The Triton Field Manual Vol. 1- Lessons in programming the Triton.

Developers: Darren Richards, Richard Rose

Welcome to the Triton Field Manual. This is supposed to act as a compliment to the Triton Parameter Guide.
Load the Lesson.pcg into your Triton, it will load into Bank E by default. Make sure you have made a backup of
your current Bank E
If at any point, you feel a bit confused or you find something unclear, it would be good idea to run through the
lessons once again, and try things out yourself. If there are questions that you cant seem to find an answer for,
either here or in the Triton Parameter Guide then ask the authors of the Field Manual. If you are a member of one,
try asking the members of an Internet discussion group.

Part 1. A basic introduction to synthesis

Before we start to discuss the process of creating a program on the Triton, let us talk briefly about the basics of
Synthesis and the associated terminology:

At the heart of all synthesizers are the 'oscillators. The purpose of the oscillator is to produce a sound of the
appropriate pitch when you press a key on the keyboard.

The oscillators on traditional synthesizers produced sounds of a different character by allowing the user to select
various different wave shapes such as a Square wave, or a Saw wave. It was up to the programmer to understand the
relationship between the sound he/she wanted to achieve and the character of the various wave shapes the oscillator
could produce. The oscillators on the Triton use samples instead of these simple wave shapes, allowing you to select
something less abstract such as a Bell or Flute as the output of the oscillators, when you start programming a sound.
The 'raw' sound that comes from an oscillator is the basic building block that we work with when programming. In
the manner of a sculptor we now need the equivalent of acoustic chisels to craft this building block into the exact
sound that we require.

The first of these acoustic chisels is the 'Filter'. Just as the sculptor uses the chisel to remove pieces of stone to
create the form of the sculpture, the filter is used to remove the elements of the sound from the oscillators that we
do not require. This is why the form of synthesis used by the Triton is known as 'Subtractive Synthesis'.

The Triton offers two filter types for us to work with. The Low Pass Filter (LPF), which removes the high frequency
component of the sound produced by the oscillators (and lets the low frequencies 'pass'), and the High Pass Filter
(HPF) which does the opposite. For the most commonly used filter, the Low Pass Filter, there are two parameters on
the Triton that control its behaviour. 'Cutoff Frequency' which specifies the base frequency above which the filter
will start to 'cutoff' the high frequency components of the sound, and 'Resonance' which specifies the amount of
extra emphasis that will be placed on the frequencies near the Cutoff Frequency.

Taking the output of the oscillators and passing them through the filters generates the basic character or timbre of a
sound. However, that sound will be extremely lifeless, and have a very static character. To give the sound more of a
dynamic quality, synthesizers provide another acoustic chisel, a set of features which are collectively called
'Modulators'.

The idea of modulation is to make the sound change or evolve during the period of time that you have the key held
down. For example after you hit a key on a piano, the sound gradually diminishes in volume. Similarly a well made
pad sound changes character in a slow cyclic fashion. To create these effects we have two principle tools at our
disposal, the 'Envelope Generator' (abbreviated as EG) and the Low Frequency Oscillator (abbreviated as LFO).
Both of these allow you to vary aspects of the sound over time, adding life and realism to the sound where required.

Envelope Generators effectively allow you to 'draw' a graph describing how a sound parameter should change over
time. For example the EG associated with Amplitude (i.e. volume), allows you describe the way the volume of the
sound will change from the point you hit a key until it is released. This is expressed in terms of the four 'seasons' in
the 'year' of a sound ; Attack, Decay, Sustain, and Release (abbreviated as ADSR). For the Amplitude EG, Attack
describes how quickly the sound should reach its full volume, Decay how quickly the volume should then fall away
to rest at the Sustain level, where it remains until the key is Released. The Triton has envelope generators dedicated
to modulating Volume, Pitch and Filter Cutoff. They can also be used to modulate other parameters too.

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Low Frequency Oscillators are used to create modulation effects that are cyclic or repeat during the life time of the
sound. Unlike the oscillators described previously, LFO:s do not generate sound, they generate a slow moving
oscillations that can be used to make a sound parameter continously change. For example you could use an LFO to
constantly change the 'Pan' parameter to make the sound slowly fade left to right and back again. The LFO:s can be
used to modulate a wide range of parameters.

The EG:s and LFO:s modulate or change the sound over time. However there are other sources of modulation
which are not time related. For example 'Velocity' (i.e. how hard you hit a key), which is commonly used to
modulate sound parameters such as Amplitude or Filter Cutoff Frequency to achieve a more realistic or interesting
response to hitting the keys with different amounts of vigour.

This document will walk you through the process of using these various aspects of synthesis on the Triton to
effectively create sounds.

Part 2. Making a solo lead-sound.

NOTE: The text below often request that you go to different pages. To do this, you must:
Have the Triton in Program mode (by pressing PROG button)
Press MENU to view the different pages
Select the appropriate page, as suggested.
To leave programming mode (i.e. these pages), press EXIT.

The text below may seem a bit too much for you at first glance, but we have tried to make the lessons address a
single topic at a time and to give plenty of explanation of the ideas involved. Please dont give up before giving the
text a read. If you want to skip a certain lesson and move on to the next - feel free to do so. All the lessons are
already saved in the Lesson.pcg, so if you dont want to save during the process of learning you dont have to. This
also makes it easier for you to jump to the specific lesson that youre interested in, without having to work through
the previous steps

Lesson #1. P1: Edit-Basic

Choose the sound E000: Lesson Init. Press the Menu button. Choose P1: Edit-Basic (refer to page 4-5 of the
Parameter Guide). In page 1-1: Program Basic, you have the option of changing the oscillator mode (single,
double, drums), voice assigning and scale. (In every Page Menu you have the option to copy Oscillator from another
program).

Were about to create a monophonic lead-sound with a single oscillator

1. Choose Single in the box oscillator mode.

2. Check Mono in the box Voice Assign Mode. The single trigger option is not available when using the Mono
setting

3. Check the Legato. The legato-option lets you choose the following:
4. Legato unchecked - makes the sound retrigger (i.e. it starts all over again, zeroing the settings of
OSC:s, envelopes and LFO:s).
5. Legato checked - the sound doesnt retrigger as a key is pressed. This means that settings for OSC,
envelope and LFO continues in the loop - only the pitch differs.
NOTE: You can think of Legato checked as meaning that if youre playing a flute and change the pitch without
taking a new breath. Legato unchecked means that you breathe between the each change of pitch

4. Leave the Priority as Last (this will force the latest keypress to sound)

5. Leave the Hold button Off (changing it to On means that the sound continues until a new key is pressed).

6. Leave the Scale as Equal Temperament (refer to the Parameter Guide on the different scale settings this will
not be handled here) .

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Try changing the settings for Single/Double, Poly/Mono, Single trigger on/off (when having a poly-sound), Legato
on/off and priority Low/High/Last. Play the keyboard with the different settings and notice the difference in sound.

Finally, leave the settings as mentioned above - Single, Mono, Legato on, Priority Last, Hold Off and Equal
Temperament. You have made it through the first page, and are one step closer to creating a new lead-sound!!

Save your program into the Tritons memory: Go to the page menu and choose Write Program. In the dialog box,
choose to save it as E000: My Lesson1. My version of Lesson1 can be found in slot E020.

