Trinity Basic Guide

8/6/2019 Trinity Basic Guide

1/81

5E


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About the TRINITYs manuals

i

About the TRINITYs manuals

How the TRINITYs manuals are organized and how to

use themThis page explains the contents of each m anual, and how to use them. First you shou ld read the

Basic Guide, and learn the basic ideas and procedures that you need to know.

These man uals assume th at you have a basic knowledge of synthesizers and MIDI.

The TRINITYs manu als discusses the TRINITY, TRINITY V3, TRINITY V3 pro, and TRINITY

V3 proX. If the Solo synthesizer op tion is installed in y our in strum ent, read an y references to

ban k M as bank S.

* In the TRINITYs manuals, parameter names, values are merely examples and m ay not always match the

actual display you are working on.

Basic GuideSTEP 1 explains each item on th e front and rear pan els, how t o make connections, basic opera -

tion, and h ow each mod e operates.

STEP 2 explains the ba sics of playing the TRINITY (selecting sounds, playing the demo songs,

and convenient performance functions).

STEP 3 explains the basics you need to kn ow before editing you r own sounds.

Other information on troubleshooting and MIDI is also provided.

After you finish reading STEP 2, read STEP 3 as necessary. The Basic Guide explains the ba sics of

opera tion. To take full advan tage of the TRINITY, you will need to th orough ly und erstand the

contents of the Basic Guide, and th en get p lenty of hand s-on experience, opera ting the TRINITY

to learn for yourself how the soun ds change.

Parameter GuideThe Parameter Guide explains the operation, settings, and points that you need to be aware of for

each parameter, organized by the tab p ages of each m ode.

Refer to this guide wh en an u nfamiliar param eter appears, or when you wan t to learn about the

functions of the TRINITY series in more d etail.

Effect GuideFor each of the effects, this guideb ook explains the param eter settings and p oints that you n eed to

be awa re of.

Refer to the Effect Guide w hen an unfamiliar param eter appears, or wh en you want to learn about

the fun ction of the selected effect in more d etail.

MOSS-TRI DSP Synthesizer GuideThis explains the setting and op eration of the bank M program pa rameters on the TRINITY V3,

TRINITY V3 pro an d TRINITY V3 proX, organized by each tab page.

Solo Synthesizer GuideThis explains the setting and op eration of the bank S program param eters on the TRINITY V3,

TRINITY V3 pro an d TRINITY V3 proX, organized by each tab page.

Voice Name List, Voice Name List for V3This contains na me lists of the preload ed (factory preset) combinations, progr ams, mu lti-samp les,

and d rum samples. Refer to these lists wh en you wish to see a list of the preloaded soun ds.


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Table of Contents

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Table of Contents

STEP 1

1. Main features of the TRINITY series. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1ACCESS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1MOSS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

Touch View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

Expansion potent ial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

256 (320) pr ogram s and 256 combina tions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

Flexible param eters to get the sou nd you want . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

Dru m k its that su pp ort a d iverse array of rhyth m styles . . . . . . . . . . . . . . . . . . . . . . .2

A rich a rray of con trollers for exp ressive perform ance . . . . . . . . . . . . . . . . . . . . . . . . .2

High-capacity sequencer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

Digital m ulti-effect u nit s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

2. Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

Au dio connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3Ped al con nections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

MIDI conn ection s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

3. Front and rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5Fron t p anel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

4. Basic operation of the touch view display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6LCD screen bu ttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Selecting m od es . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7

Selecting p ages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7

5. Setting a parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8VALUE con troller s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

[COMPARE] key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

[BAN K] key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

Keyboar d inp ut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

Ped al in put . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

STEP 2

1. Listening to the demo songs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Play back the second demo son g . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12Play back a song at a time. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

2. Select and play a program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13Selecting a p rogram using the front p anel switches . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Selecting a program using a connected assignable foot switch . . . . . . . . . . . . . . . . .14

Selecting a program using incoming MIDI Program Chan ges . . . . . . . . . . . . . . . . . .14

3. Select and play a combination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15Selecting a combination using the fron t p anel sw itches . . . . . . . . . . . . . . . . . . . . . . .15

Selecting a combination using a connected assignab le foot switch . . . . . . . . . . . . . .16

Selecting a combination u sing incoming MIDI Program Chan ges . . . . . . . . . . . . . .16

4. About the performance functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17Control from the keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

Control from th e Joy Stick, Ribbon Controller, SW 1/ 2,

and VALUE slid er . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17


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Con trol from the ped als . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

5. Tuning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

6. Transposing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

7. Easy editing in Program Play mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

8. Easy editing in Combination Play mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

9. Writing a program or combination. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23Write usin g a p age m enu comm and . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Write u sing th e [REC/ WRITE] key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

10. Restoring the factory preset sounds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

11. Selecting by category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26Progr am Play mod e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

Combination Play mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

Sequencer m od e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

STEP 3

1. Program Play mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27Selecting a program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

Editin g w ith the p erformance editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

2. Program Edit mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28How a p rogram is organized . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

The elem ents of sou nd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28How the TRINITYs sou nd is prod uced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

EGs and LFOs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Basic p rogram ed iting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

Am plifier sett ings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

Filter settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

Oscilla tor sett ings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

Ad justing the mod ula tion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

About alterna te m od ulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

About dynam ic mod ulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

About oscillator modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34

About pr ogram parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

3. Combination Play mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36Selecting a combination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

Ways to select the p rogram for each tim bre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

Selecting the tim bre pr ogram on the unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

Layer, sp lit, an d velocity switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

Ad justing th e vo lume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

4. Combination Edit mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38How a combina tion is organized . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

Basic com bination editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

Volume set tings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

Key zone set tings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38Velocity zon e settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

Oth er sett ings in Com bina tion Edit m od e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40


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5. Sequencer mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41Abou t th e TRINITYs sequ encer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

How a song is organized . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

Abou t p atterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

How song d ata is stored on a floppy d isk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

How the TRINITY uses MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Abou t recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43Song realtim e record ing pr ocedur e. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Preparations for r ecord ing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Overw rite record ing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Overdub recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Auto punch-in recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Man ual punch-in recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Loop record ing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46

Patt ern record ing pr ocedur e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

Pat tern realtim e recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

Song playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

6. About the effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48Insert effect set tings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48

Com bination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

Master effect sett ings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

Send and pan sett ings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

7. Global mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51About memory protect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

Drum kit ed iting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

8. Disk mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53Typ es of floppy d isks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53Floppy d isk h andling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

Floppy disk write protect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

Insert ing a flop py d isk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

Removing a flop py d isk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

Cleaning the d isk d rive head . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

Files, directories, and icons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

Form atting a floppy d isk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

9. Saving data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56Writin g to inter na l memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

Savin g to flop py d isk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

MIDI d ata dump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57

10. MIDI applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58Connections with MIDI devices and / or a com pu ter . . . . . . . . . . . . . . . . . . . . . . . . . .58

Global m od e set tings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

Pos ition sett ings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

Abou t MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61

MIDI chann els . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61

Note on/ off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61

Selecting a program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62

Selecting a combination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62

Controlling th e timbres of a com bina tion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62

Controlling each track of a song. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62Bank Select messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62

