TRITON Extreme Operation Guide - Platinum Audiolab

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102 Synchronizing the arpeggiator The note timing of the arpeggiator will differ depending on the state of the arpeggiator “Key Sync.” check box. If this is checked, the arpeggiator will operate at the timing of the first note-on you play from a state in which all keys are released. If this is unchecked, the arpeggiator will operate in synchronization with the internal or external MIDI clock. The paragraphs below explain how synchronization occurs when the “Key Sync.” check box is unchecked. (However, synchronization with Song Start and with the MIDI realtime command Start message are exceptions to this.) 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 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. 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 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.
Effect and Valve Force settings The effect section of the TRITON Extreme provides five insert effects, two master effects, one master EQ (stereo 3-band EQ), and a mixer that controls the routing of these components. You can choose from 102 types of full-digital effects for each insert effect, and from 89 types for each master effect. The effects are categorized as follows. Categories of the 102 effect types 001–015 Filter and dynamics effects, such as EQ and compressor 016–031 Phase modulation effects, such as chorus and phaser 032–040 Other modulation and pitch-shift effects such as rotary speaker and pitch shifter 041–051 Early reflection and delay effects 052–057 Reverb effects 058–089 Mono + mono chain effects that internally connect two mono effects in series 090–102 Double-size effects You can select effects 000–089 for IFX1, 2, 3, 4, 5, MFX1, and MFX2. You can select effects 090–102 for IFX2, 3, or 4. This is because these are double-size effects which require twice as much processing as the other effects. Effects in each mode In Program mode, insert effects can be used as part of the sound-creating process, in the same way that the output sound of the oscillator (OSC) is processed by the filter and amp to create the final sound. Then the master effects can be used to apply spatial-type effects such as reverb. The stereo 3-band master EQ is located immediately before the OUTPUT (MAIN) L/MONO and R outputs and is used to make final adjustments in tone. These settings can be made independently for each program. Oscillator Filter Amplifier In Combination mode, Sequencer mode, and Song Play mode, insert effects can be used to help create the sound of each timbre/track. The master effects are used to apply overall spatial processing, and the master EQ is used to make overall adjustments in tone. You can make these settings independently for each combination in Combination mode, independently for each song in Sequencer mode, and in Song Play mode for the entire mode. Timbre 1 / Track 1 Timbre 2 / Track 2 Timbre 8 / Track 16 Send Master Effect 1,2 Return Insert Effect 1-5 Master EQ Insert Effect 1-5 Send Master Effect 1,2 Return Master EQ OUTPUT L/MONO, R OUTPUT L/MONO, R In Sampling mode, you can sample while applying insert effects to the audio coming in via AUDIO INPUT 1, 2, or S/P DIF IN jacks. Settings in Sampling mode are made in Input (SAMPLING) (Sampling P0: Input/Setup). These settings are valid only for Sampling mode. You can also sample while applying an insert effect to the samples assigned to a multisample. AUDIO INPUT (1, 2) S/P DIF IN (L, R) Sample Insert Effect 1-5 Sample Recording Insert Effect 1-5 Resampling The external input from the AUDIO INPUT 1, 2, or S/P DIF IN jacks is also valid in modes other than Sampling mode. In Program, Combination, Sequencer, and Song Play modes, you can use the insert effects, master effects, and master EQ. Settings for external signal input via the AUDIO INPUT 1, 2, and S/P DIF IN can be made in “Input (COMBI, PROG, SEQ, S.PLAY, MEDIA)” (set in Global P0: 0–3a or in the corresponding mode). In these modes, the external input sound from each jack can be processed by the TRITON Extreme’s effects and sampled, or the TRITON Extreme can be used as a 4-in (AUDIO INPUT 1, 2, and S/P DIF IN L, R) 6-out effect processor. The TRITON Extreme can also be used as a vocoder effect (093: Vocoder) that uses external mic input to control internal sounds. Oscillator Filter Amplifier AUDIO INPUT (1, 2) S/P DIF IN (L, R) Send Master Effect 1,2 Return Insert Effect 1-5 Master EQ OUTPUT L/MONO, R When effects are applied to the external input sound from the AUDIO INPUT 1, 2, and S/P DIF IN jacks, certain effect types or parameter settings may cause oscillation to occur. If this occurs, adjust the input level, output level, or effect parameters. Please be aware of this particularly when using an effect that has a high gain. 103 Program Combination Sequencer Sampling Song Play Global Effect Media, etc Preset Other
