3. Specify the recording method (Manual)
1 Press the [F2] (Rec.) key to access the SMPL 1.1: Recording, Recording page.

CD player L AUX OUT R

3 Press the [SAMPLING] key to enter Sampling mode. 4 Press the [F3] (In/Pref) key to select the SMPL 1.1: Recording, Input/Pref page.
2 In REC Setup, set Mode (REC Mode) to Manual to specify how recording will begin. As an alternative to setting Mode (REC Mode) 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.
5 Set various parameters so that the signal from the AUDIO INPUT jacks will be input to the TRITON Le. Make the following settings. 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.
With this setting, the sound of the internal LR channels can be sampled in stereo.

4. Record the sample

1 Press the [F1] (Sample) key to access the SMPL 1.1: Recording, Sample page.
2 Press the [REC/WRITE] key.
3 At the moment that you wish to start sampling, press the [START/STOP] key. Sampling will start. It is a good idea to allow a bit of extra time before you start and after you stop sampling. 4 At the moment that you wish to stop sampling, press the [START/STOP] key. Sampling will stop. A 140 BPM drum phrase has now been sampled. The sample will automatically be assigned to SMPL. Sampling will stop automatically if the remaining amount of memory reaches zero. 5 Listen to the sampled sound, and assign a name to the sample. Press the C2 note or the [AUDITION] key, and the sampled sound will play. After you have veried 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 characters -L and -R at the end are xed). When you assign a name to either the L or R channel, the other sample will be named automatically.
The sample will sound as follows. When looping is on: S E LpS E (continue repeating LpS E) When looping is off: S E Use the [ ], [ ] to select S (Start) (highlighted), and use the [VALUE] dial etc. to specify the location at which the sample will begin sounding. The vertical line in the display will move accordingly. As necessary, you can press the [F4][F7] keys to expand or shrink the waveform display. Zoom will expand/shrink the display starting at the selected S (Start), LpS (Loop Start), or E (End) points. If you check Zero (Use Zero), locations where the waveform is at zero will automatically be found and selected when you use the [VALUE] dial etc. to set S (Start), LpS (Loop Start), or E (End) points. This makes it easy to set these points to addresses that will not produce clicks or noise.

The function buttons will have the following functions. Clear: Erase all text. Del (Delete): Delete the character at the cursor location. Ins (Insert): Insert a space at the cursor location. Cap. (Capital): Switch between uppercase and lowercase letters. : Move the cursor to the left. : Move the cursor to the right. The following input operations can also be performed. 09, , and. can be input using the numeric keys. When you input these, the cursor will advance automatically.

About the Edit Buffer

When you select a program or combination in PROG 1.1: Play and COMBI 1.1: Play, the program or combination data is called into the edit buffer. When you modify the parameters in 1.1: Play or in the Edit pages 2.17.2 of Program mode or Combination mode, the changes you make will affect the data in the edit buffer. If you wish to save this modied data into internal memory, you must perform the Write operation. When you perform the Write operation, the data in the edit buffer is written to the specied program number or combination number of the specied 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. When you press the [COMPARE] key in Program mode or Combination mode, the data from memory (i.e., the contents that were written into memory) will be temporarily called into the edit buffer. This allows you to compare the settings you are editing with the original un-edited settings.
Editing applies to the data in the edit buffer. Programs or combinations will play according to the data in the edit buffer.
1 Open the text dialog box. Refer to the above table for the relevant page. In the Utility menu commands, press Name (the [F5] key) in the dialog box that appears. In GLOBAL 4.1, select TEXT (press the [F5] key).
For example if you wish to input the text shown in the screen shown above, you would use the following procedure. 2 Press the [F1] (Clear) key. All text of the text box will be erased. 3 Input A Use the [VALUE] dial, the [INC]/[DEC] keys, or cursor keys [ ], [ ], [ ], [ ] to select A. Press the [ENTER] key or [F6] ( ) key. The cursor will move. 4 Input. Use the [VALUE] dial, the [INC]/[DEC] keys, or cursor keys [ ], [ ], [ ], [ ] to select. Press the [ENTER] key or [F6] ( ) key. The cursor 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.

As an additional possibility, you can set the slope for a key zone or velocity zone so that the volume diminishes gradually. This lets you change a split into a keyboard crossfade, or a velocity switch into a velocity crossfade.

Mix (Mixer) page

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.
Strong Soft Velocity X-Fade (velocity crossfade): As you play with increasingly stronger velocity, the volume of A will fade out, and the volume of B will fade in. Keyboard playing dynamics
Species the panning (stereo location) for each timbre. A setting of C064 will reproduce the oscillator pan setting of the program. Moving this to left or right will move the sound to left or right while preserving the pan relationship between the oscillators. A setting of L001 is far left, and R127 is far right.
Split: Different programs will sound in different areas of the keyboard.
Timbre 18 program, pan and volume 2.1: EdProg/Mix
Layer: Two or more programs sound simultaneously.

Volume

Adjusts the volume of each timbre. Create the overall sound by adjusting the volume balance between timbres. The Volume setting is an important aspect of creating the sound, and this setting will have a signicant effect on the overall impression produced by the Combination.
giator settings in Combination and Sequencer modes (p.101, PG p.43), and study the relationship between arpeggiator assignments, Status, and MIDI Channel.
Bank(EX2) MSB, Bank(EX2) LSB
This setting is valid when Status is set to EX2. It species the Bank Select message that will be transmitted from this instrument.

OSC page

Force OSC Mode
For each combination, you can specify the functions of the B-mode functions of REALTIME CONTROLS knobs [1][4], and the [SW1] and [SW2.] (p.115, PG p.36, 220, 221) Normally you will set this to PRG. If you wish to force a polyphonic program to sound monophonically, set this either to Mono or LGT (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 playing mode 3.1: EdParam1

MIDI page

OSC Select
Normally you will set this to Both. If the timbre is using a program whose Mode (Oscillator 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).
Normally you will set this to PRG. If you want the portamento setting specied for the program of the timbre to be forced off, set this parameter to Off. Conversely, if you want to forcibly turn the portamento on, or to change the portamento time, set this to a value of 001127 to specify the portamento time.

