Benutzeranleitung / Produktwartung TouchView Trinity des Produzenten Korg
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Table of Contents i T able of Contents Overview ......................................................................................................... 1 Insert Effects ................................................................................
Table of Contents ii Inser t Effect size2 00: St. Amp Simulation (Stereo Amp Simulation) ................................... 47 01: Stereo Compressor ................................................................................. 48 02: Stereo Limiter.
Table of Contents iii Inser t Effect size4 00: Piano Body/Damper (Piano Body/Damper Simulation) .............. 119 01: St. Mlt.band Limiter (Stereo Multiband Limiter)............................. 120 02: OD/Hyper-Gain Wah (Overdrive/Hyper-Gain Wah)...
Overview 1 Over view The TRINITY series has two types of effects: Insert Effects and Master Effects . As shown in the figure below , you can use the Insert Effects in the pr ocess of sound creation after the Oscillator , Filter , and Amp. Then, reverberation and other ef fects are applied thr ough the Master Effects.
Overview 2 Ef fect Size Insert Effects utilize ef fect sizes of 1, 2, and 4. Program (Single or Double mode Program): Up to three ef fects with a total effect size of four or less can be inserted in series. Program (Drum mode Pr ogram): Up to four effects with a total ef fect size of four or less can be inserted in series/parallel.
Overview 3 When you want to preserve the ster eo image of a Double mode Program, use Insert Ef fects of size 2 or 4. Grouping Y ou can use the grouping function in the Combination and Sequencer modes to use the Insert Effects ef fi - ciently .
Overview 4 Program Y ou can use the Insert Effects as long as the total of the effect size is four or less in Pr ogram mode. The con fi guration of the Insert Effects is dif ferent when using a Single or Double mode Pr ogram than when using a Drum mode Pr ogram.
Overview 5 If output connectors 3 and 4 are used for ster eo output, you can set the stereo position of Send 1 and 2 using the Pan 3 and 4 parameters (P8 in Program Edit mode). T o set the Master Effect return level, use the Return 1 and 2 parameters (P8 in Pr ogram Edit mode).
Overview 6 If you have inserted Insert Effects, the Send 1 and 2 parameters of P7 in Pr ogram Edit mode will become effective (those of P5 will be ignor ed). If you have not inserted Insert Ef fects, the Send 1 and 2 parameters of P5 in Global mode and P5 in Program Edit mode will become ef fective.
Overview 7 Y ou can also set the total effect size for a single T imbre to eight. However , if you are r outing three Insert Effects in series, you cannot place an ef fect of size 4 on the second position. For a T imbre that uses a Drum mode Program, you can set the total ef fect size to eight.
Overview 8 Sequencer Inser t Effects The Insert Effects selected in Pr ogram Edit mode are not used in Sequencer mode. Instead, you can set Insert Effects for up to eight T racks in the Sequencer . Go to P7 in Sequencer mode, and set the Insert Effect ’ s Of f, size (1, 2, 4, 8), and grouping parameters for each of T racks 1 – 16.
Overview 9 When you are adding T imbres/T racks that use Single or Double mode Programs to a gr oup of T im- bres/T racks that use Drum mode Programs, they will be gr ouped (input) into Insert Effect Inst1 of the T imbres/T racks that use Drum mode Programs.
Dynamic Modulation 10 Dynamic Modulation Y ou can control certain effect parameters using the joystick, ribbon contr oller , etc. “ on the fl y. ” For exam- ple, you can use the After T ouch effect to speed up the LFO of the chorus and fl anger , or you can use the ribbon controller to activate the wah ef fect.
Dynamic Modulation 11 JS(–Y) Joystick - do wnward JS(X) Joystic k - horizontal direction Ribbon(X) Ribbon controller - horizontal direction Ribbon(Z) How strongly y ou press the ribbon controller SW1 Assignable P anel Switch 1 (CC#80) ☞ P .12 SW2 Assignable P anel Switch 2 (CC#81) ☞ P .
Dynamic Modulation 12 SW1 SW2 If the switches on the panel are assigned as a dynamic modulation sour ce, set SW1 to Modulation (CC#80) and SW2 to (CC#81) in P1 of Program Edit mode, or P4 of Combination Edit mode. Foot SW If the assignable foot switch is assigned as a dynamic modulation, set Foot Switch to Modulation (CC#82) in P1 of Global mode.
00: Amp Simulation 13 size1 00: Amp Simulation This effect simulates the fr equency response characteristics of guitar amplifiers. Y ou can obtain a realistic guitar amplifier sound. It is also effective for or gan sounds. a Amplifier T ype SS, EL84, 6L6 Selects the type of guitar amplifier .
01: Compressor 14 01: Compressor This effect compr esses the input signal to r egulate the level and give a “ punchy ” effect. It is useful for gui- tar , piano, and drum sounds. a Sensitivity 1 … 100 Sets sensitivity . ☞ P .14 b Attack 1 … 100 Sets attack amount.
02: Limiter 15 size1 02: Limiter The Limiter regulates the input signal level. It is similar to the Compr essor , except that the Limiter com- presses only signals that exceed the speci fi ed level to lower unnecessary peak signals.
02: Limiter 16 c: Attack d: Release These parameters set the attack time and release time. A higher attack time will cause the compression to be applied mor e slowly . f: Side PEQ Inser t g: Side PEQ Cutoff [Hz] g: Q g: Gain [dB] These parameters are used to set the EQ applied to the trigger signal.
03: Gate 17 size1 03: Gate The Gate effect mutes signals with a level lower than the speci fi ed thr eshold. Y ou can also use this effect to create Gated Reverb by r outing it after the Reverb effect. The Gate can be turned on/of f directly by Note On/Off.
03: Gate 18 e: Delay Time This parameter sets the delay time of the Gate input. If the sound has a very fast attack, increase the delay time so that the signal will be input after the Gate is opened.
