 2 16 U073 Bs/Rf-Acid Jazz 16 U114 SE-Wait for it.. 48 U155 Dr-Jazzy Hop 32 U196 Dr-Sinistar 16
U033 Gt-Strumming 1 32 U074 Bs/Rf-Bossa 32 U115 Dr-Straight 16 U156 Dr-BuildUp4Floor 32 U197 Dr-EthnicDancePr 48
U034 Gt-Strumming 2 12 U075 Bs/Rf-DreamTrans 32 U116 Dr-Cyber Metal 32 U157 Dr-Straight 4oF 32 U198 Dr-Delhicatessen 32
U035 Gt-Strumming 3 16 U076 Bs/Rf-EpicTrance 32 U117 Dr-8 Beat 16 U158 Dr-Trance4Floor 32 U199 Dr-Orch.Perc. 48

30
Audition Riffs

# Name (Audition Riff) # Name (Audition Riff) # Name (Audition Riff) # Name (Audition Riff) # Name (Audition Riff) # Name (Audition Riff)
000 Off 070 Bel-Tribal 140 Wod-EnglishHorn' 210 Bas-Slap 280 Mot-Life 350 Drm-Mega Drum
001 Key-C2-short 071 Bel-Vibraphone 141 Wod-JazzClarinet 211 Bas-Stein 281 Mot-Moon 351 Drm-Synth Drum
002 Key-C2-middle 072 Bel-Vibraphone' 142 Wod-Mix Fisa 212 Bas-Super Slap 282 Mot-Ocean 352 Drm-Tomtoms
003 Key-C2-long 073 Bel-Xylophone 143 Wod-Ocarina 213 Slw-Antartic 283 Mot-OXYGEN 353 Drm-Timpani
004 Key-C6-short 074 Str-Big 144 Wod-Pan Flute 214 Slw-Bowed Glass 284 Mot-Pulse 354 Drm-Woodblock
005 Key-C6-middle 075 Str-Cello 145 Wod-Piccolo 215 Slw-Brass Pad 285 Mot-Rezonator 355 Kit-Standard 1
006 Key-C6-long 076 Str-Chamber 146 Wod-Recorder 216 Slw-Cinema 286 Mot-Ribbon 356 Kit-Standard 2
007 Key-Cmajor 077 Str-Contrabass 147 Wod-Sax Swing 217 Slw-Ghost 287 Mot-Solar 357 Kit-Processed
008 Key-Cmaj7 078 Str-Dance 148 Wod-Shakuhachi 218 Slw-Goliath 288 Mot-Space Pod 358 Kit-Jazz/Brush
009 Key-Cm7 079 Str-Fast 149 Wod-Shakuhachi' 219 Slw-Harmonic 289 Mot-Spectrum 359 Kit-House
010 Key-Cm9 080 Str-Fiddle 150 Wod-Shanai 220 Slw-Meditate 290 Mot-Station 360 Kit-Tricky
011 Key-Cs-Up 081 Str-Hybrid 151 Wod-Silver Flute 221 Slw-Money 291 Mot-Sweep 361 Kit-Drum'n'Bass
012 Key-Cs-UpDown 082 Str-Marcato 152 Wod-Soft Tenor 222 Slw-Ravelian 292 Mot-Symphonic 362 Kit-HipHop
013 Kbd-Ballad 083 Str-New Viola 153 Wod-Soprano Sax 223 Slw-Rez.Down 293 Mot-Tinklin' 363 Kit-Psycho
014 Kbd-Baroque 084 Str-Octave 154 Wod-Tenor Growl 224 Slw-Sine 294 Mot-Water 364 Kit-Percussion
015 Kbd-Classical 1 085 Str-Pizzicato 155 Wod-Warm Shaku 225 Slw-Sweep 295 SE-Applause 365 Kit-Orch/Eth
016 Kbd-Classical 2 086 Str-Quartet 156 Wod-Whistle 226 Slw-Throat 296 SE-Birds 366 Kit-Cymbals