Status

Here you can specify the state of MIDI and the internal tone generator for each timbre. Normally when sounding the internal tone generator of this instrument, you 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 connected via MIDI. (PG p.36)

TRITON Le has sixteen sequence tracks, but this template song species only tracks 18.) Select T03: Elec.Piano.
3. Recording the bass track
1 If playback is occurring, press the [START/STOP] 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. 3 Use Track Select to select the track that you want to record. In this example, select T02: Bass.
6 Press the [START/STOP] key to play back the preset pattern that you copied. Play the keyboard while you listen to the drum pattern. 7 Press the [START/STOP] key to stop.
2. Repeatedly playing specic measures of a track (Track Play Loop)
Heres how to use Track Play Loop to repeatedly play back a drum phrase. 1 Press the [MENU] key to access the page menu. Press the [START/STOP] key to start playback, and practice playing the phrase that you want to record. When you are nished rehearsing, press the [START/STOP] key to stop playback. Press the [LOCATE] key. Press the [F1] key to select Loop, and press the [F8] (Open) key. The SEQ 1.2: Loop, Track Play Loop page will appear. When the power is turned on, the Recording Mode of the TRITON Le will be set to Over Write recording, in which newly recorded data will be overwritten. For details on other recording modes, refer to p.78 and PG p.56. When recording rapid or difcult phrases, you can slow down the tempo and record at a more comfortable 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 specied by Length (the power-on default is 64 measures), it will stop automatically. By using Play Intro you can begin the loop after adding an introduction (PG p.57). Track Play Loop will continue repeating for the number of measures specied by Length. If you want to limit the number of repetitions or place other performance data (e.g., a drum ll-in) in that track, you will need to expand the pattern into 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 created to play measures 18 of track 1 for four times (i.e., 32 measures).
You can use the Quantize and Resolution functions to correct the timing of your performance as it is recorded. For example during realtime recording, suppose that you input eighth notes at slightly inaccurate timing, as shown in line 1 of the diagram below. If you set Reso (Resolution) to and performed realtime recording, the timing would automatically be corrected as shown in line 2. With a setting of Hi, the performance will be recorded with the exact timing at which it was played.

4 Use KEY to select the key to which the pattern will be assigned. Select C#2. This can also be selected by holding down the [ENTER] key and playing a note. C2 and lower keys are used to stop playback, and cannot be assigned. 5 Check the Assign check box. 6 Set Pat (Pattern Bank) to the Pre pattern type, and set Pattern Select to pattern P121: HipHop 1/ HipHop. 7 Set Track to T01: Drums. The selected pattern will be played according to the 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 values that were specied earlier (in steps 57).
Song RPPR RPPR RPPR function is on
Normal multi playback and recording
P00: Pop&Balad 1/Std Preset Pattern P00 - P149 5.1: RPPR, RPPR Setup
U00: Pattern 00 User Pattern U00 - U99
The assigned keys will be shown as a keyboard graphic in the LCD screen. Unassigned keys can be used for normal keyboard performance. Use Track Select to select the track that will be played from the keyboard. For example you might assign backing patterns such as drums and bass to the C#2B2 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 way.
If you want RPPR pattern playback to begin at the moment that song playback begins, it is a good idea to insert an empty measure containing no musical data before the song playback begins. If the song is stopped, the pattern will synchronize to the timing of the arpeggiator function.
Realtime-recording an RPPR performance
An RPPR performance can be recorded in realtime. If you are using only one track (T01: Drums) as in Creating and recording RPPR (p.73), set Track Select to T01: Drums, and use single track recording in which only one track will be recorded. Even if RPPR uses only one track, use multi-track recording if you will be selecting another track in Track Select and recording its performance at the same time. You should also select multi-track recording if you created 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.

SEQ 3.1: Param1, MIDI page MIDI Channel settings
2 Add settings for triggering arpeggiator A. 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 arpeggiator B.)
3 Select the SEQ 6.1: Arp., Setup T09-16 page. Set the track 9 Assign to B. This will produce the following settings.
Track Assign Status MIDI Ch. T01 T02 T03 T04 T05 T06 T07 T08 T09 Off INT 01 Off INT 01 Off INT 01 Off INT 01 B INT 03 Off INT 01 A INT 02 A Off 01 B Off 01
Recording to a pattern Pattern Edit All commands except for the Utility menu commands Memory Status, Rename Pattern, FF/ REW Speed, and Rename Track of the SEQ 5.1: RPPR, Pattern page. Song Edit SEQ 1.1-4.4 and 6.16.4 pages: Utility menu commands Delete Song and Copy From Song SEQ 2.1: Cue List page: Page menu commands Convert to Song and Copy Song In general, track and pattern event data can not be returned to its original state. Comparing song parameters is possible only during song editing (when executing a Utility menu command).
This completes the corrections. In the SEQ 1.1: Play/ REC, Preference page, set Track Select to any track whose MIDI channel is 01. Check the Multi REC check box and perform multi-track recording.
Caution and other functions in Sequencer mode
TRITON Le song data and its compatibility
The following two types of song data can be loaded from SmartMedia into this instruments sequencer. Song data saved in this instruments own format This data is only for this instrument. However, it is partially compatible with the TRITON/TRITONpro/TRITONproX/TRITON-Rack (Multi) (PG p.245). It cannot be loaded into other instruments. Since the performance will be faithfully reproduced, including detailed settings of this instrument, you should use this format to save song data that is intended for playback on this instrument. Standard MIDI Files This format is not able to provide a totally faithful reproduction of the performance on this instrument in the way that this instruments own format does (although there will be no problem for normal playback), but does provide compatibility with other SMF-compatible devices. To load song data from SmartMedia or save song data to SmartMedia, use Media mode. (p.45, PG p.139)
Operations for which Compare is not available
Editing song parameters Utility menu commands other than those listed above (in Operations for which Compare is available)

Before you record a track or pattern, or edit the musical data, you will need to turn off the memory protect setting in Global mode. (p.42)

About MIDI

Track status status
You can make settings for this instruments sequencer to specify whether it will sound the internal tone generator or an external tone generator. When Track Status Status (3.1: Param1, MIDI.8, MIDI.16) is set to INT, operating this instruments keyboard and controllers will sound and control this instruments own tone generator. When Status is set to EXT, EX2 or BTH, operating this instruments keyboard and controllers will sound and control the external tone generator. (The MIDI channel of the external tone generator must match the MIDI Channel of the track that is set to EXT, EX2 or BTH.) With a setting of BTH, both the external tone generator and this instruments tone generator will sound and be controlled.
When you perform realtime recording, step recording, 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 [COMPARE] key is dark.
Operations for which Compare is available
Recording to a track Track Edit All commands except for the Utility menu commands Memory Status and Rename Track of the SEQ 5.2: Track Edit page.
If you wish to use the Sequencer mode of the instrument as a 16-track multi-timbral tone generator, select INT or BTH. (PG p.62 Status)
Synchronizing the sequencer with an external MIDI device
The record/playback tempo of this instruments sequencer can be synchronized to an external MIDI device such as a sequencer or rhythm machine (PG p.237).

Memory Protect

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

Recording a track

There are two ways to record to a track: realtime recording and step recording. You can choose from a further six types of realtime recording. In addition, you can use event editing to modify data that has been recorded or to insert data, and use track editing operations such as Create Control Data to insert data such as bend, after touch, and control changes.