04: Overdrive/Hi-Gain 19 size1 04: Overdrive/Hi-Gain This distortion effect utilizes an Over drive mode and a Hi-Gain mode. Controlling the 4-band EQ will allow you to create versatile distortion sounds. This ef fect is suitable for guitar and organ sounds.
05: Parametric 4EQ (Parametric 4-Band EQ) 20 05: Parametric 4EQ (Parametric 4-Band EQ) This effect is a four -band parametric equalizer . Y ou can select either a peaking type or a shelving type for Band 1 and 4. Band 2 allows for gain control via dynamic modulation.
05: Parametric 4EQ (Parametric 4-Band EQ) 21 size1 d: Band2 Dynamic Gain Src d: Amt [dB] f: Gain [dB] Y ou can control the gain of Band 2 using the modulation source. Band2 Cutoff Band2 Cutoff 0dB +6dB +15dB Band2 Gain[dB]= +6.0 Band2 Dynamic Gain Amt[dB]= +9.
06: Graphic 7Band EQ 22 06: Graphic 7Band EQ This effect is a seven-band graphic equalizer . The bar graph of the gain setting for each band gives you a clear , visual idea of frequency r esponses. Y ou can select a center frequency setting for each band fr om twelve types, according to the sound.
07: Wah/Auto Wah 23 size1 07: W ah/Auto W ah This wah effect allows you to cr eate sounds from vintage wah pedal simulation to auto-wah simulation, and much broader range settings. Y ou can select Band Pass or Low Pass for the wah fi lter . a F requency Bottom 0 … 100 Sets the lower limit of the w ah center frequency .
07: Wah/Auto Wah 24 a: Frequency Bottom b: Frequency T op The sweep width and direction of the wah fi lter ar e determined by the Fre- quency T op and Frequency Bottom settings.
08: Random Filter 25 size1 08: Random Filter The fi lter frequency changes randomly . Y ou can create a special effect fr om fi lter oscillation. a LFO F requency [Hz] 0.05 … 50.00Hz Speed of LFO that modulates the fi lter Src None … T empo Modulation source of LFO speed Amt – 50.
09: Dyna Exciter 26 09: Dyna Exciter This effect gives a frame to a sound and emphasizes the outline. Y ou can control the intensity of the ef fect using dynamic modulation. a Blend – 100 … +100 Sets the intensity (depth) of the Exciter effect. ☞ P .
10: Sub Oscillator 27 size1 10: Sub Oscillator This effect adds very low fr equencies to the input signal. It is very useful when simulating a roaring drum sound or emphasizing powerful low range harmonics. Y ou can also adjust the oscillator frequency to match a particular note number , for use as an octaver .
11: Decimator 28 11: Decimator This effect cr eates a rough sound like a cheap sampler by lowering the sampling fr equency . Y ou can also simulate noise unique to a sampler (aliasing). a Pre LPF Off, On Selects whether the harmonic noise caused by decrease in sampling frequency is generated or not.
12: Chorus 29 size1 12: Chor us This effect adds thickness and warmth to the sound by modulating the delay time of the input signal. a LFO W avef orm T r iangle, Sine Selects LFO W avef orm. b LFO F requency [Hz] 0.02 … 20.00Hz LFO speed Src None … T empo Modulation source of LFO speed Amt – 20.
13: Harmonic Chorus 30 13: Harmonic Chor us This effect applies chor us only to higher frequencies. This can be used to apply a chorus ef fect to a bass sound without making the sound thinner . Y ou can also use this chorus block with feedback as a fl anger .
14: Ensemble 31 size1 14: Ensemble This chorus ef fect is created by a subtle shimmering LFO, and adds richness and thickness to the sound. It is most effective on the string sounds.
15: Flanger 32 15: Flanger This effect gives a signi fi cant swell and movement of pitch to the sound. It is mor e ef fective when applied to a sound with a lot of harmonics, such as cymbals or electric guitar sounds. a Delay Time [msec] 0.0 … 50.0msec Delay from the original sound b LFO W avef orm T r iangle, Sine Selects the LFO W avef orm.
16: Tempo Flanger 33 size1 16: T empo Flanger This Flanger allows you to match the LFO cycle with a song ’ s tempo. For example, you can apply the Flanger synchronizing to a sequencer r hythm pattern, or you can input a tempo before a live performance so that the fl anging effect will match the song tempo.
17: Envelope Flanger 34 17: Envelope Flanger This Flanger uses an envelope generator for modulation. Y ou will obtain the same pattern of fl anging each time you play . Y ou can also control the Flanger dir ectly using the modulation source. a Delay Bottom [msec] 0.
18: Phaser 35 size1 18: Phaser This effect cr eates a swell by shifting the phase. It is very effective on electric piano sounds. a LFO W avef orm T r iangle, Sine Selects the LFO W avef orm. b LFO Shape – 100 … +100 Determines how much the LFO wa vef orm shape is changed.
19: Tempo Phaser 36 19: T empo Phaser This Phaser allows you to match the LFO cycle with the song tempo. For example, you can synchronize the Phaser to a sequencer rhythm pattern, or you can input a tempo befor e a live performance so that the phasing effect will match the song tempo.
20: Envelope Phaser 37 size1 20: Envelope Phaser This Phaser uses an envelope generator for modulation. Y ou will obtain the same pattern of phasing each time you play .
21: Vibrato 38 21: Vibrato This effect causes the pitch of the input signal to shimmer . Using the AutoFade allows you to incr ease or decrease the shimmering speed. a A UT OF ADE Src None … T empo Sets the modulation source that star ts A utoF ade.
22: Resonator 39 size1 22: Resonator This effect r esonates the input signal at a speci fi ed pitch. For example, the Resonator will add a unique character to a string sound by emphasizing certain harmonics, or give a “ pitch ” to a drum sound. Y ou can control the r esonance intensity via an LFO.