Sustain ped al . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62

Aftertou ch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63


6/81

Table of Contents

v

Usin g p itch ben d . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

Ad justing the volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

Applying vibrato (oscillator LFO) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

Ap ply ing wah-wah (filter LFO) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

Ad justing the stereo location (pan ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64

Effect send levels (sen d 1,2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64

Turn ing effects on / off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64Effect dynam ic modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64

Ad justing the tone color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65

Ad justing the at tack tim e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65

Adjusting the release time. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65

Editing with RPN messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65

Tunin g . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66

Transposin g . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66

Setting the p itch ben d ran ge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66

If a note does n ot s top . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66

Turning off all notes of a channel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66

Resetting all controllers of a chann el . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66

About system exclusive m essages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67

Transm itting sound da ta settings (Data Dum p) . . . . . . . . . . . . . . . . . . . . . . . . . . .67

Editing sound s, etc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67

About performance editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68

Conn ecting th e TRINITY to an external device for use as a multi-timbral

ton e generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68

Synchroniz ing the sequ encer p layback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68

Record ing p layback d ata from an external sequ encer . . . . . . . . . . . . . . . . . . . . . .69

Abou t GM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69

Abou t Stan dard MIDI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69

11. When you want to . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70Playback the TRINITY to control other MIDI equipm ent . . . . . . . . . . . . . . . . . . . . . .70

Receive Program Change and Bank Select messages in Combination Play mode toselect combinat ions and timbre p rogram s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

Connect a computer etc. and use it to store TRINITY series sound data and

sett ings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

Edit p aram eters v ia MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

Use the TRINITYs sequencer to cont rol connected MIDI equip men t . . . . . . . . . . . .71

Use the TRINITY as a mu lti-timbral tone genera tor p layed by a conn ected

sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

Tune the TRINITY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

Restore the factory sound s and settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

Ad just th e contrast of the LCD screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

Use a p edal sw itch to select p rograms o r combinations . . . . . . . . . . . . . . . . . . . . . . .72

Ad just th e way th at velocity affects the sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72Simultaneously p lay tw o or more p rogram s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

Play d ifferent sound s in th e left and righ t hands . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

Change the sou nd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

Save a sou nd that you crea te . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

Use the TRINITY as a MIDI d ata filer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

Playback a GM Score (GM music data). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

12. Troubleshooting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75


7/81

STEP 1

1

STEP

1

1. Main features of the TRINITY series

ACCESS

All models of the TRINITY series

feature the ACCESS

(Advanced Control Combined Synthesis

System), a PCM tone generation system that allows soun d to be created completely in the digital

domain.

The tone generator has 24 Mbytes of PCM ROM, containing 375 multisamples and 258 dru m sam-

ples recorded at a sam pling frequency of 48 kHz. The m ulti-mode filter section provides four

typ es of filters (High Pass, Low Pass, Band Pass, and Band Reject) with resonan ce, for creative

flexibility.

The effect section p rovid es 100 Insert Effects including effects such as equ alizer, limiter, and

exciter which m odify the tone or dynam ics, effects such as am p simu lation and rotary speaker

wh ich bring out the ton al characteristics typ ical of certain instru men ts, and colorful effects such as

ring m odulator, vocoder, and pitch shifter.

The effect section also pr ovides a tot al of 14 Master Effects that can be selected for a m odu lation-

type m aster effect and for a reverb-type master effect, with ad justable sends and returns. All pro-

cessing is done in the d igital dom ain for the highest sound quality.

MOSS

The TRINITY V3

, TRINITY V3 pro

, and TRINITY V3 proX

also feature the MOSS

(Multi Oscil-

lator Synthesis System).

The oscillators including Analog Simulation, VPM (Variable Phase Modulation) and Physical

Modeling allow especially expressive and p owerful solo parts and synth bass p arts. 64 sounds

using the MOSS tone generator are included in p rogram ban k M. (On the TRINITY

, this capability

can be added by installing the MOSS-TRI option.)

Touch View

The TRINITY series

is a revolutionary leap in op erability and ease of use, thanks to its Touch-

View Graphical User Interface

, which allows operation by touching directly on a large 320 x 240

dot LCD screen. More information can be d isplayed in the large LCD, so that param eter settings

can be viewed at a g lance for mu ch easier editing.

Expansion potential

The TRINITY series

offers a w ide variety of op tions, from the MOSS-TRI option

to a SCSI inter-

face

. Depending on the m odel, the number of preset programs and combinations and installed

functions will differ, but any m odel can be up graded simply by installing op tions. When the

MOSS-TRI option

is installed in the TRINITY

, the program banks will be expand ed and you will

be able to access 64 sounds produced by the DSP-based MOSS tone generator.

Previous music workstations were not able to record aud io data such as v ocals or gu itar. However

when the HDR-TRI option

is installed, the TRINITY

can record au dio data as well. For example

you m ight record backing tracks on the internal MIDI sequencer, and record vocals on th e HDR-

TRI option to complete a composition with vocals. This data can be backed u p to DAT via the S/ P

DIF option for the HDR-TRI option.

The PCM capacity can be expanded by installing the Playback Sampler/Flash ROM option

. Sam-

ple data can be read into flash ROM, and u sed as a sound source. Program/ Combination banks C

and D will be add ed, each p roviding an ad ditional 128 program and combination areas. If the

MOSS-TRI option is installed, bank M will contain additional 64 program areas.


8/81

1. Main features of the TRINITY series

2

256 (320) programs and 256 combinations

The TRINITY

contains 128 prog ram s in each b ank A an d B (a total of 256). (If the MOSS-TRI

option is installed, the 64 programs of bank M are also available.) On the TRINITY V3

, TRINITY

V3 pro

an d TRINITY V3 proX

, banks A and B each contain 128 programs, and bank M contains

64 programs (a total of 320). This wide variety of program s provides you with u nlimited sonic

possibilities.The TRINITY series

provides 256 Combinations, each of wh ich consist of program assignments

for up to 8 timbres. This is a particularly powerful feature for live performance. Key Zone and

Velocity Zone settings can be mad e to layer and/ or split programs across the keyboard in an y way

you d esire.

Flexible parameters to get the sound you want

The programs of the TRINITY

provide a large num ber of editing par ameters that allow you to

adjust any d etail of the sound, w ith a wid e range of param eter values. For example, when m aking

the filtering settings that are so importan t in determining the character of the sound , even a single-

oscillator program allows you to use tw o filters, each independ ently settable to one of four differ-

ent filter types.

Drum kits that support a diverse array of rhythm styles

The TRINITY series

provides 258 highly usable dru m and percussion sam ples. You can create 12

separate dru m kits, each w ith a different drum sample

assigned to each note of the keyboard . A

wide variety of performance possibilities are provided, and you can even assign two d rum sam-

ples to a single key and switch between the tw o using v elocity. Of course you can also mod ify fil-

ter and amp settings, and also use effects to further process the sound.

A rich array of controllers for expressive performance

The Alternate Mod ulation

featured on the TRINITY series

lets you flexibly assign a control

source for each control destination. This allows you to m odu late certain p arameters of the oscilla-

tor, filter, or am p etc.) using an assign ed contr oller. The Dynamic Mod ulation

provided for the

effects allows you to modulate effect parameters using an assigned controller. The available con-

trollers include not only joystick, ribbon controller, assignable footswitch, and assignable foot

pedal, but also velocity, aftertouch, and even internal p arameters such as note nu mber and sound

envelope.