Multitrack recording allows you to simultaneously record onto multiple tracks, each with a different channel. This method can be used with overwrite, overdub, manual punch-in, and auto punch-in recording. Using the arpeggiator to record multiple tracks simultaneously A multi-track performance using the arpeggiator function can be recorded simultaneously using multi recording (p.76). When simultaneously recording multiple tracks using the RPPR function You can use multitrack recording to simultaneously record the playback of multiple tracks that are being triggered by the RPPR function. For the procedure, refer to Realtime-recording an RPPR performance (p.74). When simultaneously recording multiple tracks of MIDI data from an external sequencer, etc. 1 Make sure that the TRITON Les MIDI IN and the external sequencers MIDI OUT are connected by a MIDI cable. If they are not connected, turn off the power, make the connection, and then turn the power back on again. (PG p.229) 2 Set the MIDI Clock (GLOBAL 2.1: MIDI, MIDI page MIDI Clock) to External, so that this instrument will synchronize to the MIDI clock of the external sequencer (PG p.127).

Step recording

This is a method of recording where you specify the note timing, note length, and velocity etc. in the LCD screen, and use the keyboard to input the pitches. (p.65) Only note-on/off data can be recorded with this method.
Event Edit and Create Control Data
Note data is the only type of data that can be recorded 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 functions. Event Edit is intended as a way to edit previouslyrecorded data, but you can also use it to modify program numbers or insert control changes.
3 Create a new song, and in the SEQ 1.1: Play/REC, Preference page, check the Multi REC check box. Set the Recording Mode to Over Write. 4 Select the SEQ 1.1: Play/REC, Program page. 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, specify the MIDI channel for each track. The specied channel of musical data will be recorded on that track. It is a good idea to set tracks 116 to MIDI channels 116. (This is the default setting.) Also make sure that Status is set either to INT or BTH. 6 Press the [LOCATE] key to set the location to 001:01.000.

Create Control Data is a function that lets you create and insert controller data that changes smoothly between two specied values over the specied length of time. This is used to input bend, after touch, and control change data etc.
Realtime-recording to a pattern
Heres how you can use realtime recording to create a pattern. User patterns can be accessed by the RPPR function in the same way as preset patterns, and can be copied to or placed in a song. Playback data from a track can also be copied to a pattern. Before you begin recording a pattern, turn off the memory protect setting in Global mode (p.42).
When realtime-recording a pattern, a pattern of the specied number of measures will playback repeatedly, allowing you to continue adding musical data to it. 1 Create a new song, and load the template song P02: R&B. (p.63) 2 Access the SEQ 5.1: RPPR, Pattern page.
Using the arpeggiator for pattern recording
If the arpeggiator is set to operate for the track that is selected for Track Select, you can turn on the [ARP ON/OFF] key and record the performance of the arpeggiator into the pattern. For details on arpeggiator settings, refer to p.74 and PG 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 the pattern. If you fail to restore the normal value, unnecessary control data may remain in a stuck position when you place the pattern in a song or use the RPPR function to play the pattern. However, the following control data will be automatically reset to the following values when the song or RPPR function nishes playing the pattern, or when playback is halted.
Controller Modulation 1 (CC#01) Modulation 2 (CC#02) Reset value
4 Set Pattern Bank to User, and set Pattern Select to U00. User patterns U00U99 can be created for each song. 5 Select the Utility menu command Pattern Param.
00 (zero) 127 (max) 64 (center) 00 (zero) 00 (zero) 00 (zero) 64 (center) 64 (center) 64 (center) 64 (center) 64 (center) 64 (center) 64 (center) 64 (center) 64 (center) 64 (center) 00 (zero) 00 (zero) 00 (zero) 00 (zero)
Expression (CC#11) Ribbon controller (CC#16) Damper switch (CC#64) Sostenuto switch (CC#66) Soft switch (CC#67)
6 Set the number of measures in the pattern to a Length of 04 (four measures), and set Meter to a time signature of 4/4. Press the [F8] (OK) key. 7 Set the Resolution. For this example, select (16th note). 8 Begin realtime recording. You can record in the same way as you did when recording tracks with Loop All Tracks. (p.79) Press the [REC/WRITE] key, and then press the [START/STOP] key. After the pre-count, pattern recording will begin. Play the keyboard and operate the joystick and other controllers to record your performance. When you reach the end of the pattern, you will return to the beginning of the pattern and continue recording. If you continue recording, the newly recorded data will be added to the previouslyrecorded data. 9 If you want to delete specic data while you continue 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.

Features of EXB-SMPL

48 kHz 16 bit linear mono/stereo sampling. The EXB-SMPL includes a 16 Mbyte 72 pin SIMM sample data (waveform data) memory module. When this memory is installed in the TRITON Le, you can sample for approximately 2 minutes 54 seconds in monaural, or approximately 1 minute 27 seconds in stereo. By installing 72 pin SIMM modules, you can expand the memory to a maximum of 64 Mbytes, which will allow you to record up to four 2 minute 54 second samples in mono (or four 1 minute 27 second samples in stereo), for a maximum total of approximately 11 minutes 39 seconds of sampling time (approximately 5 minutes 49 seconds in stereo). (For details on expansion, refer to PG p.253.) A maximum of 1,000 multisamples and 4,000 samples can be created. In Media mode you can load multisample/sample data from a SmartMedia or SCSI media. Korg format or Akai (S1000/3000 samples, mapped multisamples only) format sample data, and AIFF or WAVE format sample data can be loaded. (Once data has been loaded into the TRITON Le, it will all be treated as Korg format sample data.) Sample data created on the TRITON Le can be exported (output) as an AIFF or WAVE format sample le. The external audio source that you are sampling can be processed by the one insertion effect to apply effects such as a compressor or EQ. The LFO frequency or delay time of the effect can be specified as a BPM value, which is highly effective when sampling phrase loops etc. Both auto sampling and manual sampling can be performed. With auto sampling, recording will begin automatically when the input level exceeds a specified threshold. In either method of sampling, you can make pre-trigger settings. The audio input supports both mic and line level signals. Data you sampled can be played immediately from the keyboard of the TRITON Le or by pressing the [AUDITION] key. It is also easy to convert sampled data into a program, and use it as material for the TRITON Les HI synthesis system. Multisamples/ samples that have been converted into a program can be used in a combination or song. The waveform can be viewed in the LCD screen, and edited by a variety of waveform editing commands that include rate convert (downsampling) and reverse playback. The following commands are also provided.

1 Use the stereo 3-band master EQ to make nal equalizing adjustments immediately before the sound is output from the AUDIO OUTPUT L/ MONO and R jacks. Master EQ settings can be made in Master EQ Gain [dB] of the PROG 7.2: Ed-MasterFX, Setup page, or in the Master EQ page. For details on master EQ parameters, refer to PG p.209.
If this is Off, the output of the master effect will be muted.
2 In Master Effect 1 and Master Effect 2, select the type of each master effect.
Effect settings in combination, and song
In Combination, and Sequencer modes, you can specify 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 example of Combination mode in our explanation here.

