TRITON Extreme Operation Guide - Platinum Audiolab

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80 The silence between samples may become obtrusive if you play back at a slower tempo, or noise may occur between samples if you play back at a faster tempo. To avoid such problems, you can set Stretch “New BPM” or “Ratio” in step 6 to the tempo at which you want to play back, and execute time stretch to adjust the length of each sample. (☞PG p.130 9) 9 In “Song Select,” choose 001. The following song data has been set/created automatically as you specified in step 6. • P0: Play/REC page Song: 001, Meter: 4/4, Tempo: 120, RPPR: On • P0: Play/REC, Program T01–08 page Track01 Program: E102 • P6: Pattern/RPPR, RPPR Setup page Key: C#2, Assign: On, Pattern: User, U00, Track: Track01 Pattern data: 1 measure (D2–) In the P6: Pattern/RPPR, Pattern Edit page, press the SEQUENCER [START/STOP] key to start playback of pattern U00. When you press the C#2 key in the P6: Pattern/RPPR, RPPR Setup page, the RPPR function will start playing pattern U00. In the same way as in step 8, changing the playback tempo will not affect the pitch. Sampling in Program, Combination, or Sequencer modes External audio sources can be sampled from the various input jacks in Program, Combination, and Sequencer modes as well. A performance in the above modes can also be internally resampled in digital form. You can resample a performance that uses the TRITON Extreme’s full range of features (filters, effects, arpeggiator, and sequencer). You can also sample the TRITON Extreme’s performance together with audio from an external input source, or monitor the performance of the TRITON Extreme’s arpeggiator and sequencer etc. while you sample only the external audio from the input jacks. In Sequencer mode, you can sample external audio while listening to a song play back, and automatically create note data in the track that will play the sample when the track is played back. This allows you to sample vocals or guitar while the sequencer runs, just as though you were using a multitrack recorder. (This function is called “In- Track Sampling.”) ☞ For examples of sampling in Program and Combination modes, refer to QS p.22. The sampling procedure in Combination mode is the same as in Program mode. Sample an arpeggiated drum phrase together with an externally-input guitar Here’s how you can resample an arpeggiated performance together with an external audio input source. In this example, we will explain how a guitar connected to the AUDIO INPUT jack can be played along to a drum pattern played by the TRITON Extreme, and how both can be sampled together. Sampling can be performed in a similar way in Combination and Sequencer modes as well as in Program mode. In this example we will send the external audio input source to INDIVIDUAL 1, so if you want to monitor the sound being sampled, connect AUDIO OUTPUT (MAIN) L/MONO, R, and (INDIVIDUAL) 1 to your mixer, and use headphones etc. to monitor the output of the mixer. 1 Press the [PROG] key to enter Program mode, and select the K020: Processed Kit program. 2 Turn on the arpeggiator (ARPEGGIATOR [ON/OFF] key is lit), and play the keyboard to make sure that a drum phrase is sounded. Press the Arpeggio tab, and make sure that “Latch” is checked. Also adjust the arpeggiator tempo “” as desired. 3 Press the ARPEGGIATOR [ON/OFF] key to turn off the arpeggiator.
4 Connect your guitar to the rear panel AUDIO INPUT 1 jack. Set the AUDIO INPUT [MIC/LINE] switch to the LINE position, and set the [LEVEL] knob to approximately the center position. Guitar If you are using a guitar with passive pickups (i.e., without an internal pre-amp), the mismatch of impedance levels will make it difficult to sample at an appropriate level. You should route the signal from the guitar through a pre-amp or effect unit. 5 Use “Auto Sampling Setup” to make settings. We’ll start by making settings to sample a drum phrase. Make settings as described in “Resampling an arpeggiated phrase in Program mode” (☞QS p.22), steps 3–9. 6 Modify the settings so that the input signal from the AUDIO INPUT 1 jack will be sent to the L channel. Input 1 “Level”: 127, “Pan”: as desired “BUS (IFX/Indiv.) Select”: L/R 7 Specify how recording will be initiated. For this example, make settings so that recording will begin after a metronome count-in. “Trigger”: Sampling START SW Sampling will begin when you press the SAMPLING [START/STOP] key. “Metronome Precount”: 4 After you press the SAMPLING [REC] key to enter record-ready mode and then press the SAMPLING [START/STOP] key, recording will begin after a fourmeasure count-in. 8 Play your guitar at the volume that you will be recording. If the display indicates “ADC OVERLOAD !!” (AD converter input overload), turn the rear panel [LEVEL] knob toward MIN to adjust the level appropriately. The best audio quality will be obtained at the highest possible level that does not cause an overload; i.e., a level that is slightly below the point where “ADC OVERLOAD !!” is displayed. 9 Press the SAMPLING [REC] key. Play your guitar, and the level meter will indicate the volume at which the guitar will be sampled. Press the ARPEGGIATOR [ON/OFF] key to turn it on, play the keyboard to start the arpeggio, and play your guitar while adjusting the final volume. Adjust the recording level as necessary, using the “Recording Level” slider located at the right of the display. If the balance between instruments is not to your liking, use the [LEVEL] knob or the performance editor “Amp Level” to adjust the balance. 0 When you have finished making adjustments, press the SAMPLING [REC] key. Press the ARPEGGIATOR [ON/OFF] key to turn off the arpeggiator. A Press the ARPEGGIATOR [ON/OFF] key to turn it on, and then press the SAMPLING [REC] key to enter record-ready mode. When you press the SAMPLING [START/STOP] key, a count-down will begin. Play the keyboard during the count-down. After a four-beat count-down, recording will start. Play your guitar. The arpeggiator will also start after the count-down. B Press the SAMPLING [START/STOP] key to stop recording. C Press the ARPEGGIATOR [ON/OFF] key to turn it off. D Listen to the sound that was sampled. Press the Perf.Edit tab to select the P0: Play, Performance Edit page, and select the convert-destination program. 81 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
Page 33 and 34: Amp1 Mod. page Keyboard Track This
Page 35 and 36: Playing and editing combinations Co
Page 37 and 38: Easy arpeggiator editing Arpeggio P
Page 39 and 40: Settings for status, MIDI channel,
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: 5 Press the OK button. The sample w
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 and 106: 8 Input the open hi-hat (Tone03). S
Page 107 and 108: Effect and Valve Force settings The
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 [
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Troubleshooting If you experience p
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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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