Lesson#2 - Multisample selection

Now, on to Lesson#2, where you will learn how to select Multisamples and change the basic pitch (refer to
Parameter Guide P.5-7). Youre using the sound you saved before - E000: My Lesson1 (also found in E020:
Lesson1).
As before, make sure youve pressed Menu and moved to Page P1: Edit-Basic but this time select P1-2: OSC Basic
(from the tabs at the bottom of the screen). This brings you to a new window, where you can choose OSC1
Multisample (the OSC2 Multisample isnt available since we have chosen the Single oscillator mode).

1. You have the option of selecting a high and low multisample. The low multisample can be configured to sound
when a key is pressed softly, i.e. according to the `Velocity. Were only going to have the high multisample
selected.

2. You have the option of selecting Multisamples from three sources: ROM (Triton Internal sounds), RAM
(External sounds found in the sampler) and different EXB:s. Leave it set to ROM.

3. Select the HIGH parameter, which by default displays 000: A. Piano, and view the different multisamples. Feel
free to audition the sound using different multisamples. When done, select the Synth Wave - 204: Syn Bass-
RBSaw.

4. The box S. Offset lets you choose from where the Multisample is going to start sounding. Sometimes you may
have a multisample that begins with a bang and then continues as a nice pad sound - if the S. Offset point is set
to trigger after the bang, setting this option means that the pad begins immediately, without the bang In this
case we can leave the S. Offset off.

5. You have the option of making the sound play reversed (rev-box). This is very effective for some sounds,
especially if you are making a polyphonic sound that is reversed at keyoff Try checking/unchecking this
option, then leave it unchecked.

6. Lvl lets you choose the basic volume of the sound, ranging from 0-127. Leave it set at 127.

7. The octave can be varied between -2/+1, the transpose between -12/+12 and the tune between -1200/+1200.
This means that the total variation of the tune option ranges from -4 to +3 octaves Set the Octave to -1, the
transpose and tune to 0.

8. The Delay can be set between 0-500ms or KeyOff. Try changing the Delay to various settings and finally leave
it at 0.

9. At the bottom of the page, there is a setting called Velocity M. Sample SW Lo -> Hi, allowing you to set when
the various High and Low Multisamples are going to sound. For example setting the OSC1: value to 064, causes
the High Multisample to sound when velocity is over 64, and the Low Multisample to sound when the velocity
is below 064. This is very effective for creating sounds that begin with one Multisample and then fade into
another over a period of time and change in velocity. Try changing the setting, and youll hear the result - high
settings will make the piano multisample sound , whereas lower settings will make the the Syn Bass
multisample sound Finally leave the setting as 001.

Make sure your settings are: ROM, High multisample 204: Syn Bass-RBSaw, S.Offset unchecked, Rev Off, Octave
-1, Transpose/tune/Velocity M. Sample SW Lo -> Hi (OSC1): 001.

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Save your sound as E001: My Lesson2. This lesson can be found in E021: Lesson2.

Now we have the raw basic sound that is going to be routed through the various filters and effects later on. First a
look at the other pages in Program P1: Edit - Basic

In Page 1-3: Velo Zone, you can specify the velocity range for which the sound is going to be triggered. Try
changing both the Osc1 Top and Osc1 Bottom settings. Note how the sound triggers on/off depending on your
chosen values and key pressure.
A nifty feature is that youre able to set the value of a played note - just select for instance the Osc1 Top setting,
hold down the Enter key and play a note - notice how the value of the key is entered into the Osc1 Top field.

Finally, leave these settings as follows: Osc1 Top: 127 and Osc1 Bottom to 001. There is no need to save the sound
at this point.

Lesson#3 - Setting various real-time controllers.

In the next page, 1-4 Controller (controller setup) you can choose the settings of the real-time controllers. For a full
explanation refer to page 8 of the Parameter Guide. Well make some minor changes as follows:

1. In Panel Switch assign you can choose the assignment of SW1 and SW2.
2. SW1 is by default set to SW1 Mod.:CC#80 - change this to Porta.SW : CC#65. Later on we can control
not just the speed of portamento, but also various other things in addition to Porta.SW : CC#65
Beneath this setting you can choose between Toggle or Momentary. Leave this set to Toggle, (as
momentary means that it will be on for just the moment when you press the button - as soon as you
let it go, the effect resets).
3. SW2 is by default set to SW2 Mod.:CC#81 - change this to JS+Y & Ribbon Lock. This will enable us to
lock the changes made by the Ribbon and the Joystick later on Leave set to Toggle.

2. Next, we can choose to configure the operation of the various knobs. In this example the Knobs are set to Knob
Mod 1 - 4 (CC#17, 19, 20, 21). These settings will allow us to effectively control the sound in real-time, later
on. In the pages to come, you can easily set, for instance, knob 1 to change the Filter Cutoff frequency,
enabling you to change the nature of the sound in real time.

3. Finally, save your program as E002: My Lesson3. This lesson can be found in slot E022: Lesson3.

Congratulations, youre done with the various pages of Program P1: Edit - Basic.

Feel free to experiment with what has been discussed. But remember - the sound is very raw at the moment - we
have only just begun the journey

Lesson#4. P2: Edit - Pitch

Now you have come as far as the program E002: My Lesson3 (which should sound exactly as per E022: Lesson3).
Press Menu and select P2: Edit - Pitch. You are now entering the pitch-modulation area, where things start to
become more complex Refer to Parameter Guide p. 8-11 for this section.
You have three pages here - OSC1 P.Mod, OSC2 P.Mod and Pitch EG. The OSC2 P.Mod page has been disabled
since we only have a single oscillator (OSC2 available when in double mode). Go to the OSC1 P.Mod page.
Under pitch you have the ability to set the pitch slope for the keyboard, joystick and ribbon.

1. Pitch slope: this value represents how much the pitch will change when you play successively higher or lower
notes on the keyboard. The value can be between -1 and +2, where +1 is the standard value. Setting a negative
value makes the pitch fall as you play successively higher notes on the keyboard. The pitch does not change if
the value 0 is entered - the pitch will be the same for all notes on the keyboard (useful for certain FX, drums
etc). Positive values make the pitch rise as you play successively higher notes on the keyboard. Try messing
around with various values while you play the keyboard and notice how the pitch changes. When finished, leave
the Pitch Slope set to +1.0.

2. JS(+X) and JS(-X) are used to configure how much the pitch will change when moving the joystick to the right
or left respectively. The maximum value is +12 (one octave up) and the minimum value is -60 (5 octaves down).
Try changing the values and move the joystick around. Finally, leave the values set so that JS(+X)=+12 and JS(-

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 X)=-12. This means that you can change the pitch anywhere between one octave up or one octave down by
moving the joystick right or left respectively.

3. The next value determines how much the pitch will change when pressing the ribbon controller. The value
ranges from -12 to +12. Enter 0 as the value, as we dont want the ribbon controller to control the pitch, as the
ribbon can be used for many other things later on !

4. In the next box you can choose whether you want to use an additional source to control the pitch (AMS). In our
example it is set to After Touch and the value +00.00. If you change the value to +12, pressing harder on a key
(i.e. After Touch) will make the pitch rise by as much as one octave. Here you can choose to increase the pitch
by 12 when pressing SW1 for example - having other functions also assigned to SW1 along with this increase in
pitch can make some interesting things happen. Select different Alternate Modulation Sources (AMS) and
change the values (-12 to +12) to test this feature out. When you are finished change the AMS to Slider:CC#18
and the value to +12. This means that when you move the slider the pitch will differ by between 0 and +12. Note
- do not try the slider until you have saved the program and left the programming pages, because moving the
slider when in programming mode will cause the currently selected parameter value to change.