Master effects Master EQ

These settings are made in the same way as for programs (p.109).
Effect settings in Sampling mode (requires the EXB-SMPL option)
In Sampling mode, insert effect can be applied to an external audio source connected to the AUDIO INPUT 1 and 2 jacks, and sampled.
1 Select the COMBI 7.1: Ed-InsertFX, BUS page.
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. For details on these settings, refer to Sampling (p.34).
2 In BUS Select, specify where the output of each timbre will be sent. 3 S1 (Send1(MFX1)), S2 (Send2(MFX2)) species the send level from each timbre to the master effects. This can be set only if BUS Select is set to L/R or Off. The actual send level will be the send level of each timbre multiplied by the send level of each oscillator of the program selected for the timbre. If the send level of a program is 0, the actual level will be zero even if the send level setting is raised here. If IFX is selected for BUS Select, set the send levels to the master effects by adjusting the S1 (Send1(MFX1)) and S2 (Send2(MFX2)) parameters (COMBI 7.1: Ed-Insert FX, Setup page) located after the signal has passed through the insert effect.
Select the effect that will be used by the insert effect, and set the Pan (CC#8). (p.109)
The master effects and master EQ cannot be used in Sampling mode.
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 (timbre 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)
Effect settings for the AUDIO INPUT (requires the EXB-SMPL option)

Even in modes other than Sampling mode, the TRITON Les effects can be applied to the external audio source connected to the AUDIO INPUT 1 and 2 jacks. The effect section of the TRITON Le can be used as a 2-in 4-out effect processor.
page) after the sound has passed through the insert effect. If BUS (IFX/Indiv.) Select is set to other than Off and Level is raised, the external audio source will be input to the TRITON Le. At this time, if audio cables are connected to the AUDIO INPUT 1, 2 jacks, any noise component will be input to the TRITON Le even if there is no actual audio input, and (depending on the settings) will be output from the AUDIO OUTPUT L/MONO, R, 1, 2 jacks. If you are not using an external audio source, and are playing only the internal programs, combinations, and songs, you should set BUS (IFX/Indiv.) Select to Off, or set Level to 0. If audio cables are not connected to the rear panel AUDIO INPUT 1, 2 jacks, the input to the TRITON Le will be 0.
In modes other than Sampling mode (i.e., in Combination, Program, and Sequencer modes) the audio input routing from the AUDIO INPUT 1, 2 jacks is specied in the GLOBAL 1.1: System, Audio In page. 1 Enter Global mode from Program mode. 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 external audio signals (Combination, Program, or Sequencer). In Sampling mode, the settings you make here are ignored. AUDIO INPUT 1, 2 settings for Sampling mode are made by the Input 1 and Input 2 parameters in the In/Pref page of SMPL 1.1: Recording (p.110, PG p.126). 2 Select the GLOBAL 1.1: System, Audio In page.
About dynamic modulation (Dmod)
Dynamic modulation (Dmod) is a function that lets you use MIDI messages or the TRITON Les controllers to control specic effect parameters in realtime. BPM/MIDI Sync is another function that controls effect parameters, and is used to synchronize the LFO 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:

3 Set the parameters for Input1 and Input2. Input1 corresponds to AUDIO INPUT 1 jack and Input2 corresponds to AUDIO INPUT 2 jack. Level: Set the signal level from AUDIO INPUT 1 and 2. Normally you will set this to 127. If the sound is still distorted even when this level is lowered signicantly, it is possible that the distortion is occurring before the AD converter. Adjust the [LEVEL] knob or the output level of your external audio source. Pan: Set the panning of the signal from AUDIO INPUT 1 and 2. When you are inputting a stereo audio source, you will normally set Input 1 to L000, and Input 2 to R127 (or Input 1 to R127, and Input 2 to L000). When you are inputting a monaural audio source, you will normally set this to C064. 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 We will show how you can use dynamic modulation to control an effect parameter in realtime. 1 As described in the procedure for Effect settings for a program (p.108), set IFX to 49: LCR BPM Delay. Verify that a delay sound is being output. 2 Select the PROG 7.1: Ed-InsertFX, IFX page.

Using the Dmod function to vary the delay level by pushing the joystick
3 Set InLvl Mod to +100. 4 Set Src to JS+Y#1. The joystick will control the input level to the effect. When you set Src to JS+Y#1, the delay sound will no longer be output; however it will gradually increase as you move the joystick away from yourself.
Using the Dmod function to vary the feedback level by operating [SW1] key
5 In the PROG 2.2: Ed-Ctrl, Controls page, set the 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.
For some effects, you can synchronize the LFO frequency to the tempo. Set the effect parameters BPM/MIDI Sync to On, and BPM to MIDI. For details refer to PG p.168.
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 repeating. 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 arpeggiator. 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.

4-channel audio input/ 6-channel audio output
Both analog (2 channel) and digital (2 channel) audio inputs are standard, allowing you to record stereo samples. The analog inputs have a MIC/LINE level select switch and a level knob, accommodating a wide range of audio sources from mic level to line level. The built-in digital input supports 48 kHz S/P DIF format digital audio. The audio input can be routed through effects and/or Valve Force. During sampling, you can apply effects or Valve Force, use the TRITON Extreme as a 4-in/6-out effect processor, or use a vocoder effect that combines the audio input with internal sounds. Six channels of audio output are provided. For analog output, you have the L/MONO and R main stereo output, as well as four independent audio outputs (INDIVIDUAL) 1, 2, 3, and 4. Individual oscillators, drums, timbres/tracks, or the output of an insert effect can be freely routed to any of these outputs. For digital output, theres an S/P DIF connector (two channels; L/MONO and R) that supports a sampling frequency of 48 kHz.
In Song Play mode you can play SMF (Standard MIDI File) data directly from media. You can also play the keyboard along with the SMF playback, and use the arpeggiator in synchronization with the playback tempo of the SMF. Format 0 and 1 are supported, and you can also use the Jukebox function to edit the playback order of the songs.

TouchView user interface

As its user interface, the TRITON Extreme features the TouchView system with a large pixel LCD touch-panel that lets you perform functions simply by touching the screen a revolutionary leap in operability and practicality.
Dual polyphonic arpeggiator
Five preset arpeggio patterns (UP, DOWN, ALT1, ALT2, RANDOM) and 507 user arpeggio patterns are built-in. With the factory settings, these contain a wide variety of preload user patterns (489). In addition to providing conventional arpeggiator functions, the polyphonic arpeggiator of the TRITON Extreme 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
USB connectors allow connection to a CD-R/ RW drive and computer
The TRITON Extreme provides a USB A connector and a USB B connector, allowing you to save data on USB storage media (hard disks, removable disks, CD-R/RW drives). You can back-up data from media in the CF card slot to your computer, or edit data on your computer and load it into the TRITON Extreme.

Front and rear panel

Front panel

1. [SW1] key, [SW2] key

These keys are on/off switches, their function can be assigned in Program, Combination, Sequencer, Song Play, and Sampling modes. When on, the key will light ( p.21).

OSC Basic page

In this page you can select the multisample for each oscillator. The TRITON Extreme contains 962 different multisamples. (VNL)
3 Adjust the Lvl (Level) for High and Low multisamples to set their volume balance. If you do not wish to use this function, set the Velocity M.Sample SW Lo Hi value to 001. Only the High multisample will sound.

