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Triton Tips
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S0C9
Platinum Member


Joined: 02 Feb 2002
Posts: 657
Location: Texas, USA

PostPosted: Fri Mar 28, 2003 1:44 am    Post subject: Reply with quote

someone needs to gather all these tips togethere an put them into one document in the classics section...

Regards,
Steve
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Vim
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Joined: 08 Mar 2002
Posts: 295
Location: Melbourne Australia

PostPosted: Mon Mar 31, 2003 10:12 pm    Post subject: Reply with quote

hi Daz, here's another one

What if you are playing a song that jumps to different keys and are doing it in real time? Here’s one way of doing it?

From an answer i made in Triton Central.

http://www.tapesh.com/cgi-bin/tritoncboard/ultimatebb.cgi?ubb=get_topic&f=11&t=000080

1. There is no quick way to doing this except going into global mode and changing the key there. Now lets c - if you are playing say a piano sound (in Prog or Combi mode) all along through out the song and don't need to change the sound, then just select the sound, go into the global mode and select the transpose 'value.' leave that highlighted and play your piano sound as normally and then when you need to change the key you should just change the value using the slider, inc/dec buttons or the number pad and enter. Keep changing keys as and when you need to until the song has ended and then go back to prog/combi mode. This way you don't have to keep changing the program and saving it.

Alternative to this is as follows. Assuming again that you want to play only one sound. In program mode press enter and record and this will immediately setup the Triton's seq for recording using the sound that you want. now what you do is copy the sound from track one to as many tracks as there are key changes. Say for example that the song goes from C > D then to F then to Ab then to B. copy the sound in track one to track 2 3 4 & 5. Now go into the parameters page of the individual tracks and set up the transpose/key to what you want it to be thus in the example above set up as follows:
T2 = +2; T3 = +5; T4 = -4 or +8; T5 = -1 or +11.

Make sure that the tracks are all on SEPARATE midi channels.

Now go into track edit page and rename tracks 1 - 5 as follows

T1 = Piano C, T2 = Piano D, T3 = Piano F, T4 = Piano Ab, T5 = Piano B.

Now PLS SAVE the SEQ/PCG after giving the song a name - in default seq page ... pull down menu ... rename song.

Now you r ready to play.

Set your seq to default page again. select tracks so that you can c a window with all 16 tracks (8 on LHS and 8 on RHS).

Now just select the track that you have set up to the key that you are going to start with and DON'T press done. This way you have immediate access to all 16 tracks and can jump between keys.

In fact you can adapt this entire tip to more than one sound or have a sound set up in all 12 keys (T1 - 12) and have the remaining tracks assigned to another sound similarly transposed or layered by using the same midi channel.

Hope that this helps.

PS: thanx go to Jerry and Korg for this tip

www.korg.com/service/downloadinfo.asp?DID=470

very interesting reading for the uninitiated.
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ausser
Platinum Member


Joined: 23 Jan 2002
Posts: 728
Location: Ireland

PostPosted: Sun Apr 06, 2003 3:00 am    Post subject: Reply with quote

Ok, Some people were asking if you could use Triton as a Sample mixing console for live DJ type loop mixing.

Well.... yes you can....to an extent.
In fact I suppose you could set up a real fancy mixing desk if you really wanted using the keyboard to trigger hh loops and other stuff .

The main thing however is how to fade in and out the main loops fairly seemlessly on the fly.
Heres how.

Select your 16 basic main beat loops.
Load them into Tritons sequencer.
Then Timesplice each one of them onto a Track in Tritons sequencer via Timesplice in Sample Edit Mode.
Note, you may need to adjust these parameters depending on the nature of the loop to get them to fit coherently - but usually its straight foward enough.
Also, you'll be asked to assign an E-bank patch to the spliced loop so make sure you assign a seperate patch to each loop.

Now into sequencer mode:
Make sure your on track 1 - this is important for the ctrl channel, in this example.