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Table of Contents About this manual
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Main features The TRITON Extreme is
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Front and rear panel Front panel 1
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Each time you press the [G] key whe
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Use an optical cable to connect thi
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f: Check box Each time you press a
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Sequencer mode • Use the 16-track
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Basic operation 1. Selecting modes
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Connections Connections must be mad
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6. Inserting and removing CF card s
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Program structure Playing and editi
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4 When you are satisfied with the s
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Note Number Varying amounts of an e
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3 Adjust the “Lvl” (Level) for
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Filter settings P3: Edit-Filter The
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Amp1 Mod. page Keyboard Track This
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Playing and editing combinations Co
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Easy arpeggiator editing Arpeggio P
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Settings for status, MIDI channel,
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You can also enter these values by
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Producing songs (Sequencer mode) TR
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Sequencer mode page structure Page
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Recording methods This section desc
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When simultaneously recording multi
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Using “Put Effect Setting to Trac
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9 Press the OK button. Now when you
Page 55 and 56: Decide on the number of measures, i
Page 57 and 58: Creating and playing a Cue List A c
Page 59 and 60: Creating and recording RPPR (Realti
Page 61 and 62: Set “Gate” and “Velocity” t
Page 63 and 64: When using the “Copy From Program
Page 65 and 66: Features of sampling on the TRITON
Page 67 and 68: Samples and Multisamples Samples Th
Page 69 and 70: 4 For Input1 and Input2, set “BUS
Page 71 and 72: In Program, Combination, and Sequen
Page 73 and 74: Creating multisample indexes and sa
Page 75 and 76: 7 In the P8: Insert Effect, Insert
Page 77 and 78: 8 Adjust the recording level. Press
Page 79 and 80: 4 Choose “REC Audio Input.” 5 M
Page 81 and 82: Sample (waveform data) editing Edit
Page 83 and 84: 5 Press the OK button. The sample w
Page 85 and 86: 4 Connect your guitar to the rear p
Page 87 and 88: ight of the display) below +0.0 to
Page 89 and 90: SMF (Standard MIDI File) playback I
Page 91 and 92: Playback using the Jukebox function
Page 93 and 94: Settings for the entire TRITON Extr
Page 95 and 96: pitch change speed, volume, the pan
Page 97 and 98: 6 Use “High Drumsample Bank,”
Page 99 and 100: 4 Adjust the settings of the variou
Page 101 and 102: Combination D062: Old Vox Organ Alt
Page 103 and 104: • Tone: At each step, a chord con
Page 105: 8 Input the open hi-hat (Tone03). S
Page 109 and 110: Master effects The input levels to
Page 111 and 112: AUDIO INPUT effect settings In Prog
Page 113 and 114: Valve Force settings Valve Force is
Page 115 and 116: If you want to route the sound thro
Page 117 and 118: Loading and saving data, creating a
Page 119 and 120: Assigning a name (Rename) You can m
Page 121 and 122: Saving on media Media, Save For det
Page 123 and 124: Using the TRITON Extreme as a data
Page 125 and 126: Loading data Media, Load The types
Page 127 and 128: Loading data by individual item or
Page 129 and 130: In “Drive,” select your CD-R/RW
Page 131 and 132: Restoring the factory settings The
Page 133 and 134: Setting the function of [SW1] and [
Page 135 and 136: Troubleshooting If you experience p
Page 137 and 138: Program, Combination Settings for o
Page 139 and 140: MIDI The TRITON Extreme does not re
Page 141 and 142: Media that can be used with the TRI
Page 143 and 144: User interface TouchView graphical
Page 145 and 146: Index Numerics 10’s Hold 4, 13, 2
Page 147 and 148: T Tab 9, 13 Tap tempo 7, 74, 90, 13
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TRITON Extreme Operation Guide - Platinum Audiolab

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