Velocity Zone page

Rev (Reverse) check box
If this is checked, the multisample will be played backward. This can produce interesting results when used on sound-effects, etc. Normally you will not check this.
To use OSC2, set Oscillator Mode to Double in the Program Basic page. In the same way as for OSC1, you can set High and Low multisamples for OSC2. The playback pitch can be set independently. By using the same multisample with slightly different Tune settings, you can detune the oscillators to produce a richer sound. It will be convenient to use the page menu command Copy Oscillator to make the oscillator settings match each other.
When Oscillator Mode = Drums
OSC1 will sound at all velocity values. OSC2 will sound only on strongly played notes (64 and above). You can use Velocity Multisample Switching in addition to this parameter (High Multisample, Low Multisample). For this example, set OSC1 in Velocity M.Sample SW LoHi to 032 and OSC2 to 096. The settings are shown as vertical lines in the velocity zone display. In this example, the multisamples will sound over four levels. Velocity values 001031: sounds only the OSC1 Low multisample. Velocity values 032063: sounds only the OSC1 High multisample. Velocity values 064095: sounds the OSC1 High multisample and the OSC2 Low multisample. Velocity values 096127: sounds the OSC1 High multisample and the OSC2 High multisample.
Preset multisamples (see the table on the preceding page) Multisamples that you sampled (RAM) (Programs can be created from multisamples/samples that you sampled in Sampling mode etc. or loaded from media in Media mode.) Nine internal drum kits (ROM) 144 user drum kits created in Global mode (Drum samples can be freely assigned to each key to create a drum kit. For the sound of each key, you can make lter and amp settings, and specify routing to the effects and to the individual audio outputs.)

Exclusive messages that can be realtime-recorded
The following exclusive messages can be realtime recorded. Exclusive messages received from an external MIDI device Parameter changes in Sequencer mode (PG p.101) Master Volume universal exclusive messages assigned to the foot pedal or a knob 2 Move to Sequencer mode, use Track Select to select Track 09, and begin recording. For this example, select an empty track. If you want to record onto a track that already contains data, set the Recording Setup parameter Recording Mode to Over Dub (p.43).
Using Put Effect Setting to Track to switch effects
The page menu command Put Effect Setting to Track places effect settings into a track as exclusive events. As an example, we will use the preset template song Acid Jazz to explain how to use the Put Effect Setting to Track page menu command. In this example we will switch the insert effect for Track 03: Elec.Piano from 023: Stereo Phaser to 020: Stereo Flanger at the beginning of measure 9. We will explain two ways in which you can do this: method 1) and method 2). This command works by inserting MIDI parameter change system exclusive messages directly into a sequencer track. Because this requires a number of messages to be read and processed, it can take a little time for the effect to change. You may nd it necessary to anticipate where you want the effect change to take place and insert the change slightly earlier. Also, notes that are already sounding as the transition takes place may not play smoothly. Only effect type and effect parameter events can be inserted. You must use realtime recording to record effect on/off settings or bus settings.
5 Specify the effect for which you will insert an exclusive message, and specify the location at which it will be inserted. Effect: IFX3 To: Song: 000 Track: 03 Measure: 001 Beat.Tick: 01.Press the OK button. 7 Specify the effect that you will use for measure 9 and the measures that follow. In the Sequencer P8: Insert Effect, Insert FX page, set IFX3 to 020: Stereo Flanger.
1. Inserting effect settings at the beginning of the song and at a specied measure
For the insert effect (IFX3) used by track 3, we will use 023: Stereo Phaser for measures 1 through 8 (as specied by the template song) and then switch to 020: Stereo Flanger for measures 9 and following by using the page menu command Put Effect Setting to Track to insert MIDI parameter change system exclusive messages. 1 Enter Sequencer mode, and use Song Select to choose song S000. 2 Use the page menu command Load Template Song to load Acid Jazz.

2 Execute the page menu command Copy From Program or Copy From Combi. A dialog box will appear.
4 Press the OK button to perform the Auto Song Setup. The TRITON Extreme will automatically switch to Sequencer mode, and the combinations settings will be applied to a new song. The new song will be the rst unused song. 5 You will automatically enter record-ready mode, and the metronome will begin sounding according to the settings in Sequencer mode 08: Preference. (PG p.68 08b: Metronome Setup) 6 Press the [START/STOP] key, and realtime recording will begin. When youre nished recording, press the [START/ STOP] key once again. (p.43 Realtime recording on a MIDI track)
Select the program or combination that you want to copy (i.e., the copy source). For this example, press the COMBI BANK [I] key, then press numeric keys [4], [0], and nally press the [ENTER] key. I040: Steely Keys will be selected. We will copy the effect settings of the combination as well, so check the With Effects check box. Since we want to copy the settings of the combinations eight timbres to tracks 18, select Track 1 to 8. If you have selected Track 1 to 8, you will be able to select Auto adjust Arp setting for Multi REC. If you check this check box, the MIDI channel etc. of some of the tracks will automatically be adjusted to ensure that the same sound as was used during recording will be reproduced by the playback when you perform multitrack recording with the arpeggiator turned on.
When using the Copy From Program page menu command, the dialog box will be different. You can specify any track as the copy destination, and Auto adjust Arp setting for Multi REC will be replaced by a simple with Arpeggiator check-box. Depending on the combination settings, it may be necessary to make additional changes to the track settings. In order to use the Auto adjust Arp setting for Multi REC function, the combination to be copied must have been written to memory with the ARPEGGIATOR [ON/OFF] key turned on. Press the OK button to execute the copy. Notice that when you execute this command, the PLAY/REC/MUTE setting of each track will be set automatically. In the Sequencer P0: Play/REC, Preference page, the Multi REC check box will be checked.
Caution and other functions in Sequencer mode
TRITON Extreme song data and its compatibility
The following two types of song data can be loaded from Media into TRITON Extremes sequencer. Song data saved in TRITON Extremes own format This data is only for this instrument. However, it is partially compatible with the TRITON STUDIO, TRITON-Rack and TRITON/TRITONpro/ TRITONproX (PG p.309). Since the performance will be faithfully reproduced, including detailed settings of this instrument, you should use this format to save song data that is intended for playback on this instrument. Standard MIDI Files This format is not able to provide a totally faithful reproduction of the performance on TRITON Extreme in the way that TRITON Extremes own format does (although there will be no problem for normal playback), but does provide compatibility with other SMFcompatible devices. To load or save song data etc., use Media mode. (p.117, 121, PG p.181, 189)

tive pitch ranges to avoid any unnatural sounds during playback. All of the instrumental sounds in the TRITON Extremes internal preset ROM multisamples are constructed in this way. For example, you might record one sample per octave, and assign each of these samples to an index (keyboard area). By assigning multiple samples such as phrase samples or rhythm loops to a multisample and arranging them 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, these samples could be assigned at one-octave intervals, and played as phrase variations with different playback pitches. The TRITON Extreme can hold a maximum of 1,000 multisamples in its internal memory. A multisample can be selected as the oscillator for a program, and played as a program. In a combination, they can be combined with preset programs, and used in a multi. They can be used with the arpeggiator to produce interesting results (for example, by using the arpeggiator to automatically play sound effects or spoken samples).

