after messing around for about a month with triton pro i must say i'm impressed. cannot even imagine what a kronos could do
i couldn't find a satisfactory answer in the manual for these questions, so i hope someone answers this...
1) can anyone explain top/bottom slope function on both key z and vel z tab?
2) in the effects screen, i can choose for each timbre between l/r, ifx 1-5 and those are easy to understand. there are also 1,2,3,4,1/2,3/4 in the menu. what are those for?
3) explanation for ,,chain'' ,,send mfx1 and mfx2'', master eq, return 1 + return 2
1. This allows for a 'crossfade' range where velocity will gradually reduce through the 'greyed' area on the graphic display. Basically allows smother overlaps for velocity and key zones.
2. Those extra busses are for the alternate outputs, individually in mono as well as in there's pairs
3. MFX work like 'send' effects in a typical analog desk. Only the wet signal is processed and the dry signal passes through the mixer, so you can never have 100% wet processors in MFX. Chaining allows you to send the output of MFX1 to MFX2 or vice versa - I sometimes use this to add chorus or ensemble to soften a reverb or even flange to add extra effect to a delay.
Current Gear: Kronos 61, RADIAS-R, Volca Bass, ESX-1, microKorg, MS2000B, R3, Kaossilator Pro +, MiniKP, AX3000B, nanoKontrol, nanoPad MK II,
Other Mfgrs: Moog Sub37, Roland Boutique JX03, Novation MiniNova, Akai APC40, MOTU MIDI TimePiece 2, ART Pro VLA, Focusrite Saffire Pro 40.
Past Gear: Korg Karma, TR61, Poly800, EA-1, ER-1, ES-1, Kawai K1, Novation ReMote37SL, Boss GT-6B
Software: NI Komplete 10 Ultimate, Arturia V Collection, Ableton Live 9. Apple OSX El Capitan on 15" MacBook Pro
In notes, you can make it so your splits happen gradually; for example if you're doing bass and piano you might set the lowest note you expect to play on piano as middle C. But you might have a melody that needs B below middle C. If you make a tail - maybe down to the E below middle C with a fade of 8 notes the behavior of your piano will be C plays at normal volume (black line) but will sound at slightly lower levels down to that E where it fades away. Similarly the fade can be at the top of the bass's range so that the split transition is not so abrupt
Try doing that also with synth tones that are essentially layered, but with a very long cross-fade (64+) over the entire keyboard. It can make some really nice timbre changes. This method can also improve the realism of things like brass instruments or sax whose character should change over the range of the instrument but might not if only one sample makes up the entire range.
The velocity fade can be used to make instruments "pop" - a good example is that found on some of the Orchestra presets where a hard hit in the left hand gets you timpani and crash cymbals. You can use a similar technique to put brass hits on top of pop keyboards that only play at the loudest points (v = 127) -- adding an 8 step v-tail on the highest ten velocities (range 117-127) makes it so that the pop is more responsive and you can play better dynamics.
The slope question was a programming one. FX is a different animal all together.
I'm not clear about the "presets per effect" you're asking about.
Most of the Effects on the Triton Classic are "pre-set" with nominal values (i.e., not zero) that are typical for the effect, so you will actually hear right off, for example, a (medium sized) room delay of about 1.5 seconds when you add that effect.
The values that come with each effect are suggestions. You can usually push those values quite a bit in either direction and run them wet or dry depending on your tastes... there are no pre-set / carved-in-stone / un-editable effects like you might be familiar with from other keyboards that add the exact same chorus / tremolo / reverb to every sound with a dedicated button.
I haven't looked for FX tutorials. I'm sure they exist - just don't really need 'em. BTW: Effects have a very high degree of commonality, so someone showing you how to use a *name brand* parametric EQ is really showing you how to apply any parametric EQ (such as triton's) to any sound (such as a triton) -- so don't limit yourself to trying to find just Korg tutorials.
You might want to take time to explore some of your favorite sounds to see if you can understand why the FX are run the way they are. And don't forget you can just cherry-pick your favorite FX set-ups using the "copy FX" function in the pull-down menu.
if a combi has many differents splits and layers in it, how can i assign sw1,sw2 and joystick functions?
sw1/2 seems not to react even if i choose an option in p4 panel switch assign, and joystick took it's functions from some of the elements of combi. how can i control those two aspects?
Really complex combinations -- those containing more than 2 or 3 elements, not counting drums, are a bit problematic.
In many, if not most of the programs that a combo might use the switches are probably assigned to modulate parameters that are found in their effects, as opposed to their programming.
Now, remember that, again for the most part, the one element that gets stripped away in building a combo and then must be reassembled is -- effects. So when you write a combi from scratch many of the links to sw1/sw2/slider, etc. are "broken".
So in adding back functions you should look at where such assignments were made (program-level effects) in order to re-establish them (combo-level effects).
Look at any given effect -- delays are a good candidate --it is likely that some of the parameters can be assigned to a controller or modulation source. As a final option almost all of the effects ask whether you want to run "wet" (100% FX signal), "dry" (NO FX signal) or some ratio (%) of wet to dry -- W#/D# -- 50/50, 60/40, etc.
Find a "mod src" parameter and click on the pull down menu and you will see a pretty extensive list that includes all the switches, pedals, knobs, sliders that you'd expect when you think "control" and a good number that you don't, such as velocity, LFO, note number and many others.
To reset a link you just click on the mod source you want to use [i.e., SW1].
You may also be asked what amount / how much you want to modulate the parameter. What's more, you may be asked direction (+/- value).
So, given a "wet" sound, assigning SW1 with a value of -100 would get you a dry sound when SW1 is pressed. Conversely, a sound that is "dry" can be made "wet" by adding +100 to the modulation value.
Here's the tricky part -- if they are assigned to the same controller (and there's no reason not to) the same controller can do both.
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Joystick pitch functions (left/right bend) are typically set at the program / program pitch envelope level, and are not typically assigned to FX -- so they will generally work as intended. The modulation settings (up/down) on the other hand are around 50/50 as far as where they are assigned, so a program inserted into combi may retain some it's program-based joystick function and lose effects-linked modulation.
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Finally (as if that wasn't enough) you can use MIDI filter in combi to turn off sensitivity to certain controllers on select tracks -- so if you've layered piano and strings and only want the sustain pedal to work on the piano you can de-select (un-tic) the string track and disable the sustain pedal as far as the strings can see.
I'll give you some time to chew on this. Bring your own hot sauce.