And Insert Ifx edit page.
Route Trks 1,5,9,13 thru IFX 1
Route Trks 2,6,10,14 thru IFX 2
Route Trks 3,7,11,15 thru IFX 3
Route Trks 4,8,12,16 thru IFX 4

Edit tab for IFX 1 and select the stereo compressor.
assign the output SRC to Knob M1#17.
Set the ctrl channel (top right) to 1.
Edit tab for IFX 2 and select another stereo compressor.
assign the output SRC to Knob M2#19.
Set the ctrl channel to 1.

Repeat this thru IFX 3 and 4 - assigning Knob 3 and Knob 4 etc.
and set their cntrl channels also to 1.

Back to the play page on the sequencer.
Solo tracks 1 thru 4. and start up the sequence.
You should be able to fade in and out the beats over Trks 1-4 using the 4 RT knobs.

If you mute 1-4 and solo 5-8 you will be able to fade in those 4 loops.
You can practice fading across the 16 tracks sensibly, remembering whats where is the key to it so a scribbled chart might be handy.

Also,if you use only 12 tracks for the main loops and have other similar hi-hat loops or FX samples you can link these to a Multi-sample, save it to an E-bank and trigger these to go along with the loops on the keyboard, you could have loads of these over 4 multisamples.
And even program fades via the key-release parameters - or use that method instead of the sequenced loops even...thereby freeing up IFX.

So, there it is.
Just a few ideas on what can be done in this context regarding Triton.

Peace
Ausser.
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Will we march only to the music of time...?
Or will we march to the soul-saving music of eternity?
MLK Junior - Strength to Love 1963.
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Daz
Retired


Joined: 01 Jan 2002
Posts: 10829

PostPosted: Sun Apr 06, 2003 9:22 am    Post subject: Reply with quote

S0C9 wrote:
someone needs to gather all these tips togethere an put them into one document in the classics section...


That's my plan .... just waiting for a few more to trickle in.

Thanks to all those that shared Smile

Daz.
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ausser
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Joined: 23 Jan 2002
Posts: 728
Location: Ireland

PostPosted: Mon Apr 07, 2003 12:03 am    Post subject: Reply with quote

The Biggest Tip anyone can give on this thread is SAVE SAVE SAVE often.
hehe.......

If you are working thru cue lists, you might discover discrepencies on some of your cuelist parts thru no fault of an IFX box tick.

This is really irksome and may cause people to question the whole sequence.

However, before you decide to re-do that whole cuelist part,
Try a hard quantization on the last measure of that particular part.

ie. pull out the notes in question and loop or overwrite/Locate that last measure to hard quantization.

doesn'n't matter if you run over time, you can always do a TRACK EDIT - Measure Delete on All tracks at the appropiate measure within the cuelist part.

Hard quantization of the last 1 or 2 measures of a cuelist part will usually afford you a clean transition from 1 part to another in a cuelist play.
If not a cuelist to song conversation.

Also, try to decide on what instrument/timbre will be assigned to what track early on and copy consecutively.
This cuts down on the amount of PROG CHANGE data occuring in the cuelist and subsequently cuelist - to - song data.

It will also help you keep track of any anomolous IFX routings - remembering that you can only pratically have ONE IFX load per cuelist, though you can have many modulations of those IFX/MFX selections.
Usually a good idea to load the IFX as the 1st cuelist part, set to a high tempo of 240 at a signature of something like 2/8.
Kind of like a pre-sequence IFX INIT load.......

Then copy congruently all cuelist parts from this point.......
eg song 100 = IFX load. + IFX settings and patches
song 101 = all patches from song 100
song 102 = all patches from song 101
etc.

You can delete all tracks with each copy to song.
but your previous track assignments and IFX to MFX routings will be congruent from the privious patch - keeping the cuelist- to - song conversion relatively hassle free.


I re-stress, think hard quantization of the last couple of measures on each cuelist part when using the cuelist.
When you convert to song, fine tunning these links will be easier.

Peace
Ausser.
_________________
Will we march only to the music of time...?
Or will we march to the soul-saving music of eternity?
MLK Junior - Strength to Love 1963.
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MobBarley



Joined: 06 Aug 2006
Posts: 6

PostPosted: Fri Oct 27, 2006 11:33 am    Post subject: Vocoder Tip Reply with quote

If you want to test the different programs in the vocoder, it's painful to reset the effects for each program individually that you'd like to hear.