High-capacity sequencer

Up t o 20 songs can be created with a total cap acity of 80,000 notes, using 16 timbr es, 16 tracks, a

tempo track, and q

/ 192 timing resolu tion. The sequen cer is Standar d MIDI File comp atible.

Recording can be performed in any w ay you w ish; six methods of realtime recording (overwrite

recording, overdub recording, auto p unch-in recording, manual pu nch-in recording, loop record-

ing), and also two n on-realtime method s (step recording an d event edit) are available. Alternate

Modulation

and Dynamic modu lation

can be applied using the recorded tem po as a mod ulation

source.

Digital multi-effect units

The TRINITY series features comp letely new p rofessional quality effects that have been designed

as an integral part of the instrum ent, giving you the kind of control not possible with a stand alone

effects processor. 100 types ofInsert Effects

and 14 types of

Master Effects

are provided . The

Insert Effects include effects such as equ alizer, limiter, and exciter wh ich mod ify the tone or

dynam ics, effects such as amp simulation and rotary speaker wh ich bring out the tonal character-

istics typ ical of certain instr um ents, and colorful effects such as ring mo du lator, vocoder, and p itch

shifter.

The Master Effects let you select separate effects for a mod ulation -type m aster effect and for a

reverb-type master effect, each with an adjustable send and return.


9/81

2. Connections

3

STEP

1

2. Connections

Audio connections

Powered monitor, etc.

Headphones

PHONES

To an AC outlet

Power cable (included)OUTPUT

VOLUME

100

PHONESMIDI

E DIT GL OBA LMULTI

PAGE-

+10 +1C O MB I P R OG B AN KPAGE+

-10 -1POWER

< AC power connections >Use the included AC power cable to

connect the AC power inlet to an ACoutlet.

INPUT

INPUT

Other tone generator module

Mixer INPUT

OUTPUT

OUTPUT

< Connections with a powered moni-

tor/ stereo amp >In order to faithfully reproduce the sound of the

TRINITY series, we recommend that you use apowered monitor system (a speaker with a

built-in amp, such as the separately sold PRO-GRAM-15). If you connect the TRINITY to a

stereo audio amp or to a stereo cassette radiothat has external input jacks, make connec-tions to the jacks which are marked LINE IN,

AUX IN, or external input etc.

If you have connected a stereo audioamp, be aware that playing the TRINITY

at high volumes can damage your

speakers. Be careful not to raise the vo-lume to an excessive level.

< Mixer connections >Connect the OUTPUT jacks to the INPUT jacks of your mixer. Inorder to take advantage of the TRINITYs high quality sound, we

recommend that you make connections in stereo if possible. If youmake connections in mono, use only the 1/L/MONO jack.


10/81

2. Connections

4

Pedal connections

MIDI connections

The TRINITY can be conn ected by MIDI cables to oth er MIDI dev ices (MIDI tone gen erator s,

MIDI sequencers, compu ters, etc.) so that these MIDI d evices can p lay the TRINITYs tone genera-

tor, or be played from the TRINITYs keyboard. For details refer to 10. MIDI app lications

(

page 58 in this manual).

If you wish t o control the TRINITY from an external MIDI device, connect the MIDI OUT of the

external d evice to the MIDI IN of the TRINITY. (For examp le, when you wish to p lay the TRIN-

ITYs tone generator from a sequencer.) How ever to m ake MIDI connections with a computer, you

will need a MIDI interface.

If you wish t o use th e TRINITYs keyboard and controllers (joystick etc.) to control an external

MIDI device, connect th e MIDI OUT of the TRINITY to th e MIDI IN of t he extern al dev ice. (For

example, when you wish to record you r playing on the TRINITY into an external sequencer or

computer.)

By using the MIDI THRU connector, you can daisy-chain several MIDI dev ices. How ever, it is a

good idea to daisy-chain no more than 2 or 3 MIDI devices in this way. If you need to connect a

larger number of MIDI devices, use a MIDI patch bay.

EXP-2, XVP-10

< Sustain pedal connections >The polarity of the sustain pedal can be set

by the Sustain Pedal Polarity setting in

Global mode P1 ( Parameter Guide,p.134).

PS-1, etc.

Sustain pedal (DS-1, etc.)

< Foot pedal connections >Be sure to use an EXP-2 or XVP-10 as the foot pedal.

The function that is assigned to the pedal will be deter-mined by the P1 Foot Pedal settings in Global mode

( Parameter Guide, p.134).

< Foot switch pedal connections >Connect an on/off type foot switch to the

switch jack. The function that is assigned tothe foot switch will be determined by the

Foot Switch settings in Global mode (Parameter Guide, p.134). The polarity ofthe switch pedal can be set by the P1 Foot

Switch Polarity setting ( Parameter

Guide, p.134).


11/81


12/81


13/81

4. Basic operation of the touch view display

7

STEP

1

Selecting modes

The TRINITY has 7 mod es. Press one of the mod e keys [PROG]

[DISK]

on the front panel to

enter the respective mode. When the pow er is turned on

, the TRINITY will au tom atically be in

Combination Play mode.

For details on each m ode, refer to STEP 3 on p age 27 of this ma nu al.

* To enter Program Edit mode, press the [PROG] key and then press the [EDIT] key.

** To enter Combination Edit mode, press the [COMBI] key and then press the [EDIT] key.

Selecting pages

The functions of the TRINITY are organized by mod e, and th e param eters of each m ode are orga-

nized into pages.

The parameters in a page are further organized into up to seven groups, with a tab

for each group

(similar to the tab s of a file cabinet). To select the desired group of parameters, first use the page

buttons on the front pan el to select the page, and then touch the tab for the desired tab page.

In the following example, we will select the LCD screen show n on the page at left in the explana-

tion for LCD screen buttons.

1

Press the [PROG] mode key.

2

Press the [EDIT] mode key.

3

Press the [P1] page key.

The page 1 display w ill appear.

Some m odes such as Program Play m ode or Com bination Play mode have on ly 1 page (i.e., there

are no other p ages).

4

Press the tab 1 button (Prog Basic) located at the bottom of the page 1 display.

Tab pa ge 1 will app ear.

In some p ages such as Combination Edit P2, page tabs are not displayed (i.e., there are no tab

pages).

Global mode

Disk mode

Sequencer modeCombination Play modeCombination Edit mode **

Program Play modeProgram Edit mode *

3

12

4


14/81

5. Setting a parameter

8


The parameter value in an edit cell can be set using four

types ofVALUE controllers

; the VALUE

slider, the [

v

][

w

] keys, the VALUE dial, and the VALUE ENTER keys. In some cases, the [BANK]

key and [COMPARE] key are also used.

In addition, popup buttons will sometimes bring up a p opup menu that allows you to specify a

value, or a value may sometimes be input from the keyboard or from a pedal

.

... but ton is one of the objects on the LCD. On the other h and, ... key, ... dial, and ... slider

are located on the front panel. When this manu al instructs you to press the ... butt on, operate the

button on the LCD, and w hen the manu al instructs you to press t he ... key, operate the corre-

sponding key on the front panel.