23: Ring Modulator 40 23: Ring Modulator This effect cr eates a metallic sound by r outing the input signal to an Oscillator . Y ou will obtain a very rad- ical modulation by modulating or operating the Oscillator using an LFO or dynamic modulation.
23: Ring Modulator 41 size1 d: Note Offset e: Note Fine These are used to set the oscillator when OSC Mode is set to Note (Key Follow). The Note Offset parameter speci fi es the pitch dif ference fr om the original note number in steps of semitones. The Note Fine parameter is used to “fi ne-tune ” this setting in steps of cents.
24: Tremolo 42 24: T remolo This effect modulates the volume level of the input signal. a LFO W av ef orm T riangle, Sine, Square, Up , Down Selects LFO W av eform. ☞ P .42 b LFO Shape – 100 … +100 Determines how much the shape of LFO wa vef orm is changed.
25: Rotary Speaker 43 size1 25: Rotar y Speaker This effect simulates a r otary speaker which is essential to or gan sounds. This size 1 Rotary Speaker effect is monaural. Y ou can change the speed of speaker rotation via dynamic modulation. The ef fect also simu- lates the microphone settings.
26: Delay 44 26: Delay This delay effect delays the input signal over time. Y ou can change the character of the delay sound by setting the feedback damping amount separately for the low range and high range. a Delay Time [msec] 0.0 … 680.0msec Sets the delay time .
27: Multitap Delay 45 size1 27: Multitap Delay This Multitap Delay has two taps for delay . W ith various delay time settings, you can create complex delay sounds. a T ap1 Time [msec] 0.0 … 680.0msec Sets the T ap1 delay time. b T ap2 Time [msec] 0.
28: Early Reflections 46 28: Early Re fl ections This effect is only the early r e fl ection part of a reverberation sound, and adds pr esence to the sound. Y ou can also create sounds such as gated r everb and reversed ef fects by selecting the decay curve of the early re fl ection.
00: St. Amp Simulation (Stereo Amp Simulation) 47 size2 00: St. Amp Simulation (Stereo Amp Simulation) This is a stereo amp simulator . a Amplifier T ype SS, EL84, 6L6 Selects the type of guitar amplifier b Wet/Dry Dry , 1:99…99:1, W et Sets the balance between the effect and dry sounds.
01: Stereo Compressor 48 01: Stereo Compressor This is a stereo compr essor . Y ou can link left and right channels, or use each channel separately . a Env elope Select L/R Mix, L/R Individually Determines whether the left and r ight channels are linked or used separately .
02: Stereo Limiter 49 size2 02: Stereo Limiter This effect is a ster eo limiter . Y ou can link left and right channels, or use each channel individually .
03: Multiband Limiter 50 03: Multiband Limiter This effect applies the Limiter to the low range, mid range, and high range of the input signal. Y ou can control dynamics for each range to adjust the sound pr essure of the low range, mid range, and high range in a differ ent way from the EQ.
04: Stereo Gate 51 size2 04: Stereo Gate This is a stereo gate ef fect. Three types ar e available to turn the gate on/off. This ef fect features a Hold function that keeps the gate open for a specified period of time.
04: Stereo Gate 52 b: Envelope Select b: Src The Envelope Select parameter selects whether the gate on/off is trigger ed by the level of the input signal, or controlled dir ectly by the modulation source. The Src parameter speci fi es the modulation sour ce, selected fr om None to Gate2+Sus.
05: OD/Hi-Gain Wah (Overdrive/Hi-Gain Wah) 53 size2 05: OD/Hi-Gain W ah (Overdrive/Hi-Gain W ah) This effect is a distortion with wah, 4-band EQ and amp simulator . a W ah Off, On Switches Wah on/off . ☞ P .54 Src None … T empo Modulation source that controls the W ah.
05: OD/Hi-Gain Wah (Overdrive/Hi-Gain Wah) 54 a: W ah a: Src The W ah parameter switches the wah effect on/off. The wah center fr equency can be controlled by the modulation sour ce speci fi ed in the Src parameter . b: W ah Sweep Range This parameter sets the sweep range of the wah center frequency .
06: St. Parametric 4EQ (Stereo Parametric 4-Band EQ) 55 size2 06: St. Parametric 4EQ (Stereo Parametric 4-Band EQ) This is a stereo 4-band parametric equalizer . Y ou can select peaking type or shelving type for Band 1 and 4. The gain of Band 2 can be controlled by dynamic modulation.
07: St. Graphic 7EQ (Stereo Graphic 7-Band EQ) 56 07: St. Graphic 7EQ (Stereo Graphic 7-Band EQ) This is a stereo 7-band graphic equalizer . The bar graph of the gain setting for each band gives you a clear , visual idea of frequency r esponses. Y ou can select a center frequency setting for each band fr om twelve types, according to the sound.
08: Graphic 13Band EQ 57 size2 08: Graphic 13Band EQ This effect is a 13-band graphic equalizer that allows for fi ner equalization. T wo types of settings are available for the center frequency of each band. a T ype A, B Selects a combination of center frequencies for each band.
09: St. Random Filter (Stereo Random Filter) 58 09: St. Random Filter (Stereo Random Filter) This effect is a ster eo random fi lter . Y ou can also fade in the effect sound using Auto-Fade, or change the LFO speed. a A UT OF ADE Src None … T empo Selects the modulation source that triggers AutoF ade.
09: St. Random Filter (Stereo Random Filter) 59 size2 a: AUTOF ADE Src a: Fade-In Rate If AutoFade is selected for the LFO speed, depth of modulation, and Effect Bal- ance, you can use the AutoFade function to apply modulation. The AUTOF ADE Src parameter selects the modulation source that triggers Auto- Fade.