017 Kbd-Dark Warm 087 Str-Slow 157 Wod-Wooden Flute 227 Slw-Tsunami 297 SE-Breath 367 Kit-BD&SD 1
018 Kbd-Digi Jazz 088 Str-Solo Cello 158 Gtr-12 Strings 228 Fst-Ana Brass 298 SE-Cosmic 368 Kit-BD&SD 2
019 Kbd-Funky Clav 089 Str-Synthy 159 Gtr-Arpeggio 229 Fst-Calliope 299 SE-Cripton 369 Kit-WAcky HipHop
020 Kbd-Funky 090 Str-Tremolo 160 Gtr-Banjo 230 Fst-Chiffy 300 SE-CyborgFactory 370 Kit-Nasty TRicky
021 Kbd-House 091 Voc-Arctic 161 Gtr-Blues 231 Fst-Cosmic 301 SE-DJ 371 Kit-D'n'B Gate
022 Kbd-Jazzy 092 Voc-Doohs 162 Gtr-Classical 232 Fst-Cyber 302 SE-DoIt 372 Kit-Tiny Perc.
023 Kbd-Phantom 093 Voc-Ether 163 Gtr-Clean Chord 233 Fst-Digital 303 SE-Goa 373 Kit-Psycho Pitch
024 Kbd-Pro Dyno 094 Voc-Fast Class 164 Gtr-Country 234 Fst-Dirty 304 SE-Great Wall 374 Kit-Jazzy Pitch
025 Kbd-R&B Ballad 095 Voc-Fresh Breath 165 Gtr-Distortion 235 Fst-Echo 305 SE-Gun Shot 375 Kit-KING<>KONG
026 Kbd-Ragtime 096 Voc-Grand 166 Gtr-Flamenco 236 Fst-Future 306 SE-Helicopter 376 Kit-UGLY HoUSe
027 Kbd-Rock 097 Voc-Halo 167 Gtr-Fret Noise 237 Fst-Gliding 307 SE-Jetplane 377 Kit-STANDARD'
028 Kbd-Sound Track 098 Voc-Mmh 168 Gtr-Funky 238 Fst-Grain 308 SE-Loonie 378 Kit-ELECTRONIC'
029 Kbd-Studio Jazz 099 Voc-Ooh Aah 169 Gtr-Guitarish 239 Fst-Ice 309 SE-Loopiteria 379 Kit-ANALOG'
030 Kbd-Super Grand 100 Voc-Oooh 170 Gtr-HamDulc 240 Fst-Jazzy 310 SE-Monster 380 Kit-BRUSH'
031 Kbd-Sweep 101 Voc-Slow Attack 171 Gtr-Harmonic 241 Fst-Mega 311 SE-MotSndTrk 381 Kit-ORCHESTRA'
032 Kbd-Whirly 102 Voc-Space 172 Gtr-Harp 242 Fst-Metal Rez 312 SE-Reverse 382 Kit-SFX'
033 Org-Chords 103 Voc-Synth Vox 173 Gtr-Jazzy 243 Fst-Pianoid 313 SE-Shirk Hit 383 Kit-Trance/Garag
034 Org-Classic Big 104 Voc-Take Voices 174 Gtr-Joystick 244 Fst-Pop 314 SE-Steam
035 Org-ClassicSmall 105 Voc-Vocalesque 175 Gtr-Koto 1 245 Fst-Power 315 SE-Tele
036 Org-Craze 106 Voc-Voxy 176 Gtr-Koto 2 246 Fst-Rez.Sweep 316 SE-Telephone
037 Org-Dist.Organ 107 Brs-Big Band 177 Gtr-Mandolin 247 Fst-Rezbo 317 SE-Two Note FX
038 Org-Full Draw 108 Brs-Bones 178 Gtr-Metal 248 Fst-Ribbon 318 SE-Unholy
039 Org-Gospel 109 Brs-Burnin 179 Gtr-Mute Monster 249 Fst-Snaps 319 SE-Venus
040 Org-House 110 Brs-Dyna 180 Gtr-Mute Single 250 Fst-Square Rez 320 SE-Video Blast
041 Org-Jazzy 111 Brs-Fat 181 Gtr-Pedal 251 Fst-Stabber 321 SE-Vox Box