VALUE controllers

VALUE slider

Use this to make large changes in th e value.

In Program Play mod e and Combination Play mode, this slider can also be used as a controllerthat controls alternate mod ulation or dynam ic mod ulation.

[

v

][

w

] keys

Use these to make fine adjustments to the value.

VALUE dial

Use this to make large changes in th e value.

VALUE ENTER keys

Use these to enter a specific value for a parameter. Use the num eric keys to input the n um ber, and

press th e [ENTER] key to finalize the pa ram eter valu e. To specify a decimal point p ress the [.] key.

To specify a negative number press the [] key. The [] key can also be used to switch the sign of

the parameter value.

[COMPARE] key

This key is used to compare the sound of an edited program or combination with the un -edited

sound (i.e., the settings written into m emory).

While editing a program or combination, pressing th is key will cause the LED to light, and the set-

tings that were last written into that program n umber or combination number w ill be recalled.

Press the key again and the LED will go out, and the settings that you are editing will reappear.

If you ed it the setting s that a re recalled by th e [COMPARE] key (i.e., the written settings), the LED

will go out and it will not be possible to return to th e settings you w ere editing before pressing the

[COMPARE] key.

[COMPARE] key

[BANK] key

VALUE controllers

VALUE dial VALUE ENTER keys[v][w] keysVALUE slider


15/81


9

STEP

1

[BANK] key

Press this key to select the bank of the combination or p rogram.

The banks that are available will depend on the m odel of TRINITY that you have, on wh ether the

Playback Sampler/Flash ROM option

is installed, and whether th e

MOSS-TRI option

is

installed.

Keyboard input

You can u se the keyboard to enter a note name or a velocity value.

Hold d own the [ENTER] key and p ress the note that you want to specify, and the n ote or velocity

that you p lay will be input as the valu e.

When the P5 Drum kit page of Global mode is displayed, pressing a key on the keyboard will

recall the settings assigned to that key.

Pedal input

If in Global mode P1 you h ave set the function of the assignable foot pedal to Data Entry

, the con-

nected foot pedal w ill operate in the same w ay as the VALUE slider, and you can use the p edal to

set parameter values.

Model Programs Combinations Remarks

TRINITY

Bank A (0127)

Bank B (0127)

Bank A (0127)

Bank B (0127)standard specifications

Bank C (0127)

Bank D (0127)

Bank C (0127)

Bank D (0127)

added when the Playback Sampler/Flash

ROM option is installed

Bank M (0127)*

0...63: added when the MOSS-TRI

option is installed

64...127: added when the MOSS-TRI

option + the Playback Sampler/

Flash ROM option are installed

TRINITY V3

TRINITY V3 pro

TRINITY V3 proX

Bank A (0127)

Bank B (0127)

Bank A (0127)

Bank B (0127)standard specifications

Bank C (0127)Bank D (0127)

Bank C (0127)Bank D (0127)

added when the Playback Sampler/FlashROM option is installed

Bank M (0127)*

0...63: standard specifications

64...127: added when the Playback Sam-

pler/Flash ROM option is

installed


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10


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1. Listening to the demo songs

12

Play back the second demo song

Play back a song at a timeHeres how to play ba ck song 1. After song 1 is played back, song 2 will be ready for p layback.

1 In the Sequencer mode page 1 display, press tab 7 button (Pref.).

The Preference tab page w ill app ear.

7 Un-check the Continue box.

With th is setting, pressing th e [START/ STOP] key will cause th e first song to start, and playback

will stop before the second son g begins. When you press the [START/ STOP] key once again, the

second song will begin playing.

If this box is checked, w hen you press th e [START/ STOP] key, the first and second songs will be

played back consecutively.

8 Press the [START/ STOP] key.

To stop playback during the song, press the [START/STOP] key once again.

When son g 1 is finished , playback will stop autom atically.

Stop d emo song p layback, and use the following

procedure.

1 In the Sequencer mode page 1 display, press Song.

2 Press the numeric key 1, and press the ENTER key.

The second song w ill be selected.

3 Press the [START/ STOP] key on the front panel.

The second song w ill playba ck.

To stop d emo p layback d uring the song, press the

[START/STOP] key once again.

2 Press Song.

The popu p menu will app ear.

3 Press numeric key 0, and press the [ENTER] key.

The first song w ill be selected.

You can also select this by p ressing the first song

in the popup m enu.

You can also select song 1 by using other VALUE

controllers (page 8 in this manu al).

4 Press the song edit cell that appears under Next

Song.

5 Press numeric key 1, and press the [ENTER] key.

The second song w ill be selected.

6 Check the Chain To Song box.

The first and second songs will be connected.

1

2

4

6 7 1
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2. Select and play a program

13

STEP

2


The programs that are available on the TRINITY will dep end on the mod el, and on w hether the

Playback Sampler/flash ROM option and / or the MOSS-TRI option are installed (page 9 in this

manual).

For the factory preset progra m na mes, refer to the separate Voice N ame List booklet.There are three ways to select progr ams.

Selecting a program using the front panel switches

1 Press the [PROG] key.

You w ill enter Program Play mod e.

2 Press the program name.

The display w ill invert.

3 Press the [BANK] key several times to select the bank.

4 Use the numeric keys to input the program number, and press the [ENTER] key.

Alternatively, you can use th e VALUE controller to m ake you r selection.

You can also use th e popup buttons to select programs. Programs can be selected by categoryusing Select By Category in the p age men u (page 26 in this manu al).

4Select the program number

1Select the mode

2Select the bank

3Select the program edit cell

3


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14

Selecting a program using a connected assignable footswitch

1 Connect an assignable foot switch (an on/ off type switch such as the separately sold Korg PS-1) to

the rear panel SWITCH jack.

Selecting a program using incoming MIDI ProgramChanges

When th e TRINITY receives a Bank Select or Program Chan ge message on the chan nel that

matches its own Global MIDI chan nel setting, the program will chan ge.

For details refer to 10. MIDI ap plications on page 58 in this manual.

2 Press the [GLOBAL] key.

You w ill enter Global m ode.

3 Press the [P1] key.

The page 1 display will appear.

4 Press the Foot Switch popup button.


5 In the popup menu, press Program Up or Program

Down.

IfProgram Up is selected, the next program num -

ber w ill be selected each t ime you press the foot

switch.

IfProgram Dow n is selected, the previous program number will be selected each time you press

the foot switch.

6 Set the Foot Switch Polarity to match the polarity of the pedal that is connected.

If a Korg PS-1 pedal sw itch is connected, set th is to .

Unless the p olarity setting matches, the p edal w ill not fun ction correctly.



8 Use the assignable foot switch to select programs.

4

6
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3. Select and play a combination

15

STEP

2


The combinations that are available on the TRINITY will depend on w hether the Playback Sam-

pler/flash ROM opt ion is installed (page 9 in this man ual).

For the factory p reset combin ation nam es, refer to the separate Voice N ame List booklet.

There are three wa ys to select combinations.

Selecting a combination using the front panel switches

1 Press the [COMBI] key.

You w ill enter Com bination Play mod e.

2 Press the combination name.

The display w ill invert.