10: Stereo Enhancer 60 10: Stereo Enhancer This effect spr eads and adds presence to the sound, and also functions as a ster eo exciter . It is useful when you wish to emphasize a stereo image of the input signal or cr eate a stereo image fr om a monaural source.
11: Talking Modulator 61 size2 11: T alking Modulator This effect adds an unusual character , like a human voice, to the input signal. Modulating the tone via dynamic modulation, you can create an inter esting effect that sounds as if the instr ument is talking.
11: Talking Modulator 62 e: Formant Shift This parameter adjusts the frequency level to which the effect is applied. If you wish to apply the effect to a higher -range sound, set this parameter to a higher value; to apply the effect to a lower -range sound, set this to a lower value.
12: Stereo Decimator 63 size2 12: Stereo Decimator This is a stereo decimator . a Pre LPF Off, On Selects whether the harmonic noise caused by a decrease in sampling frequency is generated or not. ☞ P .28 b Sampling F req [Hz] (Sampling F requency) 1.
13: Stereo Chorus 64 13: Stereo Chor us This is a stereo chor us. Y ou can add spread to the sound by of fsetting the phase of the left and right LFOs from each other . The chorus effect can fade-in by means of the AutoFade function. a A UT OF ADE Src None … T empo Selects the modulation source that triggers AutoF ade.
13: Stereo Chorus 65 size2 b: LFO Phase [degree] Shifting the left and right LFOs ’ phase will cause modulation to be applied dif- ferently for the right and left, spr eading and swelling the effect sound between the left and right.
14: St. Harmonic Chorus (Stereo Harmonic Chorus) 66 14: St. Harmonic Chor us (Stereo Harmonic Chor us) This is a stereo harmonic chor us. Shifting the left and right LFO phases from each other will add spr ead to the sound. a LFO W avef orm T r iangle, Sine Selects LFO W avef orm.
15: Multitap Chorus/Dly (Multitap Chorus/Delay) 67 size2 15: Multitap Chor us/Dly (Multitap Chorus/Delay) This effect has four chor us blocks with a differ ent LFO phase. Y ou can create a complex ster eo image by setting each block ’ s delay time, depth, output level, and pan individually .
16: Ensemble 68 16: Ensemble This Ensemble effect has thr ee chorus blocks, and gives thr ee dimensional depth and spread to the sound, because the signal is output from the left, right, and center .
17: Stereo Flanger 69 size2 17: Stereo Flanger This is a stereo f langer . Y ou can add spread to the sound by offsetting the phase of the left and right LFOs from each other . The fl anging effect can fade-in by means of the AutoFade function. a A UT OF ADE Src None … T empo Selects the modulation source that triggers AutoF ade.
18: St. Random Flanger (Stereo Random Flanger) 70 18: St. Random Flanger (Stereo Random Flanger) This is a stereo f langer . The effect uses a step-shape waveform and random LFO for modulation, creating a unique fl anging effect. a Delay Time [msec] 0.
18: St. Random Flanger (Stereo Random Flanger) 71 size2 Random Flanger LFO LFO Step Freq LFO Frequency LFO Step Freq Step-Tri Random.
19: St. Tempo Flanger (Stereo Tempo Flanger) 72 19: St. T empo Flanger (Stereo T empo Flanger) This is a stereo tempo fl anger . The fl anging effect can fade-in by means of the AutoFade function. a A UT OF ADE Src None … T empo Selects the modulation source that triggers AutoF ade.
20: Stereo Phaser 73 size2 20: Stereo Phaser This is a stereo phaser . Y ou can add spread to the sound by offsetting the phase of the left and right LFOs from each other . The phaser effect can fade-in by means of the AutoFade function. a A UT OF ADE Src None … T empo Selects the modulation source that triggers AutoF ade.
21: St. Random Phaser (Stereo Random Phaser) 74 21: St. Random Phaser (Stereo Random Phaser) This is a stereo phaser . The effect uses a step-shape waveform and random LFO for modulation, creating a unique phasing effect. a LFO W avef orm Step-T r i, Step-Sin, Random Selects the LFO W av eform.
22: St. Tempo Phaser (Stereo Tempo Phaser) 75 size2 22: St. T empo Phaser (Stereo T empo Phaser) This is a stereo tempo phaser . The phasing effect can fade-in by means of the AutoFade function. a A UT OF ADE Src None … T empo Selects the modulation source that triggers AutoF ade.
23: St. Bi-phase Mod. (Stereo Bi-phase Modulation) 76 23: St. Bi-phase Mod. (Stereo Bi-phase Modulation) This stereo chor us ef fect adds two differ ent LFOs together .
23: St. Bi-phase Mod. (Stereo Bi-phase Modulation) 77 size2 LFO1 LFO2 Bi-Phase Modulation LFO Depth1 Depth2 +.
24: Stereo Vibrato 78 24: Stereo Vibrato This is a stereo vibrato. Y ou can set a delay for the time that is taken before the auto-fade starts. a A UT OF ADE Src None … T empo Sets the modulation source that star ts A utoF ade. ☞ P .78 F ade-In Rate 1 … 100 Sets the rate of f ade-in.
24: Stereo Vibrato 79 size2 The following is an example of fade-in where the LFO speed is incr eased from “ 1.0Hz ” to “ 4.0Hz ” when a note-on message is received. a: AUTOF ADE Src = Gate1 e: LFO Frequency [Hz] = 1.0 e: Src = AUTOF ADE e: Amt = 3.
25: 2-Voice Resonator 80 25: 2-V oice Resonator This resonator has two r esonance points. Y ou can set the output level and stereo image (pan) for each r es- onator . a Control Mode Manual, LFO , D-mod Switches the controls of resonance intensity . ☞ P .
25: 2-Voice Resonator 81 size2 a: Control Mode e: V oice1: Resonance h: V oice2: Resonance This parameter determines whether the resonance intensity is contr olled by the LFO or not. When Control Mode = Manual, the Resonance parameter sets the intensity of resonance.