Multisample

Index001 Top Key Index002 Top Key Index003 Top Key Index004 Top Key

Multisamples

A multisample consists of settings that make one or more samples sound in different areas of the keyboard. A multisample consist of between one and 128 indexes. Each index contains parameters that specify the sample that will playback, the zone in which it will playback, the original pitch key, the playback pitch, and level etc.

Index 001

Index 002

Index 003

Index 004

Using multisamples

When sampling an instrument that is able to produce a wide range of pitches, such as a piano, recording just one sample and applying it (playing it back) over the entire pitch range will not produce a natural-sounding result. By using a multisample you can record separate samples for each pitch range, and assign these samples to their respec-

0000: Sample A

0001: Sample B

0002: Sample C

0003: Sample D
Program OSC (Single/Double)

Sample

Drum Kit

Program OSC (Drums)

Conceptual diagram of the Open Sampling System
Resampling Program, combinations and songs AUDIO INPUT jack Analog signal USB A connector CD-R/RW (Audio CD) Analog signal S/P DIF IN jack Analog/digital convertor Insert Effects (Master Effects) RAM (SIMM memory): 16 MB (expandable to 96 MB) Digital/analog convertor Digital signal Analog signal

6 Press the OK button to execute the command. Preparations for sampling are now completed.
Lets check the settings that were made. Input 1 Level: 127, Pan: L000 BUS (IFX/Indiv.) Select: L/R Input 1 Level: 127, Pan: R127 BUS (IFX/Indiv.) Select: L/R These settings specify the input level from the INPUT 1, 2 jacks, the panning, and select the L/R bus as the destination. Source BUS: L/R The sound sent to the L/R bus will be sampled. Trigger: Sampling START SW After you press the SAMPLING [REC] key to enter sampling-ready mode, recording will begin when you press the SAMPLING [START/STOP] key. Recording Level: +0.0 This is the default setting for recording an external input. Save to: RAM The sampled data will be written to sample memory (RAM).
5 Make the following settings for REC Audio Input. Set Source Audio to Analog. The external audio input source (the analog audio output of an instrument or other device connected to the INPUT 1, 2 jacks) will be sampled. Set Mono-1/Mono-2/Stereo to Stereo. The input from the INPUT 1, 2 jacks will be sent to the internal L,R channels, and sampled in stereo. Set Save to to RAM. The sampled data will be written to sample memory (RAM). Set IFX to Off. Insert effects will not be applied while sampling.
G Select the page menu command Grid to access the dialog box.
Check Grid, set Resolution to , and press the OK button. E Notice that 0000: LOOP1-140BPM-L is selected for Sample (Sample Select), and that the sample waveform data is displayed. The selected sample is a stereo sample. The L and R waveforms will be shown in the upper and lower parts of the sample waveform display. F Use Start to set the start address, LoopS (Loop Start) to set the loop start address, and End to set the end address. The sample will sound as follows. When looping is on: S E LoopS E (continue repeating LoopS E) When looping is off: S E Select Start (highlighted), and use the [VALUE] dial etc. to specify the location at which the sample will begin sounding. The vertical line in the display will move accordingly. If necessary, you can press the ZOOM buttons to expand or shrink the waveform display. Zoom will expand or contract the display beginning at the Start, LoopS (Loop Start), or End point that is selected.

7 Press the OK button to execute the command. Preparations for In-Track Sampling are now completed.
Lets take a look at the settings that were made. Input 1 Level: 127, Pan: L000 BUS (IFX/Indiv.) Select: 1/2 These settings specify the input level from the INPUT 1 jack and the panning, and select the 1/2 bus as the destination. Source BUS: Indiv 1/2 The sound sent to the 1/2 bus will be sampled. Trigger: Sampling START SW After you press the SAMPLING [REC] key to enter sampling-ready mode, recording will begin when you press the SAMPLING [START/STOP] key. Recording Level: +0.0 This is the default setting for recording an external input. Save to: RAM The sampled data will be written to sample memory (RAM). Mode: Stereo The sound of the internal L/R channels will be sampled in stereo. Be aware that if you change the BUS setting from Off to L/R or IFX15, the volume level sent to the AUDIO OUT L/MONO, R jacks and to the headphones may rise excessively. 8 For this example, change the settings as follows. Pan: C64 Trigger: Threshold, Level: as desired Sample Time: as desired
6 Make the following settings for In-Track Sampling. Set Source Audio to Analog. The external audio input source (the analog audio output of an instrument or other device connected to the INPUT 1, 2 jacks) will be sampled. Set Mono-1/Mono-2/Stereo to Stereo. The sound will be sampled in stereo. Set To to the track you want to use for In-Track Sampling. A MIDI note for triggering the sample will be recorded in the track you specify. Set Program to the convert-destination program number. When sampling is completed, a new multisample will be automatically created, converted to a program, and assigned as the program for the track.
9 Set the recording level. Play your guitar at the volume at which you will record. If the display indicates ADC OVERLOAD !! (AD converter input overload), adjust the rear panel [LEVEL] knob toward MIN until the level is appropriate. Press the SAMPLING [REC] key. When you play your guitar, the level meter will indicate the volume at which the guitar will be sampled. If the display indicates CLIP!!, use the VALUE controllers to lower the Recording Level slider (in the
right of the display) below +0.0 to an appropriate level. This adjustment will not affect the output volume, but will affect the data that will be sampled. When you have nished making adjustments, press the SAMPLING [REC] key. 0 Begin sampling. Press the SAMPLING [REC] key, and then the SAMPLING [START/STOP] key to enter recording-standby mode. Press the [LOCATE] key to reset the song playback location to the beginning of the song, and press the SEQUENCER [START/STOP] key to play back. If you want to verify the location, press the Prog.916 tab to access the Program T0916 page. Begin playing at the point where you want to record. Sampling will begin when the Threshold Level volume is exceeded. A At the point where you want to stop sampling, press the SEQUENCER [START/STOP] key. Song playback and sampling will end. Sampling will also stop if the specied Sample Time is reached. Event data and a program will be assigned to the track you specied in Select Bank & Smpl No. B Press the [LOCATE] key to return to the beginning of the song, and press the SEQUENCER [START/STOP] key. Notice that the sampled audio is played back along with the song. For details on how the Compare function works for In-Track Sampling, refer to p.60.