3 Press the [BANK] key to select the bank.

4 Use the numeric keys to input the combination number, and press the [ENTER] key.

Alternatively, you can use th e VALUE controller to m ake you r selection.

You can also use th e popup buttons to select combinations . Combinations can be selected bycategory using Select By Category in the p age men u (page 26 in this manu al).

4Select the combination number

1Select the mode

2Select the bank

3Select the combination edit cell

3


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16

Selecting a combination using a connected assignablefoot switch

1 Connect an assignable foot switch (an on/ off type switch such as the separately sold Korg PS-1) to

the rear panel SWITCH jack.

2Press the [GLOBAL] key.You w ill enter Global m ode.


The page 1 display will appear.

6 Set the Foot Switch Polarity to match the polarity of the pedal that is connected.

If a Korg PS-1 pedal sw itch is connected, set th is to .

Unless the p olarity setting matches, the p edal w ill not fun ction correctly.


You w ill enter Com bination Play mod e.

8 Use the assignable foot switch to select combinations.

Selecting a combination using incoming MIDI Program

ChangesWhen th e TRINITY receives a Bank Select or Program Chan ge message on the chan nel that

matches its own Global MIDI chan nel setting, the combination w ill change.

It is also possible to select the progra m for each timbre in th is way.

For details refer to 10. MIDI ap plications on page 58 in this manual.

4 Press the Foot Switch popup button.


5 In the popup menu, press Program Up or Program

Down.

IfProgram Up is selected, the n ext combination

num ber will be selected each time you press the

foot switch.

IfProgram Dow n is selected, the prev ious combi-

nation number will be selected each time you

press the foot switch.

4

6
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4. About the performance functions

17

STEP

2


The p itch, tone, volum e, and effects of the TRINITY can be controlled by controllers (joystick, rib-

bon controller, conn ected ped als, etc.) and by the wa y in which you p lay the keyboard . These

mean s of control are referred to as performance functions. In the various Edit modes, you can

specify the am oun t of control for each par ameter of the oscillator, filter, and am p sections, andselect dynamic modulation sources for alternate modulation or effects.

Control from the keyboard

Velocity

The force with w hich you p lay the keyboard can control the sound . Norm ally, velocity is used to

control volum e, EG speed , or sen sitivity, etc.

After Touch

Pressure applied to the keyboard after playing a note can control the sound. Normally, aftertouch

is used to control v olum e, tone (cutoff frequency), or LFO sensitivity, etc.

Note Number

The note number (location on the keyboard) can affect the sound. Normally, note number is used

to control volume, tone (cutoff frequency), or LFO sensitivity, etc.

Control from the Joy Stick, Ribbon Controller, SW 1/ 2, andVALUE slider

Joy Stick

JS(Y): An effect can be ap plied by mov ing the joystick tow ard you.

Normally this is used to control filter LFO (wah -wah ).

Ribbon Controller

SW1, SW2

These functions can be assigned ind epen den tly for each program , combination, and son g. In other

words, the functions that are assigned to SW1 and SW2 will depend on the currently selected pro-

gram, combination or song.

JS(+X): An effect can be applied by moving the joystick

toward the right.

Normally this is used to control pitch.

JS(X): An effect can be app lied by m oving th e joystick towa rd

the left.

Normally this is used to control pitch.

JS(+Y): An effect can be app lied by mov ing th e joystick aw ay

from you .

Norm ally this is used to control oscillator LFO (vibrato).

Ribbon (X): An effect can be a pp lied by mov ing

your finger to th e left or right on the ribbon con-

troller. Norm ally this is used to control pitch. The

pitch w ill be norm al at the center of the ribbon

controller.

Ribbon (Z): An effect can be a pp lied by pressing

down on the ribbon controller.

The function of SW1 and SW2 on th e front pa nel can be selected in

Program Edit mode P1 11: Prog Basic, in Combination Edit mod e

P4 41: Filter, or in Sequencer mod e P4 41(2): Filter. This setting

allows SW1 and SW2 to be u sed to lock (hold) various cont rollers (joy-

stick, ribbon controller, etc.) or to turn on/ off effects or portam ento

(the LED w ill light wh en the sw itch is on).

+Y

X +X

Y

XX

Z


24/81


18

For details on the fun ction assigned to SW1 and SW2 for each of the factory preset prog ram s and

combinations, refer to the separate Voice N ame List booklet.

VALUE slider

You can u se this slider as an a lternate mod ulation sou rce or effect dyn am ic mod ulation sou rce

(controller) when a program num ber is selected in Program Play mode, or wh en a combination is

selected in Combination Play mode.

Control from the pedals

Assignable Foot Pedal

An effect can be a pp lied by opera ting an assignable foot p edal (Korg EXP-2 or XVP-10) connected

to the rear pan el PEDAL jack.

The function of the foot ped al can be set in Global mod e P1 11: Global Setup (Parameter

Guid e, page 129). This setting allows the foot ped al to control volum e, a param eter value, or

tempo (wh en in Sequencer mode) etc. Or you can assign the pedal to control alternate mod ulation

or effect dynamic modulation.

Assignable Foot SwitchAn effect can be a pp lied by op erating an assignable foot switch (Korg PS-1 etc.) connected to the

rear p anel SWITCH jack.

The function of the foot switch can be set in Global mod e P1 11: Global Setu p (Parameter

Guid e, page 129). This setting allows th e connected foot switch to select program s or combina-

tions, to start/ stop the sequencer, or to punch in/ out w hen recording on th e sequencer. Or you

can assign the switch to control alternate modulation or effect dynamic modulation.
http://../ParameterGuide(E)/ParameterGuide/Global6.pdfhttp://../ParameterGuide(E)/ParameterGuide/Global6.pdfhttp://../ParameterGuide(E)/ParameterGuide/Global6.pdfhttp://../ParameterGuide(E)/ParameterGuide/Global6.pdfhttp://../ParameterGuide(E)/ParameterGuide/Global6.pdfhttp://../ParameterGuide(E)/ParameterGuide/Global6.pdfhttp://../ParameterGuide(E)/ParameterGuide/Global6.pdfhttp://../ParameterGuide(E)/ParameterGuide/Global6.pdfhttp://../ParameterGuide(E)/ParameterGuide/Global6.pdfhttp://../ParameterGuide(E)/ParameterGuide/Global6.pdf


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5. Tuning

19

STEP

2

5. Tuning

As an example, heres how to set the tuning to 442 Hz.




You w ill enter p age 1.

3 Press Master Tune.

The param eter value w ill be selected (the valu e at the right of Master Tun e will be inverted ).

This value indicates the p itch of A4 in cents based on 440Hz as a v alue of0.

4 Press the numeric key 8, and press the [ENTER] key.

Set this par ameter to a valu e that is closest 442Hz (+08) while looking at the frequ ency (Hz) indi-

cation.

You can also set the p aram eter valu e using other VALUE controllers.

The setting can be ad justed in steps of 1 cent (it is also displayed as Hz ). One cent is an extrem ely

fine u nit of pitch, and a difference of3 cents or so is probably n ot noticeable.

3


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6. Transposing

20

6. Transposing

Shifting the pitch is known as transposing. As an examp le, heres how to raise the pitch a w hole

tone.




You w ill enter p age 1.