26: Doppler 82 26: Doppler This effect simulates a “ Doppler ef fect ” (sound moving while changing its pitch) that sounds, for exam- ple, like an ambulance siren passing by . Mixing the effect sound with the dry sound will create a special chorus ef fect.
26: Doppler 83 size2 c: Pitch Depth W ith the Doppler effect, the pitch is raised when the sound approaches, and the pitch is lowered when the sound goes away . This parameter sets this pitch varia- tion. d: Pan Depth This parameter sets the width of the stereo image of the ef fect sound.
27: Stereo Tremolo 84 27: Stereo T remolo This is a stereo tr emolo. Y ou can create sound panning to left and right by of fsetting the phase of the left and right LFOs from each other . The tremolo effect can fade-in by means of the AutoFade function.
28: Stereo Auto Pan 85 size2 28: Stereo Auto Pan This Auto Pan effect pans sound between left and right. It is ster eo, and shifting the left and right LFO phases from each other will simulate the sound of the left and right channels cr ossing over each other by turns, or chasing each other .
28: Stereo Auto Pan 86 L-In Left Center Right Output Stereo Image R-In L-In R-In L-In R-In L-In R-In L-In R-In L-In R-In L-In R-In L-In R-In L-In R-In L-In R-In L-In R-In L-In R-In L-In R-In L-In R-In.
29: St. Envelope Pan (Stereo Envelope Pan) 87 size2 29: St. Envelope Pan (Stereo Envelope Pan) This stereo Pan uses the envelope generator to pan sound to the left and right. Y ou can also control the panning directly using a modulation sour ce. a P an Mode EG, D-mod Switches panning mode.
29: St. Envelope Pan (Stereo Envelope Pan) 88 W ith Pan Mode = D-mod, you can control panning directly using the modula- tion source speci fi ed in the Sr c fi eld.
30: Stereo Dyna Pan 89 size2 30: Stereo Dyna Pan This effect counts the number of times the modulation sour ce is turned on/of f, and switches the panning mode. Y ou can create a panning ef fect that changes according to phrases you play on the keyboar d.
30: Stereo Dyna Pan 90 The effect is of f when the value for the modulation source speci fi ed for the T rigger Source parameter is smaller than 64, and the effect is on when the value is 64 or higher . When T rigger Direction is set to Attack, the number of times this value changes from 63 or smaller to 64 or higher (Of f → On) will be counted.
31: Phaser+Tremolo 91 size2 31: Phaser+T remolo This effect links a ster eo phaser LFO and a tremolo LFO. Swelling cr eated by the phaser and shimmering created by the tr emolo ar e synchronized, making a pleasant modulation. It works well with electric piano sounds.
31: Phaser+Tremolo 92 b: Phaser LFO [degree] g: T remolo LFO [degree] g: Diff T remolo<>Phaser The Phaser LFO and T remolo LFO determine the right and left phase differ ence respectively .
32: Shimmer 93 size2 32: Shimmer This effect contr ols a stereo tr emolo based on the input signal level. Y ou can create an ef fect in which the shimmering becomes larger and fades away as the volume level becomes lower . a Env elope Sens 0 … 100 Sets the sensitivity of the input signal env elope.
32: Shimmer 94 Setting example: The maximum input level will produce 1.0Hz, Depth = 0. An input level of “ 0 ” will produce 8.0Hz, Depth = 100: f: LFO Frequency [Hz] = 8.0 f: Envelope Amount [Hz] = – 7.0 g: Depth = 100 g: Envelope Amount = – 100 Level Louder Time Shimmer LFO Frequency[Hz]=8.
33: Detune 95 size2 33: Detune Using this effect, you can obtain a detune ef fect that offsets the pitch of the ef fect sound slightly from the pitch of the input signal. Compared to the chor us effect, a mor e natural sound thickness will be created.
34: Pitch Shifter 96 34: Pitch Shifter This effect changes the pitch of the input signal. Y ou can select from three types: Fast (quick r esponse), Medium, and Slow (preserves tonal quality). Y ou can also create an effect in which the pitch is gradually raised (or dropped) using the delay with feedback.
34: Pitch Shifter 97 size2 c: Pitch Shift [1/2tone] c: Src c: Amt d: Fine [cent] d: Amt The amount of pitch shift will use the value of the Pitch Shift plus the Fine value. The amount of modulation will use the c: Amt value plus d: Amt. Modulation Source is used both for Pitch Shift and Fine.
35: Pitch Shift Mod. (Pitch Shift Modulation) 98 35: Pitch Shift Mod. (Pitch Shift Modulation) This effect modulates the detuned pitch shift amount using an LFO, adding a clear spr ead and width to the sound by panning the effect sound and dry sound to the left and right.
35: Pitch Shift Mod. (Pitch Shift Modulation) 99 size2 e: Pan f: W et/Dr y The Pan parameter pans the effect sound and dry sound to the left and right. W ith “ L, ” the effect sound is panned left, and the dry sound is panned right. W ith a W et/Dry = W et setting, the effect and dry sound will be output in a pro- portion of 1:1.
36: Rotary Speaker 100 36: Rotar y Speaker This effect simulates a r otary speaker , and obtains a more r ealistic sound by simulating the rotor in the low range and the horn in the high range separately . The effect also simulates the micr ophone settings.
36: Rotary Speaker 101 size2 a: Sw This parameter sets how the modulation source switches between r otation and stop. When Sw = Momentary , the speaker is rotating. It stops only when you hold the pedal or keep the joystick in position. When the value for the modulation source is 63 or smaller , the speaker will rotate.
37: Dual Delay 102 37: Dual Delay This 2-channel delay allows you to set the delay time for the left and right channels independently . a L Delay Time [msec] 0.0 … 680.0msec Sets the delay time for the left channel. b L Feedbac k – 100 … +100 Sets the feedback amount f or the left channel.