5. The next box is Pitch EG. Set the Intensity to +12.00 - this value is associated with the page Pitch EG (bottom
line, to the right). So before making any further changes, jump to the Pitch EG page. We will come back to
OSC1 P.Mod later, after some explanation

6. In the Pitch EG page you have the ability to change the pitch over a period of time (see PG page 10). The top
part of the page is a graphical illustration of how the pitch will change over time, in the form of a graph. The X
axis (i.e. the horizontal axis) of this graph represents time, and the Y axis (i.e. the vertical axis) represents the
change in pitch. By default all the points in the graph are set to zero, so you just see a flat line. The cool thing
about this Pitch EG is that it can be used as an AMS in other pages later on. Keep the Level Start on 00, change
the value of Attack to 99 and leave the release on 00. Change Attack Time to 60 and Decay Time to 60. You now
have a graph shaped like a triangle that tells the Triton to increase the pitch gradually up a full octave and then
gradually back to the initial pitch again, every time you hit a key Try playing the keyboard - notice anything?
Try increasing/decreasing the Attack Time and Decay Time values to see how they change the speed of this
pitch changing effect.

7. Under Level Modulation, set the AMS1 option to Porta.SW:#65 (do you remember what we assigned to SW1
under controllers in Lesson3?). This means that when you press SW1, you want something to happen to your
pitch In this case we want to change the Start(St) and Attack(At) values. Set the Intensity of the SW1 to
+99. Notice how you can make the St and At values change between -, 0 and +. Here comes the explanation
for this; you get the intensity +99 when pressing SW1. If you select a - for St this means that the Start
goes to -99, a 0 means that the start is uneffected by SW1 and a + means that it starts at +99. Try
changing the values of Intensity, St and At. When finished leave intensity set at +99, St+ and At-. When
pressing SW1 in the future it will be the same as setting the Start to +99 and the Attack to zero You also
have the option of a second AMS (AMS2 - set to Velocity in this example), but well leave this unchanged.
The Time Modulation option is a cool feature that allows the Pitch EG to change over a period of time, using
AMS to change the settings of Attack and Decay. We will leave this unchanged for now (refer to E023:
Lesson4.1).

8. Now, go back to the OSC1 P.Mod page and set the Pitch EG intensity to +00.00. Try changing the AMS option
to After Touch and set the value Intensity, below it, to +12.00 - pressing harder on the keys will make the pitch
change according to the settings in Pitch EG. Try changing to different AMS and values. When youre done,
reset the AMS to Off and Intensity to +00.00.

We still have some elements left on this page - the Portamento and LFO1/2 Lets try the Portamento!

In the portamento box you have the Enable, Fingered and Time options. Enable basically turns Portamento
on/off - change this to on. Fingered on means that portamento is applied if youre holding one note and then
play another. If its off it means that portamento will always be applied. Set the time to 20 and try out the
portamento effect. Try different values for time and turning Fingered on and off. When done, uncheck the
Enable option, check the Fingered option and set time to 12. Why? Because we have assigned portamento on/off
to SW1 in lesson#3 - this gives us the opportunity to choose whether we want to play with portamento or not!

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 When done, try pressing SW1 portamento is turned on, press it again and portamento is turned off! Save it to
E003: My Lesson4 (or refer to E024:Lesson4.2).

Next, we come to the option LFO1/2:

The LFO1/2 options are used to make the pitch vary according to the settings of the LFOs in P5: Edit -
Common LFO, and the value of Intensity. A brief example is in order, but a major introduction to the LFOs
will come later (when youre ready). The ability to vary the pitch using the LFO:s can make the sound much
fatter/richer. For example, if you are programming a string sound, you can recreate the behaviour of real
stringed instruments whose sound is not actually a constant pitch, but rather the pitch varies as a note is
played. Varying the pitch with the appropriately setup LFO:s will therefore make the string sound more
natural. Well, on to business:
The LFO1 and LFO2 Intensity settings determine how much the pitch will be changed by the LFOs. By
default the setting is +00.00. Try changing the settings up and down, and notice the result. Were
going to change the actual LFO in a while. Leave it set to 0 by now
The JS+Y Int. determines how much the pitch is going to be affected when moving the Joystick
upwards. Thus, a setting of 0 in LFO1 Intensity and +12.00 in JS+Y Int, makes the pitch alter only
when moving the joystick upwards. Try changing these settings and when done, set it to 0.
You also have the option to add AMS to both LFO1 and LFO2 Intensity. This would be useful if you
were creating a flute program, and you wished to recreate the trill or vibrato effect used by real
flautists. Setting the AMS to After Touch and Intensity between -12 and +12, varies the intensity of the
LFO effect according to the amount of After Touch. We want to make our Lead sound shift pitch when
the player uses After Touch, so set the AMS on LFO1 to After Touch and the Intensity to 0.05 (we dont
want to change the pitch too much - this would create disharmony). For greater variance we can
utilize the AMS for LFO2 too In this example its enough to alter the pitch using AMS only for
LFO1.

What happens to the pitch then, when it is affected by the various LFO options?
Well, lets change some things and listen to what happens (no save necessary - these are just a few quick exercises
to let you get a grip on how it works):

1. In P2: Edit - Pitch, change the LFO1 Intensity to +12.00. Then go to P5: Edit - Common LFO and the
OSC1/LFO1 tab. Select Square as the Waveform (look at the waveform to the right) and set the Frequency to
50. Set the Offset, Fade and Delay options to 0. Leave Key Sync off.
2. This is what happens: You have selected to change the pitch by +12.00 (selected in P2: Edit - Pitch, at
the LFO1 Intensity) using LFO1. The LFO1 is set in P5: Edit - Common LFO and does the following -
Frequency is the speed of the LFO, Offset is where in the scale to begin (in this case, beginning at an
Offset of +08 makes the pitch rise one cent, a value of +16 two cents, +24 three cents and so on), Fade
is a function that makes it possible to fade into the desired values. For example, setting Fade to 40
will cause the LFO to gradually reach the top value (in this case all the way up to +12.00). The Delay
controls the time it will take for the LFO to become active - the higher the value, the more time elapses
before the LFO begins to loop. Finally the Key Sync On/Off option decides whether or not the LFO
shall reset (Checked) or continue in its loop (Unchecked) when a key is pressed.

Listen to a raw example of this in E050: Pitch Octave Up/Dwn. It shows how the square wave goes from 0 to 12
cents in a loop, causing a pulsating sound. E060: Octave Motion is a more advanced example.

2. This example will let you create a siren sound (exactly like a Swedish police car ). As above, In P2: Edit
Pitch, set LFO1 Intensity to +12.00. Go to P5: Edit - Common LFO and select:
3. Sine as the waveform (this will make the pitch go from -12 to +12 in a sine loop)
4. Frequency 14, which is the speed of the siren (in this case very slow)
5. Fade 28. This is the time it takes for the siren to build up from 0 (or the opposite when a siren is
silenced - it then fades out the pitch).
6. Delay 10. This makes the siren come to life after a short period of time.