3 Press Key Transpose.

The para meter w ill be selected (the va lue at th e right of Key Transp ose will be inverted).

4 Press the numeric key 2, and press the [ENTER] key.

You can also set the p aram eter valu e using other VALUE controllers.

The setting is in u nits of a semitone.

3


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7. Easy editing in Program Play mode

21

STEP

2

7. Easy editing in Program Play mode

A certain amoun t of knowledge is necessary in order to edit p arameters in Program Edit mod e.

However the TRINITY series allows you to u se the 8 sliders displayed in the LCD in Program

Play mode to mod ify the sound in several useful ways.

When these sliders are operated, the correspond ing param eters of Program Edit m ode w ill beedited. Since this capability allows you to edit p rogram p arameters without having to en ter Pro-

gram Edit mod e, these sliders are referred to as the performance editor.

The settings that you m odify in this way u sing the perform ance editor w ill be lost if you select

another p rogram. If you wish to p reserve your edits, use the Write operation (page 23 in this

manual).

Sets the octave.

Adjusts the tone of

the program.

Adjusts the way that

the programs tonechanges over time.

Sets the overall volume

of the entire program.

Adjusts the length of

the attack (the timeover which the sound

rises).

Adjusts the length of the release (the time

over which the sound fades).

Adjusts the balance between

the Dry (unprocessed) and Wet(processed) sound of the insert

effects.

Adjusts the balance

between the Dry

(unprocessed) and

Wet (processed)

sound of the master

effects.


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8. Easy editing in Combination Play mode

22

8. Easy editing in Combination Play mode

In Combination Play mod e, you can change the p rogram assigned to each timbre of the combina-

tion, and ad just the volum e and pan for each timbre. As an example, heres how to ad just the vol-

um e of a timbre.


You w ill enter Com bination Play m ode. When the TRINITYs power is turned on, it will automat-

ically be in Combination Play m ode.

2 Press the combination name.

The combination nam e will be inverted.

3 Press the [Bank] key to select a bank.

4 Select any combination using the VALUE controller.

5 Press the Volume slider of a timbre, and graphic of a slider will popup.

When you release your finger, the pop up display will disappear.

Continue pressing, and m ove your finger to the slider hand le. Move your finger up or down to set

the va lue (the slider w ill follow). If you release your finger from th e graphic, the pop up display

will disappear. If the slider value remains inverted after the p opup display disapp ears, you can

use th e VALUE controllers to set th e valu e.

If you w ish to raise (or lower) the volum e of all timbres w hile maintaining t he volum e balance

between timbres, press the H old Balance check box (located to the righ t of Volum e), and adjust th e

volume of any timbre.

If you tu rn off the p ower or select another combina tion before writing the edited timbre, the edits

will be lost. If you wish to p reserve you r edits, use the Write operation (page 23 in this man ual).

2

5


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9. Writing a program or combination

23

STEP

2


A program or combination that you have mod ified by ad justing param eters with the performance

editor or in any Edit mode can be saved into internal m emory. This procedu re is referred to as

Writing a program or combination into memory. Program or combination data can n ot only be

written into the intern al mem ory of the TRINITY, but also stored on a floppy disk or on an exter-nal MIDI d evice Refer to 9. Saving d ata on page 56 for more information.

There are two ways to write programs and combinations, as explained below. Before you write,

turn off the Protect setting in Global mod e (page 51 in this man ual).

< About the edit buffer >

When you select a program or combination in Program Play mod e or Combination Play mode,

the program or combination d ata is copied from internal memory into a location know n as the

edit buffer. Adjustments that you make to param eters in Program Edit mode and Com bina-

tion Edit mod e affect the da ta in the ed it buffer.

If you w ish to save the data that has been m odified in this way, you m ust w rite it into mem ory.

When you write the d ata, the contents of the edit buffer are written into the program num ber

or combination nu mber mem ory of the specified bank.

If you select another program or combination w ithout w riting, the new ly selected program or

combination w ill be called int o the ed it buffer, and your edits w ill be lost.

Program

BankA 1...127

Program

BankA 1...127

Combination

BankA 1...127

Edit Buffer

Write Select

Internal Memory

Edit

Combination

BankA 1...127

Combination

BankA 1...127

Combination

BankA 0...127Program

BankA 1...127

Program

BankA 1...127

Program

BankA 0...127

Your editing affects the data in the edit buffer. The

programs and combinations that are being played

use the data in the edit buffer.

When you write, the program or

combination settings are saved into

internal memory.

When you select a program or combination, the

data is copied from internal memory into the edit

buffer.
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24

Write using a page menu commandIn Program Play mod e, press the page menu comm and Update Program, and follow the instruc-

tions in the dialog box to write the data. In Combination Play mod e, press the p age menu com-

mand Update Combination, and write the d ata by following th e instructions in the dialog box.

This will write the d ata to the currently selected p rogram or combination n um ber.

In Program Edit mod e, press the page menu command Write Program, and follow the instructionsin the dialog box to write the data. In Combination Edit mode, press the page menu command

Write Combination, and w rite the data b y following th e instructions in the dialog box. This

allows you to specify the program or combination nu mber to w hich the data w ill be written.

The following examp le shows how to write the p rogram in the Write Program dialog box.

1 Press the [PROG] key, then the [EDIT] key, and then the [P1] key.

You w ill enter Program Edit mod e page 1.

6 Press the OK button.

The display w ill askAre you sure?, so press the OK button on ce again to execute th e Write oper-

ation.

If you wish to m odify the Write destination, specify the d esired Bank an d Program.

To m odify the program name, press the Write Program text edit button.

Write using the [REC/ WRITE] keyRegardless of whether you are in Play mode or Edit mode, this method w rites the d ata into the

currently selected p rogram or combination n um ber. (This is the same as w hen th e page menu

command Upd ate Program or Update Combination is used to write the data.)

Here is the procedure for mod ifying and writing a program.1 Follow steps1 3 of Write using a page menu command to modify the program name.

2 Press the [REC/ WRITE] key located on the front panel.

A dialog box will app ear.


The write operation will be executed.

2 In the LCD screen, press the first tab button (Prog

Basic).

The Prog Basic display w ill app ear.

3 Press the Program Name text edit button, and

modify the program name. Press the OK button.

4 Press the page menu button.

The page menu comm ands w ill be displayed.

5 Press the Write Program page menu command.


3

4

2

Writing source program

(the currently selected program)

Writing destination bank

Writing destination program

For this example, the writing destination bank

and program are the same as the writing source


31/81

10. Restoring the factory preset sounds

25

STEP

2

10. Restoring the factory preset sounds

The factory preset sounds are referred to as the pre-loaded data. Heres how to load the pre-

loaded data.

1 On the TRINITY V3, TRINITY V3 pro, or TRINITY V3 proX, insert the included TFD-00P-V3floppy

disk into the disk drive. On the TRINITY, insert the included TFD-00P into the disk drive.

For details refer to 8. Disk mod e (page 53 in this manu al).

2 Press the [DISK] key.

You w ill enter Disk mo de.

3 Press the first tab button.

The Load d isplay will show file information.

4 On the TRINITY V3, TRINITY V3 pro, or TRINITY V3 proX, select V3_PLOAD.PCG. On the TRINITY,

select PRELOAD1.PCG.