38: Stereo Delay 103 size2 38: Stereo Delay This is a stereo delay , and can by used as a cross-feedback delay effect in which the delay sounds cr oss over between the left and right by changing the feedback routing. a Stereo/Cross Stereo , Cross Switches between stereo dela y and cross-feedbac k delay .
39: St. Multitap Delay (Stereo Multitap Delay) 104 39: St. Multitap Delay (Stereo Multitap Delay) The left and right Multitap Delays have two taps respectively . Changing the routing of feedback and tap output allows you to create various patterns of complex ef fect sounds.
40: L/C/R Delay 105 size2 40: L/C/R Delay This multitap delay outputs three T ap signals to the left, right, and center respectively . Y ou can also adjust the left and right spread of the delay sound. a L Delay Time [msec] 0 … 1360msec Sets the T apL delay time.
41: Tempo Delay 106 41: T empo Delay This delay allows you to match the delay time with a song ’ s tempo. For example, you can apply the delay effect synchr onized to the sequencer , or you can input the tempo prior to a real-time performance so that the delay effect will match the song tempo.
41: Tempo Delay 107 size2 a: Mode a: Src (fixed) This parameter selects the delay operating mode. When Manual is selected, the value set in e: T empo will be used. When D-mod is selected, the delay will syn- chronize to the internal MIDI clock. This is useful for performances using a sequencer .
42: St. Modulation Delay 108 42: St. Modulation Delay This stereo delay uses an LFO to sweep the delay time. The pitch also varies. Y ou will obtain a delay sound with swell and shimmering. Y ou can also control the delay time using a modulation sour ce.
42: St. Modulation Delay 109 size2 b: D-mod Modulation When the modulation sour ce is used for control, this parameter r everses the left and right modulation direction. e: LFO Sync e: Src f: L LFO Phase [degree] f: R LFO Phase [degree] The LFO can be reset via a modulation sour ce.
43: St. Dynamic Delay (Stereo Dynamic Delay) 110 43: St. Dynamic Delay (Stereo Dynamic Delay) This stereo delay contr ols the level of delay accor ding to the input signal level. Y ou can use this as a duck- ing delay that applies delay to the sound only when you play keys at a high velocity or only when the volume level is low .
43: St. Dynamic Delay (Stereo Dynamic Delay) 111 size2 Dynamic Delay Threshold Dry Envelope Wet Control Target=Out Polarity= ( – ) Wet Control Target=Out Polarity= (+) Delay Time Time (Ducking Delay.
44: Random Panning Dly (Random Panning Delay) 112 44: Random Panning Dly (Random Panning Delay) When this stereo delay is applied, the delay sound will jump ar ound randomly , creating a unique, myste- rious delay effect. a L Delay Time [msec] 0.0 … 680.
45: Early Reflections 113 size2 45: Early Re fl ections This is a stereo early r e fl ection effect. Compar ed to the Early Re fl ections of size 1, this effect has twice the number of re fl ections, thus cr eating a smooth and dense sound. a T ype Sharp, Loose, Modulated, Rev erse Selects the deca y cur ve f or the early re fl ection.
46: Reverb-Hall 114 46: Reverb-Hall This effect simulates the r everberation and ambience of medium-size concert halls and ensemble halls. 47: Reverb-SmoothHall This hall-type reverb cr eates a reverberation with a smooth r elease curve. Setting a longer reverb time can simulate reverberations fr om that of a larger hall to that of a stadium.
46: Reverb-Hall 115 size2 Reverb - Hall / Plate Type Time Level Louder Dry Reverb Pre Delay Thru Pre Delay Reverb Time.
48: Reverb-Room 116 48: Reverb-Room This reverberation ef fect emphasizes the early re fl ections, simulating a tight, r oom sound. Changing the balance between the early re fl ections and r everb sound allows you to simulate nuances, such as the type of walls of a room.
48: Reverb-Room 117 size2 e: ER Level f: Reverb Level These parameters set the early re fl ection level and reverb level. Changing these parameter values allows you to simulate the type of walls in the room. That is, a lar ger ER Level simulates a har d wall, and a larger Reverb Level simulates a soft wall.
50: Reverb-Wet Plate 118 50: Reverb-W et Plate This effect simulates a dense plate r everberation. Y ou can create a warm r everb sound. 51: Reverb-Dr y Plate This effect simulates a lighter plate r everberation. Y ou can create a dry r everb sound. a Rev erb Time [sec] 0.
00: Piano Body/Damper (Piano Body/Damper Simulation) 119 size4 00: Piano Body/Damper (Piano Body/Damper Simulation) This effect simulates the r esonance of the piano sound boar d caused by the string vibration, and also sim- ulates the resonance of other strings that ar e not being played when you press the damper pedal.
01: St. Mlt.band Limiter (Stereo Multiband Limiter) 120 01: St. Mlt.band Limiter (Stereo Multiband Limiter) This is a stereo multiband limiter . a Ratio 1.0:1 … 50.0:1, Inf:1 Sets the signal compression ratio . ☞ P .15 b Threshold [dB] – 40 … 0dB Sets the signal lev el abov e which compression is applied.
02: OD/Hyper-Gain Wah (Overdrive/Hyper-Gain Wah) 121 size4 02: OD/Hyper -Gain W ah (Overdrive/Hyper -Gain W ah) This distortion effect has two modes: over drive and hyper-gain that pr oduces a strong distortion. The effect also has wah, 4-band EQ, and amp simulator .
03: St. Graphic 13EQ (Stereo Graphic 13-Band EQ ) 122 03: St. Graphic 13EQ (Stereo Graphic 13-Band EQ ) This is a stereo 13-band graphic equalizer that allows for fi ner equalization. Y ou can select one of two set- tings for the center frequency for each band.