Example 2 is in slot E051: Pitch Siren (raw) and in E061: Siren song (advanced).
3. To make a kind of glissando effect, you can do the following:

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 4. In P2: Edit - Pitch, set the LFO1 Intensity to -12,00, before you go to P5: Edit - Common LFO. In P5,
select Step Saw -6 as the waveform to be used.
5. Set frequency to 30, offset, fade and delay to 0.
6. Uncheck Key Sync.

What happens and why? We selected the Step Saw -6 as the LFO waveform, which is like a staircase going
downwards (as shown on the right of the Touch Screen). If we set the intensity in P2 to +12.00 it would cause the
pitch to go down in 6 steps. Instead we inverted the staircase by inserting the value of 12.00 (at P2), which
causes the pitch to rise an octave over 6 steps instead (as - plus - equals plus).
Listen to the raw example at E052: Pitch Glissando, and the more advanced one at E062: Glissando Pizza.

4. The final pitch changing example using the LFOs is to have the After Touch option control the pitch
modulation.
5. As before, begin in P2: Edit - Pitch, and set the AMS to After Touch and the intensity at +00.32.
6. Then head back for P5: Edit - Common LFO, and change the waveform to Square, the Frequency to
81, Offset, Fade and Delay to 00. Keep the Key Sync off.

Notice how the sound changes when using After Touch. The example can be found in E053: Pitch aftertouch, and in
E063: Organ Aftertouch.

Try it out yourself! In the above examples, try changing all of the various parameters discussed so far, and observe
what it does to your sound!

Now, return to E003: My Lesson4 (or refer to E024:Lesson4.2). Finally, in P2: Edit - Pitch, make sure you have the
following: LFO1 Intensity set to +00.05, AMS set to After Touch with an Intensity of 00.10. In P5: Edit - Common
LFO, change the waveform to Sine, Frequency to 20, Offset, Fade and Delay to 00 and Key Sync unchecked - save
your program as E003: My Lesson4 once again.

Now you have finished the P1: Edit - Basic and P2: Edit - Pitch pages and made a basic visit to P5: Edit - Common
LFO. We will return to the P5 in the following lessons, as the LFOs are involved (or could be) in modulating many
other aspects of the sound.

Lesson#5. P3: Edit - Filter

Above, you have learnt how to modulate the sound using only various settings related to the pitch. This allows us to
alter the sound in many different ways, but for even further variation we move to P3: Edit - Filter. The following
section can be found in Parameter Guide p.12-16. Make sure you are at program E003: My Lesson4 (refer to E024:
Lesson4.2).

In the Filter Type box you can select the type of filter(s) you wish to use. You have two options Low Pass
Resonance, and Low Pass & High Pass.
Selecting the Low Pass Resonance option will route the sound through a Low Pass Filter (LPF), which 'filters' or
attenuates the high frequency component of the sound, whilst allowing the low frequencies to pass. You configure
this filter in the box labeled Filter A
However if you select the Low Pass & High Pass option you get a Low Pass Filter (LPF) as before, but attached to
its output is also a High Pass Filter (HPF), which conversely 'filters' the low frequency component of the sound
whilst allowing the high frequencies to pass. You configure the LPF in the box labeled Filter A, and the HPF in the
box labeled Filter B.
When you change between these two options you will see that the illustration in the Filter Type box changes too, to
illustrate the filter routing.
When you select Low Pass Resonance you will see a small box containing a stylized graph that illustrates the
operation of the LPF. The horizontal axis of the graph represents frequency, and the vertical axis of the graph
represents the filters output level at that frequency. So on the left of the graph you see a straight line, representing
the fact that low frequencies pass through untouched. As you move to the right and the frequency gets higher, the
line suddenly starts to fall, representing the filtering of higher frequencies. The point where the line starts to dip is
the called the 'Cutoff Frequency', and the little bump just at the point where it dips represents the effect of
'Resonance', i.e. a slight accentuation of the frequencies around the Cutoff Frequency.
The Trim relates to the amount of the sound that is going to be routed through the filter section (00-99).

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The Low Pass Resonance is the most commonly used filter type in the majority of the sounds on the Triton. Lets
take a closer look:
1. Choose the Low Pass Resonance option and set Trim to 99. In Filter A, vary the cutoff frequency between 99 and
10, and notice how the sound darkens. A setting of 99 allows all the high frequencies to pass. When lowering
the cutoff frequency, more and more of the high frequencies are cut. This is what makes the sound darker as
you lower the cutoff frequency. Finally set the Cutoff frequency to 40.

2. Next, on to Resonance Try varying the value between 00 and 99, and notice how the sound changes. Finally
leave it set at 00. Refer to E026: Lesson 5.

3. The Resonance can be modulated so that it is less static, by using the AMS for resonance modulation. Try the
following:
4. Choose Velocity as AMS, and set the Intensity to 80. This example is saved as E054: F.Resonance Vel
(raw) and E065: Melting Lead (extended).
5. Remember the assignment on LFO1 (P5)? Well, set LFO1 as AMS, and Intensity as +30. This makes
the resonance cycle from +30 to -30. Check E055: F.Resonance LFO (raw) and E066: Sinear
Resonance (extended).
6. Set the Resonance to 10, choose Pitch EG as AMS (remember the triangle created in P2: Edit - Pitch;
Pitch EG?). Set the AMS Intensity to +66. Example saved as E056: PitchEGResonance (raw) and
E067: Special Forces (extended).

4. Finally, ensure that you have the following settings - Low Pass Resonance, Frequency 40, Resonance 00, AMS
Velocity - Intensity 00. Save as E004: My Lesson5 (refer to E026: Lesson5). Now compare the E003: My
Lesson4 to E004: My Lesson5 (or compare E025 to E026). Notice any difference?

Next, we have the Low Pass & High Pass filter.

The Low Pass & High Pass filter cuts off both the higher frequencies (thus letting the lower pass = Low Pass) and
the lower frequencies (the higher frequencies pass = High Pass) of your choice. This means that the cutoff frequency
for Low Pass and High Pass can be set to cut off all frequencies (this makes the sound silent), so it takes some
practice to get it right. So, lets practice Make sure you have chosen the E004: My Lesson5 or E026:Lesson5!

First we select the Low Pass & High Pass filter. Next we need to set the cutoff frequency in Filter A and Filter B
respectively. Filter B by default has a Frequency of 99. Filter A is, as before, has a Frequency of 40. Now,
explore the effect of changing the Frequency of Filter B. Go down from 99 to 0 and notice the difference to the
sound TIP: to make the change from 99 to 0, it is easiest to use the Wheel By now, you should have noticed
that the sound goes from almost silent to being completely unaffected (using a cutoff frequency of 0 means that
the Filter B has no effect - but, the cutoff frequency could be altered later by using AMS!). In Filter B, a cutoff
frequency of 99 means that almost no low frequencies pass, making the sound very, very thin Make some
changes to the Frequencies of both Filter A and Filter B to notice the change in sound. For an example of Low
Pass & High Pass filters, refer to E068: Feeling Low & High. Program E068 uses 0 as the setting for the Filter
B cutoff frequency, but the cutoff frequency is then altered by AMS Velocity and Pitch EG. This makes the Cutoff
frequency rise with higher Velocities, but at the same time fall with the Pitch EG (which is set as a triangle as
before). The Cutoff frequency of Filter A is also affected by the Velocity. We will go through how to create this
effect, in the following tabs of P3: Edit - Filter.

