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8/6/2019 Trinity Basic Guide
1/81
5E
8/6/2019 Trinity Basic Guide
2/81
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
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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
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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.
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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.
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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.
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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).
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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
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5. Setting a parameter
8
5. Setting a parameter
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
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5. Setting a parameter
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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5. Setting a parameter
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
2. Select and play a program
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
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2. Select and play a program
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.
The popu p menu will app ear.
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.
7 Press the [PROG] key.
You w ill enter Program Play mod e.
8 Use the assignable foot switch to select programs.
4
6
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3. Select and play a combination
15
STEP
2
3. Select and play a combination
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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3. Select and play a combination
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.
3 Press the [P1] key.
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.
7 Press the [COMBI] key.
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.
The popu p menu will app ear.
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
4. About the performance functions
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
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4. About the performance functions
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.pdf8/6/2019 Trinity Basic Guide
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5. Tuning
19
STEP
2
5. Tuning
As an example, heres how to set the tuning to 442 Hz.
1 Press the [GLOBAL] key.
You w ill enter Global m ode.
2 Press the [P1] key.
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.
1 Press the [GLOBAL] key.
You w ill enter Global m ode.
2 Press the [P1] key.
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.
1 Press the [COMBI] key.
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
9. Writing a program or combination
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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9. Writing a program or combination
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.
3 Press the OK button.
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.
A dialog box will app ear.
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
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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.
A dialog box will app ear.
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).
8 Press the OK button.
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.
1 Use the radio buttons to select the searching conditions.
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.
2 Select categories A and/ or B according to the selection of step 1.
3 Select the desired combination from the combinations that match the conditions.
4 If you wish to finalize your selection, press the OK button. If not, press the Cancel button.
Sequencer modeProgram s can be selected by category w hen th e Program or Bank for each track 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.
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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
2. Program Edit mode
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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2. Program Edit mode
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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.
4 Press the [P5] key.
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.
1 Press the [PROG] key.
You w ill enter Program Play mod e.
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.
4 Press the [P3] key.
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