P004: RANDOM

RANDOM
U000 (A/B)U199 (A/B) With the factory settings, various arpeggio patterns are preloaded. These include a variety of patterns such as drum or bass phrases, or guitar or keyboard backing riffs (VNL). U200 (H) U506 (User) When the TRITON Extreme is shipped from the factory, arpeggio patterns are preloaded in some of these memories (VNL).
4 Adjust the settings of the various parameters. Octave: Selects the octave range in which the arpeggio will be played.
Latch: If this is checked, the arpeggio will continue 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 keyboard. Key Sync.: If this is checked, the arpeggio pattern will start from the beginning when you play a note after having released all notes. This setting is suitable when you are playing in realtime, and want the arpeggio to start at the beginning of the measure. If this is unchecked, the arpeggio pattern will always be synchronized to the tempo of the MIDI clock. For details on synchronization, refer to Synchronizing the arpeggiator (p.102). Keyboard: If this is checked, the notes you play on the keyboard will be heard as well as the arpeggiated notes. If this is unchecked, only the arpeggiated notes will be heard. The same setting can be made by editing the parameter of the same name (or abbreviation) in the Program P0: Play, Arpeggio page. You can use the page menu command Copy Arpeggiator to copy arpeggiator settings from another program or combination (PG p.29). 5 In the Scan Zone page, specify the range in which the arpeggiator will operate.

Octave: 4 UP

Resolution: Species the timing value of the arpeggio notes over a range of 3 . Gate: Species the length (gate time) of each note in the arpeggio. If a user arpeggio pattern is selected, you can set this to Step. In this case, the value of the Gate setting for each step (Global P6: User Arpeggio, Pattern Edit page) will be used. This value will be in effect when the ARPEGGIATOR [GATE] knob is in the center position (12 oclock). Be sure that the knob is in the center position when you make this setting. Velocity: Species the velocity of the notes in the arpeggio. If this is set to Key, the velocity with which you actually played each note will be used. If a user arpeggio pattern is selected, you can set this to Step. In this case, the value of the Vel setting for each step (Global P6: User Arpeggio, Pattern Edit page) will be used. This value will be in effect when the ARPEGGIATOR [VELOCITY] knob is in the center position (12 oclock). Be sure that the knob is in the center position when you make this setting. When a preload user arpeggio pattern is selected, setting the Gate or Velocity to Step will add a sense of groove to the arpeggio pattern. Swing: This adjusts the timing of the even-numbered notes in the arpeggio (counting from the rst note), to give the pattern a sense of swing. Sort: If this is checked, the arpeggio will be sounded in order of pitch, regardless of the order in which notes were played on keyboard (On). If this is unchecked, the arpeggio will be sounded in the order in which the notes were played on keyboard (Off).

Synchronization with an external sequencer in Program, Combination, or Sequencer modes
In Program, Combination, and Sequencer modes when (Tempo) is EXT (Global P1: MIDI MIDI Clock set to External MIDI or External USB), the TRITON Extreme will synchronize to MIDI Clock and Start messages received from an external 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 between arpeggiators A and B
In Combination, Sequencer and Song Play modes, two arpeggiators can operate simultaneously. In this case, if you start an arpeggiator (whose Key Sync. is unchecked) while the other arpeggiator is already running, the arpeggiator you started will synchronize to the (Tempo) based on the timing of the already-running arpeggiator. If Key Sync. is checked, A and B will each operate on their own timing.
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.) In Song Play mode, the TRITON Extreme will not synchronize to an external MIDI clock.
Synchronization between the arpeggiators and sequencer in Sequencer or Song Play mode
When song playback is stopped
The arpeggiator will synchronize to the (Tempo) based on the timing of the internal MIDI clock. In Sequencer mode when an RPPR pattern is playing, the arpeggiator will synchronize to the beats of that pattern. In Sequencer mode if you want RPPR pattern playback to be synchronized to the currently-running arpeggiator, set Sync to SEQ (Sequencer P6:Pattern/RPPR, RPPR Setup page). The pattern playback will synchronize to the (Tempo) timing of the arpeggiator.
When a song is being played or recorded
The arpeggiator will synchronize to the beats based on the timing of the song.
Synchronization with Song Start
When the arpeggiator is on (the ARPEGGIATOR [ON/OFF] key is on) and running, receiving a Song Start message will reset the arpeggiator to the beginning of the pattern. (This has no relation to the Key Sync. setting.) In Sequencer mode when the Key Sync. setting is unchecked and the ARPEGGIATOR [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 beginning of the arpeggio pattern at the moment that recording begins.

Setting the calendar function
Heres how to set the date and time for the TRITON Extremes internal calendar. The date and time are recorded when you save data. Use the page menu command Set Date/Time (Media, Utility page) to make these settings. You will need make these settings after you purchase the TRITON Extreme, and after you replace the calendar backup battery. 1 In the 03: Utility page, select the page menu command Set Date/Time. The following dialog box will appear.
2 Use the VALUE controllers to set Year, Month, Day, Hour, Minute, and Second to the correct year, month, day, hour, minute, and second. 3 Press the OK button. If the calendar backup battery runs low, a message of Battery voltage for calendar IC will appear in the LCD screen. If the calendar backup battery runs down completely, the calendar will be initialized, and the date and time will not be recorded correctly. You can replace the calendar backup battery by yourself. Refer to PG p.324 for details.
Saving data from CF card slot media to your computer
You can use your computer to access media inserted in the CF card slot, and save the data to your computer s hard disk, or copy Wave les or other data from your computers hard disk to the media in the CF card slot. Execute the Utility page menu command USB Storage Mode. For details on the procedure and on the requirements for your computer, refer to PG p.193, 325.

Loading data

Media, Load
The types of data that can be loaded from media are shown in the diagram below. (For details on each type of data, refer to PG p.177) The Media mode Load page lets you load data from media. Refer to p.137 for details on the types of media from which you can load media.
When you load a.PCG le, the data in the TRITON Extremes internal memory will be overwritten by the data of the.PCG le (programs, combinations, drum kits, user arpeggio patterns, global settings). If you want to keep the data that is currently in internal memory, use Save All to save it before you proceed. 1 Make sure that the media is ready for you to load data. (Refer to p.117 Setting up media) 2 Press the [MEDIA] key to enter Media mode.

Make sure that both media are detected by the TRITON Extreme.
To add the le, press the Insert button. You can continue adding les until you press the Exit button. The les will be added to the track list in the order in which you selected them. If you want to add all the WAVE les in the directory, press the Insert All button. When you have nished adding les to the list, press the Exit button to close the dialog box. Notice that the WAVE les have been added to the track list.
Be aware that if you use a faster writing speed in a slower system, writing errors will occur. Use Mode to specify the writing method. Depending on the drive you are using, it may not be possible to write at the specied speed. We recommend that the rst time you write, you select Test to perform a writing test in order to determine the speed capabilities of your drive. Test will not write data to the CD-R/RW media, but will perform all other processing just as when data is actually written. If an error occurs, the display will indicate Error in writing to medium. Press the OK button to execute the writing test. After verifying that data can be written correctly at the specied speed, select Write. Execute nalize too species whether Finalization will be executed after the audio tracks have been written to the CD-R/RW media. If nalization has been executed, the disc can be played back on a CD player, but it will no longer be possible to add more tracks.
In this page as well, you can select a WAVE le and press the SAMPLING [START/STOP] key to play back the sample. To add other WAVE les to the track list, press the Insert button once again. If you want to add another track, select the WAVE le that follows the track you want to add. If you want to add the track to the end of the track list, select ====End====. Then press the Insert button. To delete a WAVE le from the track list, select the WAVE le that you want to delete, and press the Cut button. Subsequent tracks will be moved forward in the list. For details on editing operations such as Clear and Swap Track, refer to PG p.195. 3 Insert a blank CD-R or CD-RW disk into the drive. In the Make Audio CD page, use Media Select to select your CD-R/RW drive. The CD-R/RW drive is shown as CDD: Blank Disc. An audio CD cannot be created on a disc that contains data other than audio (e.g., les). In this case, it will not be possible to select the page menu commands Write to CD or Finalize Audio CD. Even when the recommended CD-R/RW media is used, some audio CD players may be unable to play back the disc. Also, since some audio CD players are unable to play back CD-RW media, we recommend that you use CD-R media. 4 Select the page menu command Write to CD to access the dialog box, and specify how the CD will be written.
If you only want to execute nalization, execute Finalize Audio CD. 5 When you are ready to write to the CD-R/RW media, or to execute a writing test, press the OK button. To cancel without executing, press the Cancel button. When you press the OK button, the Obey Copyright Rules dialog box will appear. Carefully read About copyright (QS p.iii). If you accept the terms, press the OK button to write to the CD or to perform the test. If you do not accept the terms, press the Cancel button to cancel the operation.