Before moving on, make sure you have the settings as before in E004: My Lesson5 or E026:Lesson5 - as shown
before the previous paragraph.

Next we are going to take a tour through the various settings in tab Filter 1 Mod (Parameter Guide p.13). The very
first thing we have to set here is the Keyboard Track. The settings for Filter B will not be displayed since we have
chosen Low Pass Resonance!

The Keyboard Track option gives you the opportunity to make changes to the cutoff frequency of Filter 1, by
choosing how the cutoff frequency will be affected when playing at different locations on the keyboard. For
example, if you play note C2, and then move up to note C3, you want the cutoff frequency to either rise or fall
accordingly. This is how you do it:

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1. Key Low (the tracking will begin with notes below the specified note) - by default this is set to C#4 - the cutoff
frequency will be affected when playing notes below C#4. Ramp Low is by default set on +43 - this means
that, when playing C#4 and down, the cutoff frequency of Filter 1 will change by the value in Intensity to A.

2. Key High - the tracking will begin with notes above the specified note - by default set to C#4. The cutoff
frequency will be affected when playing notes over C#4. Here we have the option of selecting Ramp High,
which by default is set to -43. This makes the Cutoff frequency change with the value at Intensity to A, when
playing C#4 and up

3. As mentioned above, we have the option of selecting how much the cutoff frequency will be affected by the
Keyboard Tracking. By changing values for the Intensity to A resp. B we can control how much the cutoff
frequency will increase. Positive values mean that the cutoff frequency will rise, whereas negative values have
the opposite effect (corresponding to the settings made in Ramp Low/High!).

An example is in order to understand the Keyboard Track option:

In our program (E004 or E026) the default setting of Intensity to A is +50. Try changing this between
-99 and +99. When changing it towards +99, the sound diminishes at higher octaves - this is
because we have stated that the cutoff frequency will increase when playing notes above C#4 (Ramp
High set to -43). Accordingly, the sound becomes brighter when playing notes below C#4 (Ramp
Low set to +43). In this example this means that the cutoff frequency of Filter A rises when playing
lower notes, and falls when playing higher notes As we have set the cutoff frequency to 40, it is
no wonder that the sound almost disappears when playing higher octaves To show that this is
true, set the Intensity to A at -99 - the opposite happens; the higher the octave played, the brighter
the sound!
Try changing the settings for Key Low/High and Ramp Low/High, and notice what happens to the
sound!

When you are done testing, leave the settings as they were - Key Low/High at C#4, Ramp Low/High at +43/-43 and
Intensity to A at +50. With this setting (as were sure you have noticed) the sound becomes darker when playing
higher octaves - we want the sound to become brighter. To accomplish this, we can do one of two things:
Change the polarity of Ramp Low/High to -43/+43 or the Intensity to A from +50 to -50. Set the Intensity to A to
-50, and save your program (E004: My Lesson5). Refer to E027: Lesson5.2 (raw) or E069: Filter Tracker (extended
- notice how the sound gets brighter the higher you play).

Lets continue with our journey

We are still at the Filter1 Mod. Tab, but now on the row below - the Filter EG. The settings that are made in Filter
EG, allow us to control the time-varying effect of the Filter1 EG (which modulates the Frequency in FilterA).
As before, we are using the E004: My Lesson5 or E027: Lesson5.2.

As weve said above, the settings in Filter EG, affect the behaviour of Filter1 EG. So the values we change here
might not have any apparent effect until we change the Filter1 EG. So, before making any changes to Filter EG, I
would like to take you on a brief detour to the Filter1 EG tab:
Well concentrate on the EG - here you have the choice of changing the level of Start, Attack, Break, Sustain
and Release plus the time for Attack, Decay, Slope and Release. Well make the sound go from brighter to
darker by changing the Start to +99, Attack to +82, Break to +40 and Sustain to 00. Leave the Release at +00
for now. Change the Time for Attack, Decay and Slope to +50. Leave the Release Time at 00 for now Weve
just created a down hill that would be loved by any skier . Now, were moving back to where we came from -
the FilterEG panel on the Filter1 Mod tab.

We have made the changes to the Filter1 EG -but you wont hear any changes until we have made the appropriate
changes in Filter EG
1. In Filter EG you have the option Velocity to A. The Velocity to A changes the effect velocity will have on the
time-varying changes to Filter A. Thus, with a positive setting, playing more strongly will cause the Filter1
EG to produce greater changes in cutoff frequency. Alternatively, setting it to a negative value, will cause the
Filter1 EG to be inverted.
2. If you set the Velocity to A to +50, it will cause the Start, Attack and Break of Filter1 EG to be
increased by a value from 0 to +50 (depending how hard you hit the keys). With a negative value

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 (Velocity to A at -50), the value will be decreased by a value from 0 to -50 Try varying the values
between +99 and -99 and notice the difference! Finally, leave the value at +50.

2. The next option is Intensity to A. This allows you to change the cutoff frequency of Filter A according to the
Filter1 EG. Positive values (+01 to +99) will make the sound become brighter when the parameters of
Level and Time in Filter1 EG is in the positive area (i.e. above 0) and darker when in negative area (i.e.
below 0). Negative values have the opposite effect - darker when in the positive areas and brighter when in
the negative We have set the Filter1 EG to use only the positive areas.
3. Try varying Intensity to A between -99 and +99. A setting of +50 will cause the settings of Start,
Attack and Break to increase by +50 points, and a setting of -50 will make it decrease by -50 points.
Finally leave the setting at +10.

3. As always, we have the option of selecting an AMS to change the filter in real-time. By default it is set to
Ribbon: CC#16, and that is a good choice as we earlier stated that SW2 should become a Ribbon Lock
This means that every change you make using the Ribbon, can be saved (temporarily) by pressing SW2.
Another options is to choose the one of the real-time Knobs to be an AMS, for exmaple. The correct AMS
assignment can really make a difference to how effective a program is, when used in a performance! Try
changing the AMS to different sources and alter the Intensity. Finally, set AMS to Ribbon: CC#16 and
Intensity to +40. With this setting, you will be able to alter the Filter1 EG to positive values by touching the
ribbon to the right of the center and to negative values when touching at the left. Save your program to
E004: My Lesson5 (can be found in E028: Lesson 5.3). Then press SW2 (the led comes on) and press
various locations on the ribbon.

4. On to the final settings in Filter1 Mod. tab - the Filter A/B Modulation. Here you can choose to assign AMS:s to
modulate the cutoff frequency of Filter A. For example, to make the sound brighter depending on key velocity,
you have to choose Velocity as AMS1 (or AMS2) and set the Intensity between -99/+99. This adds to the
setting made in Velocity to A above, making the sound even brighter. Having the ability to choose AMS1 and
AMS2 for the Modulation of the sound, gives us even more abilities to change the sound the way we want to in
real-time. AMS1 could also work as a non-real-time modulator, depending on which AMS is selected For
example, choosing Pitch EG as AMS1 will make the cutoff frequency alter by the same amount whenever you
press a key (remember the triangle?). Then, choosing a real-time controller for AMS2 will make us jump for
joy! Finally (theres always a finally ) make the following selections - for AMS1 Pitch EG, Intensity +10
and for AMS2 KnobMod1: #17, Intensity +70. Save your program as E004: My Lesson5. This can also be
auditioned in E029: Lesson5.4. For a further example go to E070: Sub Bass.