042 Org-M1 Organ 112 Brs-French Horn 182 Gtr-Power Chord 252 Fst-Star 322 Hit-Arp Angeles
043 Org-Perc 113 Brs-Funky 183 Gtr-Shamisen 253 Fst-Super 323 Hit-Arp Twins
044 Org-Phantom 114 Brs-Jazzy Mute 184 Gtr-Single 254 Fst-Sweep 324 Hit-Auto Pilot
045 Org-Positive 115 Brs-MovieFanfare 185 Gtr-Sitar 255 Led-Ana Glide 325 Hit-Dayglow
046 Org-Rock 116 Brs-Octave 186 Gtr-Sitr/Tambura 256 Led-Cat 326 Hit-Flip
047 Org-Rotary 117 Brs-Slow Ens. 187 Gtr-Strum 257 Led-Fast 327 Hit-Goa
048 Org-Vox 118 Brs-Slow Grand 188 Gtr-Super 258 Led-Fat Sync 328 Hit-Goli
049 Bel-Agogo 119 Brs-Solo Horn 189 Gtr-Vox Wah 259 Led-Hip Hop 329 Hit-Guitar Hit 1
050 Bel-Bell Boy 120 Brs-Tight 190 Bas-30303 Mega 260 Led-Medium 330 Hit-Guitar Hit 2
051 Bel-Celesta 121 Brs-Trombone 191 Bas-30303 Square 261 Led-Phat 331 Hit-Hit Me
052 Bel-Chimes 122 Brs-Trumpet Ens. 192 Bas-Acoustic 262 Led-Raver 332 Hit-Impact
053 Bel-Clocker 123 Brs-Trumpet 193 Bas-Dark Hop 263 Led-Ribbon Head 333 Hit-India
054 Bel-Digi Bell 124 Brs-Tuba 194 Bas-Dark R&B 264 Led-Seq.Busy 334 Hit-Jungle
055 Bel-Dream 125 Wod-Acc Musette 195 Bas-Decayed 265 Led-Seq.Fidget 335 Hit-Motion
056 Bel-Ensemble 126 Wod-Acc Zydeco 196 Bas-Drum'n'Bass 266 Led-Seq.Porta 336 Hit-Old Record
057 Bel-Future 127 Wod-Alto Growl 197 Bas-Finger 267 Led-Seq.Rich 337 Hit-Percussive
058 Bel-Gamelon 128 Wod-Alto Sax 198 Bas-Fretless 268 Led-Seq.Switcher 338 Hit-Raggae Gtr
059 Bel-GarbageMalet 129 Wod-Bagpipe 199 Bas-Jazzy 269 Led-Seq.Sync 339 Hit-Rave Stab
060 Bel-Glocken 130 Wod-Bari Funk 200 Bas-Jungle 270 Led-Smooth 340 Hit-Ribbon
061 Bel-Kalimba 131 Wod-Bari Growl 201 Bas-Karma 271 Led-Syncro 341 Hit-Stacc
062 Bel-Magical 132 Wod-Bassoon 202 Bas-Nasty 272 Led-Trancer 342 Hit-Techno Org.
063 Bel-Marimba 133 Wod-Bebop 203 Bas-Organ 273 Mot-Aqua 343 Hit-Techno Stat
064 Bel-Monkey 134 Wod-Blues Harp 204 Bas-Phat 274 Mot-Crazy 344 Hit-Wild Arp
065 Bel-Moving 135 Wod-Bottle 205 Bas-Pick 275 Mot-Crimson 345 Drm-Bali Gong
066 Bel-Music Box 136 Wod-Breathy Bari 206 Bas-Poinker 276 Mot-Cyclic 346 Drm-Castanets
067 Bel-Mysterious 137 Wod-Cassotto 207 Bas-Rock 277 Mot-Filter Gate 347 Drm-Djembe/LogDr
068 Bel-Steel Drums 138 Wod-Double Reed 208 Bas-Salsa 278 Mot-Flying 348 Drm-Dragon Gong
069 Bel-Tinkly 139 Wod-English Horn 209 Bas-Slap Disco 279 Mot-Fugue 349 Drm-Log Drum