The display will be inverted.

These .PCG files contain p rogram, combination, and global data.

5 Press the page menu button.

The page menu comm ands w ill appear.

6 Press the Load Selected page menu command.


7 If you wish to load the .SNG file (demo playback data) at the same time, press the check box to

check it.

If this box is checked, the .SNG file of the sam e nam e as the .PCG file will be load ed as w ell.

When a .PCG or .SNG file is loaded, the programs, combinations, and global data, and song

data th at is currently in mem ory will be rewritten.

If you wan t to p reserve the p rogram, combination, global, and song d ata, save it to a floppy

disk (page 56 in this manu al).


PostScript error (undefi
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11. Selecting by category

26

11. Selecting by category

Program Play modePrograms can be selected by category only w hen 11b: Program N umber/ Program Nam e is

selected.

1 Use the radio buttons to select the searching conditions.

When A is selected, only program s belonging to the category specified in A will be selected.

When B is selected, only program s belonging to the category specified in B will be selected.

When A and B is selected, program s belonging to both of the categories specified in A and B will

be selected.

When A or B is selected, program s belonging to either of the categories specified in A or B will be

selected.

2 Select categories A and/ or B according to the selection of step 1.

3 Select the desired program from the programs that match the conditions.

4 If you wish to finalize your selection, press the OK button. If not, press the Cancel button.

Combination Play modeCombinations can be selected by category only when 11b: Combination/ Combination N ame is

selected. Program s for each timbre can be selected by category only wh en 11c: Bank/ Program is

selected.


When A is selected, only combination s belonging to the category specified in A will be selected.

When B is selected, only combinations belong ing to the category specified in B will be selected.

When A and B is selected, combinations belong ing to both of the categories specified in A and B

will be selected.

When A or B is selected, combinations belongin g to either of the categories specified in A or B will

be selected.


3 Select the desired combination from the combinations that match the conditions.


Sequencer modeProgram s can be selected by category w hen th e Program or Bank for each track is selected.


When A is selected, only program s belonging to the category specified in A will be selected.

When B is selected, only program s belonging to the category specified in B will be selected.

When A and B is selected, program s belonging to both of the categories specified in A and B will

be selected.

When A or B is selected, program s belonging to either of the categories specified in A or B will be

selected.


3 Select the desired program from the programs that match the conditions.



33/81

STEP 3

27

STEP

3

1. Program Play mode

Press the front panel [PROG] key to enter this mode. Here you can select programs, and u se the

performance editor to adjust the sound. If you wish to save the changes you m ake with the p erfor-

man ce editor, turn off the mem ory protect setting in Global mod e (page 51 in this manu al), and

use the program write operation (page 23 in this manu al).

Selecting a programProgram s can be selected in the following three w ays. For each procedu re, refer to the approp riate

pag e. The program s that are available will depen d on th e mod el of your TRINITY, and on w hether

the Playback Sampler/ flash ROM option an d/ or the MOSS-TRI option is installed (page 9 in

this manu al).

selecting a program using the front panel keys (page 13 in this manual)

Selecting a program using a connected switch (page 14 in this manual)

Selecting a program using incoming MIDI Program Change messages (page 62 in this man-

ual)

For the factory preset progra m na mes, refer to the separate Voice N ame List booklet.

Editing with the performance editorThe performance editor allows you to adjust the m ain param eters of Program Edit m ode. For

details refer to 7. Easy editing in Program Play mod e on page 21 of this manual, and 11: Pro-

gram Play on page 1 of the separate Parameter Guide.
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2. Program Edit mode

28


To enter this mod e, press the front p anel [PROG] key and then the [EDIT] key.

Here you can make changes to the p itch, tone, volume, and other aspects of the program selected

in Program Play mod e. If you w ish to save the changes you m ake, be sure to write the program

into memory (page 23 in this man ual).For bank M progra ms, refer to the MO SS-TRI own er s manual.

How a program is organizedThe following d iagram shows h ow a program is organized. The characters in the lower part of

each box (e.g., P25) indicate the screen p age in w hich the correspond ing param eters are found .

The elements of sound

How the TRINITYs sound is producedSoun d consists of three ma in elements; pitch, tone, and volu me. On the TRINITY series, the oscil-

lator, filter, and amp lifier that m ake up each program correspond to th ese three elements. Thus, if

you w ant to ad just the p itch, ad just th e settings of the oscillator. To ad just the ton e, adjust the filter.

And to adjust the volume, adjust the am plifier setting.

Oscillator: adjusting the pitch

The TRINITY series prov ides tw o oscillators. For each, you can select the w aveform (referred to

as a multi-sample) that w ill be the ba sis for the final soun d, and set the pitch. A variety of mu lti-samples are provided, including instrumental sound s such as piano, and also waveforms unique

to synthesizers. Each multi-sample is actually a small piece of recorded sound, and thus deter-

mines th e basic character of the final sound , whether it will be guitar-like or piano-like, etc.

Oscillator settings are ma de in Program Edit mod e P1 and P2.

< Editing a program >

The process of mod ifying the sound by adjusting the p arameters that make u p a p rogram is

referred to as editing. Program editing is done in Program Edit mode.

You can edit program s using the performance editor. Also, in Program Edit mode you h ave

access to a large num ber of par ameter s for detailed ed iting, providing a w ide rang e of control

over the sou nd . Since it may b e difficult to und erstand at once how all the param eters work

together to affect the sound , it is a good idea to ma ke adjustments to the param eters of the pre-

set programs in order to learn how each param eter works.

OSC2

OSC1

Prog Basic

OSC Basic

(P1-2)

OSC1/2 EG

(P2-5)

OSC1 LFO

(P2-2)

OSC1 P. Mod(P2-1)

Filter1 Fc Mod(P3-2)

Filter1 LFO

(P4-2)

Filter1 A/B

(P3-1)

Filter1 EG

(P4-1)

Amp1 EG

(P5-2)

Insert Fx

(P7)

Amp1

(P5-1) Master Fx

(P8)

1/L/MONO

2/R

3

4

(P1-1)

Pitch and basic

tone color

Oscillator

Tone color

Filter

Volume

Amplifier


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STEP

3

Filter: adjusting the tone color

The sound of the mu lti-samp le selected for the oscillator can be affected by the filter by using it to

diminish or emp hasize certain portions of the sound .

On the TRINITY series, there are two filters for each oscillator, and you can specify how the tw o

filters will wor k togeth er. You can also select a Low P ass, High Pass, Band Pass, or Band Reject fil-

ter typ e for each filter.

Filter settings are made in Program Edit mode P3 and P4.

The degree to which the filter affects the sound can be mad e to change over tim e, using the Filter

EG.

Amplifier: adjusting the volume

The volume of a program d oes not refer to the overall volum e, but rather to the w ay in w hich

the volume of the program changes over time (refer to the following paragraphs, EG).

For examp le, the volume of a piano note becomes loud at the instant that a note is played, and

then grad ually diminishes. The volum e of an organ remains constant as long as the note is held.

The volume of a violin or a wind instrument w ill change in response to how it is played (the force

of bowing or the am ount of breath).

Amplifier settings are mad e in Program Edit mod e P5.