Next, we have P3-3: Filter1 lfo Mod. (page 14 - 15 in the Parameter Guide). In this section you can determine how
much modulation of the cutoff frequency of Filter1 is going to be caused by LFO1 and/or LFO2 (P5-1), as
explained below:
The LFO1 Intensity to A specifies the depth and direction the cutoff frequency of Filter1 will increase/decrease.
(-99 to +99). As before, negative values will invert the effect.
JS-Y Intensity to A - when pulling the joystick towards you (down - when in FRONT of the Triton ), you have
the ability to control the modulation of the cutoff frequency. The more you pull, the greater the modulation
will be, ranging from zero modulation (i.e. with the joystick in its resting position) up to the value specified.
You also have the ability to apply AMS to change the cutoff frequency. In Intensity to A (below the setting of
AMS), you can specify the amount of modulation to be applied to the cutoff frequency.
As well as using LFO1 to modulate the cutoff frequency of Filter1, you also have the option to select LFO2 as a
modulator. This allows you to make further enhancements to the soundscape.
The ability to allow the cutoff frequency of Filter1 to be changed by the different LFO:s makes the sound richer
and applies more time varying changes.

With that said, we will move on to the examples, before setting up the lead sound how we want it to be. Remember
though that we made some changes earlier (in P2: Edit - Pitch) to LFO1.
1. Set the Intensity to A at +50 before doing anything else (otherwise the changes below wont make any difference
to the sound When youve changed the intensity, you will notice that the frequency is pulsating.

2. Return to P5: Edit - CommonLFO, so we can make some changes to the LFO. Remember that the LFO1 was
also associated earlier with the pitch, so making any changes to LFO1 will also affect the pitch! Thats why

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 were going to concentrate on LFO2. For LFO2 were presented with the same options as for LFO1, i.e. the
ability to change the Frequency, Offset , Fade, Delay and Key Sync on/off. The other options of LFO2 will
be left unchanged and unexplained for now (we will return to this page later). Notice that the Waveform is
set to Triangle 0, Frequency to 70, Offset, Fade and Delay to 0 by default. This means that the cutoff
frequency is changed according to the shape of the Triangle0, and at a speed of Frequency 70. Vary the
Frequency between 0 and 99 to audition the changes to the sound. Try also changing the Waveform, Offset,
Fade and Delay parameters and once again notice how the sound behaves. Also try out the program at E071:
Pulsating Filter.

3. The settings we want for the lead are as follows:

4. In P5: Edit - CommonLFO, OSC1 LFO2, make the following adjustments (for now). Set the
Waveform to Guitar, the Frequency to 4, the Offset to +40 and leave the Fade and Delay at 0. Make
sure that Key Sync is off (because we want the Lead to have a slightly different cutoff frequency
every time we hit a key - Key Sync off allows the LFO to loop continuously regardless of whether
we are pressing a key or not.). The cutoff frequency of the sound will now vary with the shape of the
Waveform in LFO2.
5. Next, move back to P3: Edit - Filter, and the tab Filter1 lfo Mod. Vary the setting of LFO2 Intensity to
A to between -99 and +99 - notice the difference in the cutoff frequency. When done, make sure the
setting of Intensity to A is at +20. We also want the joystick to be involved in some real time changes to
the cutoff frequency. This is done by changing the JS-Y Intensity to A to a value of +40 - thus, moving
the joystick downwards will make a slight difference to the cutoff frequency. Next, we want to add an
optional AMS to control the cutoff frequency - choose After Touch as AMS and set the Intensity to A at
+20.

Voil - we have a lead sound that has its cutoff frequency altered by time varying changes (as set in Filter1 EG),
velocity (as set in Filter1 Mod., the settings of LFO2, After Touch and vertical position of the joystick.
Save the lead to E004: My Lesson5 (also saved as E030: Lesson5.5). For another example, audition the program
E072: ArachnophobiaII.

The final tab on this page is the Filter1 EG. Here you can set the time varying changes to be applied to the cutoff
frequency of the sound. We have visited this page earlier, but without making any other changes than to the EG
itself. Now its time to explore it further.

Below the illustration of the EG, you have the parameters of Level and Time:
Start Level: pretty much self explanatory - this setting allows us to set the cutoff frequency of the sound at note-
on ranging from -99 through +99. (NOTE: Even though you select a setting of zero, the cutoff frequency could
be affected using the different options of AMS as explained below.).

Accompaning the Start Level is the Attack Time - this specifies the amount of time it will take until Attack
Level is reached. Try changing just the Start Level and Attack Time, and notice the difference to the sound. At
the end, leave the Start Level at +10 and the Attack Time at 50.

Next we have reached the Attack Level, which specifies the amount of cutoff frequency after the Attack Time has
elapsed. The time between Attack Level and Break Level is determined by the setting of Decay Time. Set the
Attack Level at 80 and Decay Time at 50.

After the Decay Time, the cutoff frequency reaches the Break Level, and then drops/rises toward the setting of
Sustain Level, with the speed of the Slope Time (i.e. the Slope Time determines the amount of time from Break
Level to Sustain Level.). NOTE: The Sustain Level specifies the cutoff frequency that will be maintained after it
has moved through all the parameters of Start, Attack and Break (its like youre walking the hill we have
created - first you move up and then at the top (Attack Level), you begin your journey down. About halfway
down the slope, you reach the Break Level, and then all the way down, you have reached the goal (Sustain
Level) where its all flat). The Sustain Level will continue unchanged until note-off occurs. Set Break Level
to +40, Slope Time to 50, Sustain Level at +00 for now.

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 After note-off occurs you have the option to select how/if the cutoff frequency will react. This is done by the
setting of Release Level and Release Time (the time from Sustain Level to the specified value of Release
Level). The Release Level and Release Time of Filter1 EG are determined by the setting of Release Time in
P4: Edit - AMP. By default the P4: Edit - AMP Release Time is set to 0, which will cause the setting of
Release Level and Time of Filter1 EG to have no effect. To try the Release Level and Time, you have to make
another detour, just to fully understand this feature (its like this - you are driving in you car along the
Sustain Level, and hit the brakes (note-off). The car then stops immediately since you have Super Brakes (i.e.
Release Time in P4:Edit - AMP is set to 0). To let the car slow down gradually before stopping, more like in
real life (i.e. the car doesnt stop immediately) a setting more than 00 is required:
Go to P4: Edit - AMP and the tab AMP1 EG and set the Release Time to 80 (causing the volume to
decrease with a speed of 80). This setting specifies a time of release to be applied to the sound after
note-off, and increasing the setting will cause the volume to drop more slowly. Now we are ready to
try the Release Level and Time in P3.
Move back to P3: Edit - Filter and the tab Filter1 EG and try different settings for Release Level and
Time. Notice how the cutoff frequency changes when you let go of the keys. NOTE: Setting Time
Release to more than 80 will not make the cutoff frequency move all the way to the top (Release
Level), because the maximum time of release is set to 80 in P4: Edit - AMP.