31
Preset Patterns Template Songs

# Name (Pattern/Drum kit) # Name (Pattern/Drum kit) # Name (Pattern/Drum kit) P00: Pops/Ballade
P000 Pop&Balad 1/Std P050 Reggae 3/D'n'B P100 Drum'n'Bs 8/D'n'B P01: Rock/Metal Rock
P001 Pop&Balad 2/Std P051 Reggae 4/D'n'B P101 Drum'n'Bs 9/D'n'B P02: R & B
P002 Pop&Balad 3/Std P052 Reggae 5/D'n'B P102 Drum'n'Bs 10/D'n'B P03: Jazz
P04: Latin
P003 Pop&Balad 4/Std P053 Reggae 6/D'n'B P103 Drum'n'Bs 11/D'n'B
P05: Reggae
P004 Pop&Balad 5/Std P054 Country 1/Std P104 Drum'n'Bs 12/D'n'B P06: Country
P005 Pop&Balad 6/Std P055 Country 2/Std P105 Drum'n'Bs 13/D'n'B P07: Folk
P006 Pop&Balad 7/Std P056 Country 3/Std P106 Drum'n'Bs 14/D'n'B P08: European Trad.
P007 Pop&Balad 8/Std P057 Country 4/Std P107 Drum'n'Bs 15/D'n'B P09: Orchestral
P008 Pop(6/8) 1/Std P058 Folk 1/Std P108 Drum'n'Bs 16/D'n'B P10: Techno/Euro Beat
P009 Pop(6/8) 2/Std P059 Folk 2/Std P109 AcidJazz 1/Std2 P11: House
P010 Pop(6/8) 3/Std P060 Folk 3/Std P110 AcidJazz 2/Std2 P12: Drum'n'Bass
P13: Acid Jazz
P011 Rock 1/Process P061 Folk 4/Std P111 AcidJazz 3/Std2
P14: HipHop/Rap
P012 Rock 2/Process P062 E.Trad 1/Std P112 AcidJazz 4/Std2
P15: Big Beats
P013 Rock 3/Process P063 E.Trad 2/Std P113 AcidJazz 5/Std2
P014 Rock 4/Process P064 E.Trad 3/Std P114 AcidJazz 6/Std2
P015 Rock 5/Process P065 E.Trad 4/Std P115 AcidJazz 7/Std2
P016 Rock 6/Process P066 E.Trad (3/4) 1/Std P116 AcidJazz 8/Std2
P017 Rock 7/Process P067 E.Trad (3/4) 2/Std P117 AcidJazz 9/Std2
P018 Rock 8/Process P068 Techno 1/House P118 AcidJazz 10/Std2
P019 Rock 9/Process P069 Techno 2/House P119 AcidJazz 11/Std2
P020 Rock 10/Process P070 Techno 3/House P120 AcidJazz 12/Std2
P021 Rock 11/Process P071 Techno 4/House P121 HipHop 1/HipHop
Demo Songs
P022 R&B 1/Std2 P072 Techno 5/House P122 HipHop 2/HipHop
P023 R&B 2/Std2 P073 Techno 6/House P123 HipHop 3/HipHop S000: Midnight Sun by Shoji Kinoshita
P024 R&B 3/Std2 P074 Techno 7/House P124 HipHop 4/HipHop S001: DEEP ENDZ by Chris Parks
P025 R&B 4/Std2 P075 Techno 8/House P125 HipHop 5/HipHop
P026 R&B 5/Std2 P076 Techno 9/House P126 HipHop 6/HipHop ©2001 KORG Inc. - all rights reserved.
P027 R&B 6/Std2 P077 Techno 10/House P127 HipHop 7/HipHop
P028 R&B 7/Std P078 Techno 11/House P128 HipHop 8/HipHop
P029 R&B 8/Std P079 House 1/House P129 HipHop 9/HipHop
P030 R&B 9/Std P080 House 2/House P130 HipHop 10/HipHop
P031 R&B 10/Std P081 House 3/House P131 HipHop 11/HipHop
P032 R&B 11/Std P082 House 4/House P132 HipHop 12/HipHop
P033 Jazz 1/Jazz P083 House 5/House P133 HipHop 13/HipHop
P034 Jazz 2/Jazz P084 House 6/House P134 HipHop 14/HipHop
P035 Jazz 3/Jazz P085 House 7/House P135 HipHop 15/HipHop
P036 Jazz 4/Jazz P086 House 8/House P136 Bigbeat 1/HipHop
P037 Jazz 5/Jazz P087 House 9/House P137 Bigbeat 2/HipHop
P038 Jazz 6/Jazz P088 House 10/House P138 Bigbeat 3/HipHop
P039 Jazz 7/Jazz P089 House 11/House P139 Bigbeat 4/HipHop
P040 Latin 1/Jazz P090 House 12/House P140 Bigbeat 5/HipHop
P041 Latin 2/Jazz P091 House 13/House P141 Bigbeat 6/HipHop
P042 Latin 3/Jazz P092 House 14/House P142 Bigbeat 7/HipHop
P043 Latin 4/Perc P093 Drum'n'Bs 1/D'n'B P143 Bigbeat 8/HipHop
P044 Latin 5/Perc P094 Drum'n'Bs 2/D'n'B P144 Bigbeat 9/Tricky
P045 Latin 6/Perc P095 Drum'n'Bs 3/D'n'B P145 Bigbeat 10/Tricky
P046 Latin 7/Jazz P096 Drum'n'Bs 4/D'n'B P146 Bigbeat 11/Tricky
P047 Latin 8/Jazz P097 Drum'n'Bs 5/D'n'B P147 Bigbeat 12/Tricky
P048 Reggae 1/D'n'B P098 Drum'n'Bs 6/D'n'B P148 Bigbeat 13/Tricky
P049 Reggae 2/D'n'B P099 Drum'n'Bs 7/D'n'B P149 Bigbeat 14/Tricky

To play back these patterns, please use a program that uses the
Drum kit listed after the "/" following each pattern name.
Std: Standard Kit, Std2: Standard Kit 2, Process: Processed Kit, Jazz: Jazz/
Brush Kit, House: House Kit, Tricky: Tricky Kit, D'n'B: Drum'n'Bass Kit,
HipHop: Hip Hop Kit, Perc: Percussion Kit
J
E
F
G
2

© 2001 KORG Inc. 1308 FTH Printed in Japan

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