So, instead, do it in combi mode, where the effects stay the same and you can change the program quicker.

A quick easy way:
Use Combi A004 VocoderRythm (like in the manual), but first, in the GLOBAL settings Set the Input (to which your mic or whatnot is connected) to pan R127 and IFX2 (as is described in the manual somewhere for using getting the vocoder to work).
Then, back in Combi, go to the mixer and turn down the volume for programs 2-4.

Then, you can change programs on 1 and have the Vocoder all set up for whichever program you want.

Some sounds give very little "consonants" while others give a lot.
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Vadim
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Joined: 20 Nov 2006
Posts: 622

PostPosted: Tue Dec 19, 2006 8:11 pm    Post subject: DRUM ROLL Reply with quote

this the Best technique that I ever discovered: Drum Roll

I thought this trick only works on my Roland VA76 keys, but it works even better on triton's keys, but it didn't work on Trinity Sad

My roland VA76 has the kind of keys when i hit them to hard they bounce a little, but not bouncing that much to trigger a note, so what i do i "slap" the key, so i Hit it on the edge pretty hardy, which makes the key bounce that hard that it actualy makes a roll, this is so usefull for Drum Kits, the only little problem is that you can't do this on black keys because you will hit the white key doing this...

So when you play a drum kit and hit the Snare key, don't hit that key and hold it, Slap it (you can even hit the key more in the middle but slide your finger off to make the key bounce)
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SebastianProX



Joined: 17 Sep 2006
Posts: 48
Location: Germany

PostPosted: Sun Dec 31, 2006 4:01 pm    Post subject: Reply with quote

Make more use of the [Enter] button..

1) Pressing [Enter] + [Locate] in sequencer mode you can set a new
location-point, very easy.

2) Also in sequencer mode: If you wanna do some track edit and change the
velocity of a note, hit [enter] and the key on the keyboard in that way you
wanna sound the note.

Cue-List-Function:

Use this function to bring the single pieces of you song together. For this simply sequence all the parts of your track and name them: Intro, Verse...Bridge... If you are finished with every part use the cue list function and put them together.
Be careful by using the [effects] check boxes. The best thing is, that you check the first box and no other.

Sebastian Smile
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michelkeijzers
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Joined: 08 Feb 2007
Posts: 9047
Location: Netherlands

PostPosted: Tue Feb 27, 2007 11:12 am    Post subject: Playing live Reply with quote

When playing live use one combi bank for the song sets in a gig.

E.g.:

Song set 1
N00 Song 1
N03 Song 2
N06 Song 3
...
N20 Song 4
N21 Break

Use for song set 2 and 3 combi ranges 30 - 60 and 60 - 90. For an after set (don't know the english name)( 90-100.

Use for templates (like combis you base songs on much) 100-128 (like your favorite hammond sound with piano on the other keybord etc).

Why not consecutively numbering the songs? Because numbers come and go and it's not possible to insert a song so having some gaps makes it easily to insert a song without moving all others.
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michelkeijzers
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Posts: 9047
Location: Netherlands

PostPosted: Tue Feb 27, 2007 11:23 am    Post subject: Reply with quote

Not knowing what the function of the expression pedal or switch is? Use part of the combi (or program) name to encode it. Something like:

Name/PV means pedal = volume
Name/PVu meansn pedal = volume for upper keyboard (if you use a multiple setup)
Name/1L means Switch 1 = leslie

You only have to add it when you actually need to use the controller

If you use multiple combis for one song name them 1, 2 or end with I (intro) R (refrain) etc

Define your own coding system to remember different controllers or things not to forget. Or if you don't know in which key the song is played, use e.g. :C# ... You only have a small number of characters but you can do a lot with it.

I name my combis after the name of the song, like:

BabyLove I : Baby Love Intro / Mothers Finest
BabyLove /S1 : Baby Love (rest) / Mothers Finest, S1 I need to press later in the solo
DontStopMeK : Don't stop me know / Queen
YouOught/PC : You Oughta Know / Alannis Morissets, Pedal = Cutoff frequency
ReadyToGo/PF : Ready to Go / Republica, Pedal = Effect
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