Now that you have been guided through all the various parameters, you are free to experiment. When you are
finished, make sure you have the following settings: Start:+10, Attack:+80, Break:+40, Sustain:+00 and Release
Level at +80. The time parameters should all be set to 50 for all points in the envelope (i.e. Attack, Decay, Slope
and Release Time should all be set to 50). Dont bother changing the Release Time in P4: Edit - AMP - well get
there soon As a backup, the program is saved as E031: Lesson5.6.

Next we come, to the Level Modulation settings As the name suggests, these allow you to modulate the Level
parameters, but only the levels of Start, Attack and Break. In order to do this, you have to select an AMS, which is
Velocity by default. Before we make any permanent changes to the parameters, we will try these options out:
Regardless of which AMS you choose, you have the following options available below:
1. Intensity is, as always, the amount to be added (or subtracted ) to the level of Start(St), Attack(At) and/or
Break(Br). For example, choose JS+Y: CC#01 as the AMS and set the Intensity at +40. When moving the
joystick upwards the Intensity will rise from 0 to +40. Doing so at this point will not effect the level of cutoff
frequency. To apply the effect you have to state the direction of the change, as explained below:

2. You have the St, At and Br options available below - here you can select how the levels are to be changed by the
AMS (Joystick up). With a setting of 0, the EG level will be left unchanged (ie St:0, At:0 and Br:0 will have no
effect whatsoever). With a setting of + the EG level will rise as you move the joystick up (ie St:+, At:+ and Br:+
will make the level of Start, Attack and Break rise from their original positions towards +40 when moving
joystick up.). Consequentially, a setting of - will make the levels fall NOTE: Intensity set at a negative
value (<0) and setting of St, At and Br at - will invert the process (as minus plus minus equals plus).

Try changing the different settings of Level Modulation and notice the change to the sound. When done, set the
Level Modulation as follows: AMS to KnobMod2:#19, Intensity at +40, St +, At - and Br +. This will make the
level of the Filter1 EG change in real-time as you move the Knob2. This program is saved as E032: Lesson5.7.

We have now traveled all the way to the final stages of Filter Modulation. In the box Time Modulation you can
choose from one or two individual AMS:s to control the settings of the Time variables such as Attack, Decay, Slope
and Release Time. As before, you have to select the AMS and Intensity of it - the difference from the Level
Modulation is that here you can select which way the Time variables are to be effected. For the At (Attack Time), Dc
(Decay Time), Sl (Slope Time) and Rl (Release Time) you have the option to choose between the following values:
- shortens the time of the parameter (if AMS Intensity is set to a value greater than 0),
0 leaves the time parameter unchanged by the AMS Intensity and
+ lengthens the time of the parameter (again, if AMS Intensity is greater than 0).

Try changing the settings of AMS1 and AMS2 and the different values of the time parameters. Again, notice the
difference it makes to the sound! Finally, leave the settings at:

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1. For the AMS1: KnobMod3:#20, Intensity at +40 and all of the time values (At, Dc, Sl and Rl) to -. When
moving the Knob3 clockwise the sound will reach the setting of Sustain Level sooner. (i.e. moving Knob3 all the
way to the right will make the time levels reach 10 (50-40) and to the left it will reach 90 (50+40)).

2. For the AMS2: Velocity, Intensity at +20 and At:-, Dc:+ , Sl - and Rl-. This will make the Time of Attack, Slope
and Release move towards a value of 30 (50-20) as you play harder on the keys. Decay Time will move towards
a setting of 70, also depending on the velocity.

Save your program to E004: My Lesson5 (can also be found in E033: Lesson5.8).
Examples of the things above can be found in E073: Unplugged and E074: GPS Tracker.

Lesson#6. P4: Edit - Amp.

Hmm Another challenge Once again, make sure you have the result from the latest lesson available, i.e. E004:
My Lesson5 (or E033: Lesson5.8).

In P4: Edit - Amp, you have several options to modulate the volume of the sound. Firstly we have the tab Amp1
Lvl/Pan, where you can select the overall volume and the pan (stereo location) of the sound:
Amp Level: Lets you choose the overall volume of Oscillator1. Ranging from 0 (no sound) to 127 (maximum
volume).

Pan: Allows you to set the pan of oscillator1. A setting at L001 places the sound to the far left, C064 in the
middle and R127 to the far right. Random means that the sound will be heard from different locations in the
stereo spectrum at each note-on. (Use Dkit Setting will not be handled here, since its only available when
oscillator mode is set to Drums.).
You also have the option of changing the pan using an AMS. For example:
Choose PitchEG as AMS (still remember the triangle?). Set the Pan to L026, and the AMS Intensity to
+99. This makes the sound pan from L026 all the way over to R127 and back again, ending up at
L026 Listen to the example E075: HannibalElephant.
Using Note Number as AMS: Positive values for Intensity cause the sound to move to the right as you
play notes above C4, and to the left when playing notes below C4. Setting the Intensity to a negative
value will invert the process. Check example E076: Panning Piano.

Make the following changes to your program (E004: My Lesson5 or E033: Lesson5.8): Amp Level 127, Pan
C064 and select LFO1 as AMS (we have already assigned Sine as the waveform of LFO1, with a Frequency of
20). The AMS Intensity should be set at +10 (which will cause the sound to cyclically alter between L054
through R074). Save the program to E005: My Lesson6 (can be auditioned at E034: Lesson6.1).

Moving on to the settings in tab Amp1 Mod, where you are presented with several options for applying modulation
to the volume:
In the Keyboard Track box you have some familiar parameters (I hope): Key Low/High and Ramp Low/High.
These parameters work in the same way as explained earlier in P3: Edit - Filter (Filter1 Mod.). Obviously,
here the effect is applied to the volume depending on which note you press:
Ramp Low: Positive values cause the volume to increase as you play on notes below the Key Low.
Negative values make the volume decrease.
Ramp High: Positive values will make the volume increase when playing notes above the Key High.
Negative values cause a decrease in volume.

In the box Amp Modulation, you have the option to configure the Velocity Intensity and an optional AMS:
Velocity Intensity: Positive settings will allow the volume to increase depending on how strongly you play on the
keyboard. Alternatively, negative values cause the volume to decrease as you play more strongly on the
keyboard. Thus, a setting of 0 leaves the volume unaffected, regardless of how strongly you play

The AMS allows you to select a source to control the behaviour of the volume, and the Intensity specifies the
depth and direction of the effect applied, ranging from -99 to +99. For example, selecting After Touch as AMS

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 and Intensity to positive values, will cause an increase in volume when applying after touch. Negative values
will cause a decrease.

In the LFO1/2 box, you have the option to modulate the volume via the LFO:s. To expand your capabilities, you are
also presented with options to apply AMS to both LFO1 and LFO2.

Try changing all of the settings as mentioned above. In this case, dont bother to change any of the LFO:s on P5:
Edit - Common LFO, since were heading for that page very, very soon But, if you do want to change the settings
of the LFO:s on P5, remember that LFO1 is used to slightly change the Pitch and LFO2 is used to change the cutoff
frequency of Filter1! For extended examples, go to:
E077: Phasing Away. In the P4: Edit - Amp and tab Amp1 Mod, the LFO2 is set at +80. I have changed the
LFO2 to be a Square waveform and the speed to be controlled by the tempo (as explained later). This makes the
volume jump up and down 80 steps, making the sound pulsate

E078: Spirituae. Basically the same sound as in E077, but with slight changes to the LFO2 - this is set to a
waveform Sine and not controlled by the tempo. It resets every time a new key is pressed (Key Sync On) and
creates a very cool SlowSynth style sound.