04: Vocoder 123 size4 04: V ocoder This effect adds characteristics of other signals (Modulator) to the input signal (Carrier). The Carrier is input to the left channel, and the Modulator is input to the right channel. A sound with a lot of harmonics is suitable for a carrier , while a unique effect sound is suitable for a modulator .
05: St. Harmonic Chorus (Stereo Harmonic Chorus) 124 05: St. Harmonic Chor us (Stereo Harmonic Chor us) This is a stereo harmonic chor us effect that applies chorus separately to the high and low ranges of the input signal. Y ou can set the parameters for the low and high range chorus individually .
05: St. Harmonic Chorus (Stereo Harmonic Chorus) 125 size4 j Wet/Dry Dry , 1:99 … 99:1, W et Sets the balance between the effect and dry sounds. Src None … T empo Modulation source of effect balan.
06: Multitap Chorus/Dly (Multitap Chorus/Delay) 126 06: Multitap Chor us/Dly (Multitap Chor us/Delay) This effect has six chor us blocks with differ ent LFO phases. Y ou can produce a complex ster eo image by setting a differ ent delay time and depth for each block.
06: Multitap Chorus/Dly (Multitap Chorus/Delay) 127 size4 i T ap1 Feedback – 100 … +100 T ap1 feedbac k amount Src None … T empo Modulation source for the T ap output lev el, feedbac k amount, and effect balance ☞ P .127 Amt – 100 … +100 Modulation amount of T ap1 feedback amount ☞ P .
07: Stereo Ensemble 128 07: Stereo Ensemble This is a stereo ensemble ef fect that has three chor us blocks each for the left and right channels. a LFO W avef orm T r iangle, Sine Selects LFO wa vef orm.
08: St. Tempo Flanger (Stereo Tempo Flanger) 129 size4 08: St. T empo Flanger (Stereo T empo Flanger) This is a stereo tempo fl anger . Y ou can select random or step waveforms for the LFO, and synchronize the speed of the random/step waveform with tempo.
09: St. Tempo Phaser (Stereo Tempo Phaser) 130 09: St. T empo Phaser (Stereo T empo Phaser) This is a stereo tempo phaser . Y ou can select random or step waveforms for the LFO, and synchronize the speed of the random/step waveform with tempo. Also, synchronizing the LFO to note-on messages will produce a phasing ef fect with a fi xed timing.
10: St. Pitch Shifter (Stereo Pitch Shifter) 131 size4 10: St. Pitch Shifter (Stereo Pitch Shifter) This is a stereo pitch shifter . The pitch shift amount for the left and right channels can be reversed from each other . a Input Lev el 0 … 100 Sets input lev el to the effect.
11: 2Band Pitch Shifter 132 11: 2Band Pitch Shifter This pitch shifter sets an individual shift amount for the high and low input signal ranges. If you apply a detune effect to the high range of a string sound, and add the lower octave to the low range, a lar ge ensemble sound is produced.
12: Rotary Speaker OD (Rotary Speaker Overdrive) 133 size4 12: Rotar y Speaker OD (Rotar y Speaker Overdrive) This is a stereo r otary speaker effect. It has an internal speaker simulator that simulates over drive (recr e- ating the amp distortion) and characteristics of the rotary speaker , producing a very realistic r otary speaker sound.
12: Rotary Speaker OD (Rotary Speaker Overdrive) 134 h Horn Acceleration 0 … 100 How quic kly the hor n rotation speed in the high range is switched. ☞ P .43 Horn Ratio Stop , 0.50 … 2.00 Adjusts the (high-range side) horn rotation speed. Stan- dard value is 1.
13: Early Reflections 135 size4 13: Early Reflections This is a stereo early r e fl ection effect. Compar ed to the Early Re fl ections of size 2, this effect has twice the number of re fl ections, thus cr eating a smooth, dense sound. a T ype Sharp, Loose, Modulated, Rev erse Selects the deca y cur ve f or the early re fl ection.
14: L/C/R Long Delay 136 14: L/C/R Long Delay This multitap delay outputs three T ap signals to left, right and center respectively . Y ou can set a maxi- mum of 2,730msec for the delay time. a L Delay Time [msec] 0 … 2730msec Sets the T apL delay time.
15: Stereo Long Delay 137 size4 15: Stereo Long Delay This is a stereo delay , and can by used as a cross-feedback delay effect in which the delay sounds cr oss over between left and right by changing the feedback routing. Y ou can set a maximum of 1,360msec for the delay time.
16: Dual Long Delay 138 16: Dual Long Delay This 2-channel delay allows you to set the delay time for left and right channels independently . Y ou can set a maximum of 1,360msec for the delay time. a L Delay Time [msec] 0.0 … 1360.0msec Sets the delay time for the left channel.
17: St. Tempo Delay (Stereo Tempo Delay) 139 size4 17: St. T empo Delay (Stereo T empo Delay) This is a stereo tempo delay . a Mode Manual, D-mod Switches between the speci fi ed tempo and clock sync.
18: Hold Delay 140 18: Hold Delay This effect r ecor ds the input signal and plays it back repeatedly . Y ou can control the start of recor ding and reset via a modulation sour ce. Easy to use for real-time performances. a Loop Time [msec] A uto, 1 … 2700msec Sets A utomatic loop time setup mode or speci fi es loop time.
18: Hold Delay 141 size4 c: RST Control Src e: Manual RST Control The RST Contr ol Sr c parameter speci fi es the modulation source that contr ols the reset operation. When you set this modulatoin sour ce to On, or Manual RST Control to RST On, you can erase what you r ecorded.
00: Flanger 142 00: Flanger This effect is a monaural-in/ster eo-out flanger , with a two-band equalizer , that allows you to control the tonal quality of the effect sound. a Delay Time [msec] 0.0…50.0msec Dela y from the original sound b LFO W avef orm T r iangle, Sine Selects LFO W avef orm.
