TRITON Extreme Operation Guide - Platinum Audiolab

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34 Layer Layer refers to settings which cause two or more programs to sound simultaneously when a note is played. Split Split refers to settings which cause different programs to sound on different areas of the keyboard. Program A Velocity switch Velocity Switch refers to settings which cause different programs to sound depending on the velocity (keyboard playing dynamics). On TRITON Extreme, you can use a different program for each of up to eight timbres, and combine two or more of the above methods to create even more complex setups. Program B Program A Program B Program B 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. The Compare function Layer: Two or more programs sound simultaneously. Split: Different programs will sound in different areas of the keyboard. Program B Strong Keyboard playing Program A Soft dynamics Velocity Switch: Keyboard playing dynamics (velocity) switches between different programs. Program A Program D Program C Program A Program B Strong Soft Keyboard playing dynamics Example: B and C/D are split. In the lower keyboard range, A and B are layered. In the higher keyboard range, C and D are switched by velocity and layered with A. 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. When one of the P1–P9 pages is selected, you can press the [COMPARE] key (the key will light) to recall the sound that was last written before editing. As you are editing a combi, you can use the [COMPARE] key to listen to the previously saved version (as it was before you began editing). Pressing [COMPARE] again (the light goes dark) returns you to the version you are editing. If you continue editing when the [COMPARE] key is lit, the key will go dark, and the current setting will now be the sound that is recalled when the [COMPARE] key is dark. Timbre 1–8 program, pan and volume P1: Edit-Program/Mixer Here you can assign programs to each timbre 1–8, and set the pan and volume for each one. These settings can also be made in the Program Select and Mixer pages of P0: Play. Edit-Program/Mixer page Category, Program Select (Bank/Program) Assigns a program to each timbre. When the “Bank/Timbre Program” select menu is displayed, you can select programs by bank. When the “Category/Timbre Program” select menu is displayed, you can select programs from the 16 categories. (☞p.32) You can also use the BANK [A]–[N] keys to select the bank of the program. If you wish to select programs by receiving MIDI program changes, do so in P0: Play. Pan Specifies the panning (stereo position) for each timbre. A setting of C064 will reproduce the oscillator pan setting of the program. Adjusting this parameter 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. 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 significant effect on the overall impression produced by the Combination.
Settings for status, MIDI channel, and pitch parameters P2: Edit-Trk Param MIDI Ch page Status Here you can specify the MIDI status of the internal tone generator assigned to each timbre. Normally when playing the internal tone generator of TRITON Extreme, you will set this to INT. Set this to Off for timbres that you are not using. With settings of Off, EXT, or EX2, TRITON Extreme will not sound. With settings of EXT or EX2, you can control an external tone generator connected via MIDI. (☞PG p.38, 43) MIDI Channel Timbres that you wish to play from TRITON Extreme’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 timbres that sound only when the arpeggiator is on. This is a very useful technique for creating combinations that use the arpeggiator. Refer to “Arpeggiator settings in Combination and Sequencer modes” (☞p.96, PG p.49), and study the relationship between arpeggiator assignments, “Status,” and “MIDI Channel.” Bank Select (when status=EX2) This setting is valid when “Status” is set to EX2. It specifies that Bank Select messages will be transmitted from TRITON Extreme. OSC page Force OSC Mode Normally you will set this to PRG (the oscillator will play as set by the program settings). If you wish to force a polyphonic program to sound monophonically in this combination, without re-writing the program itself, set this either to MN (Mono) or LGT (Legato). Conversely, set this to Poly if you wish to force a monophonic program to play polyphonically (☞PG p.43). OSC Select Normally you will set this to BTH (Both). If the timbre is using a program whose “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). Portamento Normally you will set this to PRG. If you want to override the portamento setting specified in the program assigned to the timbre to be forced off, set this parameter to Off. Conversely, if you want to force the portamento to be on, or to change the portamento time, set this to a value of 001–127 to specify the portamento time. Pitch page Transpose, Detune (BPM Adjust) These parameters adjust the pitch of the timbre. • In a layer-type combination, you can set two or more timbres to the same program, and create a richer sound by using “Transpose” to shift their pitch apart by an octave or by using “Detune” to create a slight difference in pitch between the two. • In split-type combinations, you can use “Transpose” to shift the pitch (in semitone units) of the programs specified for each key zone. • If you wish to change the playback pitch of a drum program, use “Detune.” If you change the “Transpose” setting, the relationship between notes and drum sounds will change. 35 Program Combination Sequencer Sampling Song Play Global Effect Media, etc Preset Other
Page 1 and 2: E 2
Page 3 and 4: Table of Contents About this manual
Page 5 and 6: Main features The TRITON Extreme is
Page 7 and 8: Front and rear panel Front panel 1
Page 9 and 10: Each time you press the [G] key whe
Page 11 and 12: Use an optical cable to connect thi
Page 13 and 14: f: Check box Each time you press a
Page 15 and 16: Sequencer mode • Use the 16-track
Page 17 and 18: Basic operation 1. Selecting modes
Page 19 and 20: Connections Connections must be mad
Page 21 and 22: 6. Inserting and removing CF card s
Page 23 and 24: Program structure Playing and editi
Page 25 and 26: 4 When you are satisfied with the s
Page 27 and 28: Note Number Varying amounts of an e
Page 29 and 30: 3 Adjust the “Lvl” (Level) for
Page 31 and 32: Filter settings P3: Edit-Filter The
Page 33 and 34: Amp1 Mod. page Keyboard Track This
Page 35 and 36: Playing and editing combinations Co
Page 37: Easy arpeggiator editing Arpeggio P
Page 41 and 42: You can also enter these values by
Page 43 and 44: Producing songs (Sequencer mode) TR
Page 45 and 46: Sequencer mode page structure Page
Page 47 and 48: Recording methods This section desc
Page 49 and 50: When simultaneously recording multi
Page 51 and 52: Using “Put Effect Setting to Trac
Page 53 and 54: 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
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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
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6 Use “High Drumsample Bank,”
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4 Adjust the settings of the variou
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Combination D062: Old Vox Organ Alt
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• Tone: At each step, a chord con
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8 Input the open hi-hat (Tone03). S
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Effect and Valve Force settings The
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Master effects The input levels to
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AUDIO INPUT effect settings In Prog
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Valve Force settings Valve Force is
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If you want to route the sound thro
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Loading and saving data, creating a
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Assigning a name (Rename) You can m
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Saving on media Media, Save For det
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Using the TRITON Extreme as a data
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Loading data Media, Load The types
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Loading data by individual item or
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In “Drive,” select your CD-R/RW
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Restoring the factory settings The
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Setting the function of [SW1] and [
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Troubleshooting If you experience p
Page 137 and 138:
Program, Combination Settings for o
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MIDI The TRITON Extreme does not re
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Media that can be used with the TRI
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User interface TouchView graphical
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Index Numerics 10’s Hold 4, 13, 2
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T Tab 9, 13 Tap tempo 7, 74, 90, 13
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TRITON Extreme Operation Guide - Platinum Audiolab

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