EGs and LFOsEG (envelop e generator ) and LFO (low frequency oscillator) settings can ap ply time-vary ing

changes to th e oscillator, filter, or am plifier.

EG (Envelope Generator): settings for changes over timeThe TRINITY series prov ides an Oscillator EG, Filter EG, and A mp lifier EG, that resp ectively

allow you to specify how the pitch, tone, and volume w ill change over time.

For example the volume ad justments mad e by the amp lifier are actually determined by how the

Amplifier EG changes the volume over time.

LFO (Low Frequency Oscillator): settings for cyclic changes

The TRINITY series prov ides an O scillator LFO and a Filter LFO, that respectively allow you to

specify how the p itch and tone w ill change ov er time. The settings of the Oscillator LFO create

cyclic chan ges in p itch (vibrato), and t he settings o f the Filter LFO create cyclic changes in tone

(wah-wah).

Level

Frequency (pitch)

Overtones included in theoriginal multi-sample

Level

Frequency (pitch)

For a Low Pass Filter

Overtones afterpassing through thefilter

The overtones of thisarea are diminished

Filter

Characteristics of the filter

Volume

Time

Piano

Volume gradually diminishes

Volume

Time

Organ

Volume remains constantwhile key is pressed


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Basic program editingSelect the p rogram that you wish to edit in Program Play mode (page 13 in this manu al), and

enter Program Edit mod e to edit it.

After making these edits, you can go ahead on your ow n, and call up various p reset programs and

edit them as you review th e basic structure of a p rogram (page 28 in this ma nu al). Even if you

end up with a sound that you dont like, you can alw ays load th e factory p reset data back intomemory (page 25 in this manual) to restore the original sounds.

The best way to gain an u nderstand ing of what the param eters do is to go ahead and edit them. As

you continue editing sounds, you w ill soon come to un derstand how a synthesizer w orks, and the

function of each parameter.

Amplifier settingsWhen a note is played on an instrument such as a piano or an organ, the sound imm ediately

reaches its maximum volume. How ever on string instruments such as a violin, the volume u sually

increases more grad ually.

The time from w hen a note is played u ntil it reaches its maximu m volu me is called the Attack

Time.

A note played on a piano grad ually decays even if you continue holding d own the key. A note on

an organ continues at the sam e volume as long as you hold d own the key. In this way, the time

over wh ich the sound d iminishes differs between instru men ts. This decrease of the volume level

is called decay.

When you release your h ands from the piano keyboard (Note Off), you will hear some reverbera-

tion. This is called release.

In this examp le, lets adjust the attack time of a p iano sound.

The attack time of a soun d is adjusted in Prog ram Ed it mod e P5, in the second tab screen (Amp

EG), by the pa ram eters Level and Time.

1 Press the [PROG] key to enter Program Play mode.

2 Use the [BANK] key and the VALUE controllers to select bank A, 001: Acoustic Piano.

If bank A d oes not conta in 001: Acoustic Piano, use the p rocedu re described in Restoring the fac-

tory preset data (page 25 in this man ual) to load th e PRELOAD1.PCG file or P_LOAD1.PCG

before continuing.

3 Press the [EDIT] key.

You w ill enter Program Edit mod e.

7 Select the Time parameters using the VALUE controllers to set the value for each parameter.

Set the following valu es here:

Attack Time: 20, Decay Time: 30, Slope Time: 50, Release Time: 30

8 Use the VALUE controllers to modify the values.

While repeatedly playing a note on the keyboard, adjust the Attack Time value an d notice how the

soun d chan ges. With higher settings the sou nd starts more grad ually. With a setting of about 50,

the pian o sound has become m ore like a cello. In this way, the character of a sound can be d ram at-

ically chan ged simp ly by adjusting the attack.

While repeatedly playing notes on the keyboard, adjust the Decay Time value and notice how the

sound d ecays.

While repeatedly playing notes on the keyboard, adjust the Release Time value and notice how

the sound changes.


Page 5 will app ear.

5 Press the second tab button in the display (Amp 1

EG).

The Amp 1 EG display will app ear.

6 Select LEVEL, and specify the value, using the

VALUE controller. Here, set the following value for

each parameter:

Start Level: 00, Attack Level: 99, Break Point

Level: 50, Sustain Level: 80

6

7

5
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STEP

3

Filter settingsHere w e are going to adjust the ton al color.

There are sometimes significant d ifferences in tone betw een instru men ts in the sam e family, such

as the french horn w ith its mellow sound and a trum pet w ith its bright sound. When creating

sounds on a synthesizer, this is also an important aspect that determines the character of the

sound.

When several programs are sound ing simultaneously in Combination Play mod e, or when you

are playing the TRINITY together with other instruments in a band , there may be times when the

sound of a program is too muted an d d oes not stand out sufficiently, or conv ersely, times w hen it

stands out too mu ch. When playing sounds on a synthesizer, it is imp ortant to consider the role

that each sou nd plays in the ensem ble, and ad just the ton e color accordingly. This is don e by the

Filter.

The filter is the section th at processes the w aveform gen erated by the o scillator. The ton e color can

be greatly m odified by the filter.

On the TRINITY series, each oscillator has tw o filters, and d ifferent settings can be mad e for each

filter so that a wide v ariety of sounds can be created.



2 Use the [BANK] key and the VALUE controllers to select bank A, 086: 30303 Mega Bass.If bank A does not cont ain 086: 30303 Mega Bass, use Restoring the factory preset sounds

(page 25 in this ma nu al) to load the PRELOAD1.PCG file or th e P_LOAD1.PCG file, and then

select it.

8 Change the selected filter type.

The following four typ es offilters can be selected. Select various types offilters, and notice the

effect that each one h as on th e sound .

How ever since many other p arameters in add ition to the filter also affect the ton e of a program ,

mod ifying the filter settings ma y not significantly change th e tone for some p rograms.

Low Pass

This filter allows the low frequency comp onents of the sound to pass, and cuts the h igh frequen-

cies. This is the most comm on typ e offilter. As the high over tones are cut, a bright soun d w ill

become darker.

High PassThis filter allows the high frequency comp onents of the sound to pass, and cuts the low frequen-

cies. Use this filter when you want to make the sound thinner. How ever if this is applied exces-

sively, the volume w ill be greatly dim inished.

Band Pass

This filter allows a specific frequen cy range (band ) to pass, and cuts th e rest of the frequen cies. Use

this filter wh en you w ant to emph asize a specific portion of the sound .

Band Reject

This filter cuts a specific frequen cy range (band ), and allows the rest of the frequen cies to pass.

This produces a uniquely characteristic sound.

3 Press the [EDIT] key.

You w ill enter Program Edit mod e.


Page 3 will app ear.

5 Press the first tab button (Filter 1 A/ B).

The first tab p age (Filter 1 A/ B) will appear.

6 For the Routing parameter, select single.

7 Press Type.

The display will be inverted.

6

7

5


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9 Adjust the Frequency and Resonance parameters.

Oscillator settingsHere we are going to modify the multi-sample (the basic waveform).

The multi-sample is the waveform (a PCM recording) that is the core of the p rogram .

The TRINITY series provid es 375 types of multi-samples, ranging from instrum ental sound s such

as piano and guitar, to synthesize

Documents

Trinity Basic Guide