01: Phaser 143 01: Phaser This effect is a monaural-in/ster eo-out phaser , with a two-band equalizer , that allows you to control the tonal quality of the effect sound. a LFO W avef orm T r iangle, Sine Selects LFO W avef orm. LFO Shape – 100 … +100 Determines how much the LFO wa vef orm is changed.
02: Multitap Chorus/Dly (Multitap Chorus/Delay) 144 02: Multitap Chor us/Dly (Multitap Chor us/Delay) This effect has thr ee chorus blocks with dif ferent LFO phases. Y ou can cr eate a complex stereo image by setting each block ’ s delay time, depth, output level, and pan individually .
03: Ensemble 145 03: Ensemble This Ensemble effect has thr ee chorus blocks, and adds a thr ee dimensional depth and spread to the sound, since the signal is output from the left, right, and center .
04: Chorus 146 04: Chor us This is a monaural-in/stereo-out chor us. Y ou can add spread to the sound by of fsetting the phase of the left and right LFOs from each other . a LFO W avef orm T r iangle, Sine Selects LFO W avef orm. LFO Phase [degree] – 180 … +180 LFO phase difference between the left and right ☞ P .
05: L/C/R Delay 147 05: L/C/R Delay This multitap delay outputs three T ap signals to the left, right and center respectively . a L Delay Time [msec] 0 … 680msec Sets the T apL delay time. Lev el 0 … 50 T apL output le vel b C Delay Time [msec] 0 … 680msec Sets the T apC delay time.
00: L/C/R Long Delay 148 00: L/C/R Long Delay This multitap delay outputs three T ap signals to the left, right and center respectively . Maximum delay time is 2,000msec. a L Delay Time [msec] 0 … 2000msec Sets the T apL delay time. Lev el 0 … 50 T apL output le vel b C Delay Time [msec] 0 … 2000msec Sets the T apC delay time.
01: Delay/Reverb 149 01: Delay/Reverb This effect is a combination of a multitap delay and a hall-type r everb. a L Delay Time [msec] 0 … 680msec Sets the T apL delay time. Lev el 0 … 30 T apL output le vel b C Delay Time [msec] 0 … 680msec Sets the T apC delay time.
01: Delay/Reverb 150 i: Spread i: Spread Control These parameters set the width of the stereo image of the ef fect sound. The wid- est image can be obtained with a value of 30.
02: Reverb-Room 151 02: Reverb-Room This is a room-type r everberation. Setting the four types of early re fl ections individually allows you to simulate the sound re fl ections on the fr ont, rear , left, and right walls of a room, creating a mor e realistic reverb sound.
03: Reverb-Bright Room 152 j Output Lev el 0 … 100 Output le vel of the eff ect sound Src None … T empo Modulation source of output lev el Amt – 100 … +100 Modulation amount of output lev el c.
04: Reverb-Hall 153 04: Reverb-Hall This is a hall-type reverberation. Setting the four types of early r e fl ections individually allows you to sim- ulate the sound re fl ections on the fr ont, rear , left, and right walls of a room, creating a mor e realistic reverb sound.
Index 154 Index Numerics 2Band Pitch Shifter132 2-Voice Resonator80 A Amp Simulation13 C Chorus Master Effect146 size129 Compressor14 D Decimator28 Delay44 Delay/Reverb149 Detune95 Doppler82 Dual Dela.
Index 155 T Talking Modulator61 Tempo Delay106 Tempo Flanger33 Tempo Phaser36 Tremolo42 V Vibrato38 Vocoder123 W Wah/Auto Wah23.
Index 156.
Ein wichtiger Punkt beim Kauf des Geräts Korg TouchView Trinity (oder sogar vor seinem Kauf) ist das durchlesen seiner Bedienungsanleitung. Dies sollten wir wegen ein paar einfacher Gründe machen:
Wenn Sie Korg TouchView Trinity noch nicht gekauft haben, ist jetzt ein guter Moment, um sich mit den grundliegenden Daten des Produkts bekannt zu machen. Schauen Sie zuerst die ersten Seiten der Anleitung durch, die Sie oben finden. Dort finden Sie die wichtigsten technischen Daten für Korg TouchView Trinity - auf diese Weise prüfen Sie, ob das Gerät Ihren Wünschen entspricht. Wenn Sie tiefer in die Benutzeranleitung von Korg TouchView Trinity reinschauen, lernen Sie alle zugänglichen Produktfunktionen kennen, sowie erhalten Informationen über die Nutzung. Die Informationen, die Sie über Korg TouchView Trinity erhalten, werden Ihnen bestimmt bei der Kaufentscheidung helfen.
Wenn Sie aber schon Korg TouchView Trinity besitzen, und noch keine Gelegenheit dazu hatten, die Bedienungsanleitung zu lesen, sollten Sie es aufgrund der oben beschriebenen Gründe machen. Sie erfahren dann, ob Sie die zugänglichen Funktionen richtig genutzt haben, aber auch, ob Sie keine Fehler begangen haben, die den Nutzungszeitraum von Korg TouchView Trinity verkürzen könnten.
Jedoch ist die eine der wichtigsten Rollen, die eine Bedienungsanleitung für den Nutzer spielt, die Hilfe bei der Lösung von Problemen mit Korg TouchView Trinity. Sie finden dort fast immer Troubleshooting, also die am häufigsten auftauchenden Störungen und Mängel bei Korg TouchView Trinity gemeinsam mit Hinweisen bezüglich der Arten ihrer Lösung. Sogar wenn es Ihnen nicht gelingen sollte das Problem alleine zu bewältigen, die Anleitung zeigt Ihnen die weitere Vorgehensweise – den Kontakt zur Kundenberatung oder dem naheliegenden Service.