When you write a program or combination, the on/ off status of the [SW1] and [SW2] keys is memorized. You can use these keys as alternate modulation or effect dynamic modulation sources, and control program parameters or effect parameters. In this case, you will normally select SW1 Mod.:CC#80 and SW2 Mod.:CC#81. For an example in which the [SW1] key is specied as an effect dynamic modulation source for a program and used to control an effect, refer to p.108. If you wish to keep these settings after the power is turned off, you must save them (p.114). However, the settings of Sampling mode cannot be saved.
Use the rear panel contrast knob to make adjustments.
Adjusting the contrast (brightness) of the LCD screen

Using tap tempo control

In Program, Combination, Sequencer, and Song Play modes, you can use the tap tempo function to control the arpeggiator tempo. In Sequencer and Song Play modes you can use this method to control the song tempo. During playback, lightly press the [ENTER] key several times at the desired tempo. The tempo will follow your tapping in realtime. This is a convenient way to match the tempo in realtime to the beat of a different source. As an example, heres the procedure for using tap tempo to set the speed of the arpeggiator. 1 In Program mode or Combination mode, start the arpeggiator running. Turn on the ARPEGGIATOR [ON/OFF] key, and play the keyboard. If you check Latch (P0: Play, Arpeggiator page), the arpeggiator will keep running even if you take your hand off the keyboard. 2 Lightly press the [ENTER] key several times at the desired tempo. Notice that the = in the upper right of the LCD screen will change to indicate the tempo at which you press the [ENTER] key. If you press the [ENTER] key at slightly shorter intervals, the playback tempo will become correspondingly faster. You can use tap tempo control whenever the [TEMPO] knob can be operated. For example in Sequencer mode, tap tempo control will not be available if you are playing a song whose Tempo Mode setting (PG p.56) is set to Auto. You can also use a foot switch connected to the ASSIGNABLE FOOT SWITCH jack to control the tap tempo function. (p.90, PG p.281)

Shortcuts

[MENU] key + numeric keys [0][9] Accesses the pages within a mode [ENTER] key + numeric keys [0][9] Accesses the page menu commands in each page (up to ten items) [ENTER] key + [REC/WRITE] key Accesses the Song Setup function. In Program or Combination mode you can press this combination of keys to automatically assign the settings of the program or combination to a song in Sequencer mode, and then enter record-ready mode. [ENTER] key + keyboard Inputs note number values or velocity values Selects KEY in Global P5: Drum Kit, Sequencer P6: Pattern/RPPR, RPPR Setup page Selects base key and index in Sampling mode [ENTER] key + [LOCATE] key In Sequencer mode and Song Play mode, sets the current location as the Location (equivalent to the Set Location page menu command) From the powered-off state, turn on the power while holding down the [MENU] key and [EXIT] key Automatically executes Load All (Preload PCG and Demo Songs). (A message of Now writing into internal memory will appear in the LCD screen while the data is being loaded.) From the powered-off state, turn on the power while holding down the [MENU] key and [9] key (Warning! This operation will cause all user data saved to the internal memory to be lost) Initializes the TRITON Extreme, and writes data into internal memory. (A message of Now writing into internal memory will appear in the LCD screen while the data is being loaded.) After initialization, you will need to load the preload data. Execute the Global mode page menu command Load Preload/Demo Data to load the data. p.127

Cant sample Is sample memory (RAM) installed? p.18 If you are sampling to media, have you selected media to which sampling is possible? p.137, PG p.7, 112 Are the audio input settings correct? Refer to Audio input and output Cant input sound p.131 Is there free space in memory? PG p.117, 203 If you are sampling to sample memory (RAM), select a different memory bank. PG p.6, 41, 64, 106 If you are sampling to hard disk, select a different hard disk. PG p.7, 41, 64, 112 Delete unneeded samples. PG p.108 Save samples you want to keep, and then delete them. PG p.108, 188 Is the Trigger setting correct? PG p.5, 41, 63, 115 In Sampling mode if you are resampling with Resample set to Auto, has the sample to be resampled been assigned to the keyboard, and selected for Key? p.70, PG p.113 Is the Source BUS setting correct? If you want to listen to the performance of the internal tone generator while sampling only the external input sound (i.e., when using the In-Track Sampling function), you will normally set this to Indiv.1/2. For other types of sampling or resampling, set this to L/R. p.65, PG p.4, 41, 63, 115 If a message of Buffer underrun error occurred is displayed frequently when you are sampling to hard disk, execute the page menu command Check Medium (Media, Utility page) to find and correct any errors on the selected MS-DOS format media. PG p.193 A stereo sample cant be played in stereo
Is the sample name assigned correctly? PG p.106
Is the multisample stereo? Execute the page menu command MS Mono To Stereo to convert the multisample to stereo. PG p.110
Volume of a recorded sample is too low/too high A sample that you resampled with Recording Level set at approximately 12.0 (dB) plays back at a lower volume than the volume at which you resampled it. Did you turn on the Auto +12 dB On setting when you resampled? p.67 If you resampled with Auto +12 dB On turned off, turn on +12 dB (Sampling mode Loop Edit page) for that sample. The playback volume of a sample is different than the volume at which it was resampled or sampled. If the sample playback is louder, did you set Recording Level above +0.0? If it is lower, did you set Recording Level below +0.0? The Recording Level setting affects the level of the sample data that is recorded, but it is not possible to monitor that level. If the sample playback is louder, is Auto +12 dB On turned on? If the playback is softer, is this setting turned off? If you resampled the playback of a song or your playback performance using a program, combination, or sample, or combined your performance with an external audio source and sampled the result, did you set Recording Level to approximately 12.0 dB and turn on the Auto +12 dB On setting? p.67 If you sampled only an external audio source, did you set Recording Level to approximately +0.0, and turn off Auto +12 dB On? p.67