After auditioning the above examples and having tried different values for yourself, go back to E005: My Lesson6
(or E034: Lesson6.1). Here, lets make the following changes to the lead:
1. Key Low/Key High at C4. The Ramp Low at +40 (since we made the cutoff frequency darker in low note regions,
its a good idea to raise the volume when playing these lower notes) and Ramp High at -10 (the same - we
made the cutoff frequency brighter when playing higher regions, so lowering the volume a bit is well
suited).

2. Set the Velocity Intensity to +30 (thus, the harder you hit the keys, the more the volume will increase to a
maximum of +30), and set the AMS to After Touch with an Intensity of +04.

3. The setting of LFO1 Intensity should be set at +04, creating a slight difference in volume. The LFO1 AMS
should be set to Velocity with an Intensity of +04 - playing harder on the keys will cause the volume to differ
more and more

4. Leave the Intensity of LFO2 at +00, but change the AMS to JS+Y: CC#01 and the Intensity for the AMS to +20.
This will cause the volume to change more rapidly when moving the joystick upwards.

Now, save your program once again, to E005: My Lesson6 (also available in E035: Lesson6.2).
The last tab for this lesson, is Amp1 EG. Its similar in nearly all aspects to the Filter1 EG, so you will find yourself
quite familiar with the settings here. The only thing that is lacking from this EG is the Release Level, that can be
found in Filter1 EG - thats because the sound is supposed to fade out when note-off occurs (otherwise we will
never get rid of the first note played). You have seen the option of Release Time before, when we changed it to 80
(remember?). The Release Time is (or should be) still set to 80, because we havent made any changes to it. A
further explanation of the Release Time is in order:

Release Time specifies the time it takes for the volume to reach zero after note-off has occurred. It also allows
the setting of Release Level & Time of both Pitch EG and Filter1 EG to be activated. A setting of 00 for the
Release Time in P4: Edit - Amp, causes the sound to stop immediately after note-off has occurred, and never
allowing the settings for Release Level & Time in Pitch EG and Filter1 EG to take place. Using this feature
can make the sound even more comprehensive, since both the cutoff frequency and pitch can be changed
during the period it takes for the volume to fade out. To affect these parameters, you must visit the Pitch EG
and Filter1 EG and modify the settings for Release Level & Time. In the P2: Edit - Pitch, you also have to
change the settings for the Pitch EG Intensity in tab OSC1 P.Mod. to specify how much the pitch will be
effected. The following examples demonstrate this:
E057: ReleasePitch1 - makes the pitch go from 00 to +12 (i.e. a whole octave up), when note-off
occurs. In P2: Edit - Pitch and the Pitch EG tab, youll see the Pitch EG Release Level raising from
00 to +99 with a time of Release at 80. In OSC1 P.Mod tab the Pitch EG Intensity is set to +12,

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 which makes the pitch rise from 00 to +12 (if you try inverting this value to -12, youll notice that
the pitch will fall one octave instead).
E058: ReleasePitch2 works quite similarly to the ReleasePitch1 - the difference is that the Start Level is
changed to +99, allowing the pitch to fall down to Sustain Level (at 00). When you let go of the key,
youll notice how the pitch drops further down, to stop at -99 on the Release Level. As before, if you
change the setting of Pitch EG Intensity in tab OSC1 P.Mod to -12, the opposite will occur and make it
sound like theres a plane taking off.

Now go back to your saved program (i.e. E005: My Lesson6 or E035: Lesson6.2), to which we will make some
changes:
Return to P4: Edit - Amp and the tab Amp1 EG. The other parameters on Amp1 EG are self-explanatory, but I will
give you a roundup of them anyway:
Start Level specifies the start volume and Attack Time the amount of time from Start to Attack Level.
Attack Level specifies the volume after the Attack Time has elapsed, and then moving towards the Break Level
using the Decay Time.
After the volume has reached Break Level it moves towards Sustain Level at a speed thats specified by Slope
Time.
The Release Time has been explained above.

Try setting Start Level to 00 and Attack Time to 60 - notice how the volume builds up (or fades in).
The settings in the boxes below (Level and Time Modulation) are pretty much the same as for the Filter1 EG.
Imagine you have a guitar program that you want to sound more real. Using either one of AMS1 or AMS2 for
Time Modulation is a good way of accomplishing a realistic guitar sound - hitting a guitar string harder makes the
time variables vary - the harder you hit the string, the more time elapses until it reaches Sustain Level (which
should be 00 in the case of guitar sounds). Also, configuring Level Modulation to use Velocity as AMS, and positive
values for St, At and Br, will make the Guitars volume increase the harder you hit it!
See example E079: Guitiarae - this little guitars cutoff frequency, volume and time increase the harder you hit the
keys.

Now, were almost done here - but lets first make the changes we want to the E005: My Lesson6 (or E035:
Lesson6.2):
1. To the Levels of the Amp1 EG, set the following: Start: 00, Attack: 82, Break: 76, Sustain: 65.

2. Set all the time parameters to 50 (this will make sound climb up from a volume of 0 to 82 (Attack Level), slide
down to 76 (Break Level) and then further down to 65 (Sustain Level) - all with a speed of 50. When note-off
occurs, the sound will fade down to a volume of 0 at a speed of 50 (Release Time). We do need further
improvements to the sound:

3. Under Level Modulation, set the following: Velocity as AMS and Intensity to +40, St: +, At: 0, Br: 0. This will
make the level of volume vary between 00 (Start Level) and up to +40 (as you play harder on the keyboard).

4. Under Time Modulation, change AMS1 to KnobMod4: #21, Intensity to +45 and the values of At, Dc and Sl to
- and Rl to 0. Moving Knob4 to the right will cause the volume to change more rapidly from Start to
Sustain. Change AMS2 to Velocity and its intensity to +10. Change the values of At, Dc and Sl to - and Rl to
+ - this will make the volume change more rapidly from Start to Sustain Level depending on the velocity
applied to the keyboard, and furthermore it will also make the Release Time increase.

Save your program once again to E005: My Lesson6 (or refer to E036: Lesson6.3).
Next, on to the home of the LFO:s -> P5: Edit - Common LFO

Lesson#7. P5: Edit - Common LFO.

At a glance, the parameters for the LFO could seem a bit hieroglyphic (i.e. hard to understand), but when youve
discovered its potential and flexibility, you will become very fond of the LFO:s! First Ill present an explanation of
the LFO and its various parameters, and then follow that with some examples. This section can be found in

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Parameter Guide p. 20-22. Go to E005: My Lesson6 (or refer to E036: Lesson6.3) and to the page P5: Edit -
Common LFO.

The LFO:s can be used to cyclically modulate Pitch, Filter and Amp of both oscillator 1 and oscillator 2 (when
available - our lead only has the option of OSC1 LFO1 and OSC1 LFO2 available, since we selected to have a
single oscillator running). The parameters are as follows, and do not differ for LFO1 and LFO2, so go to OSC1
LFO1:
Waveform - lets you select the appropriate waveform for the LFO:s (see p. 20 Parameter Guide). The waveform
is illustrated in the small box in top right corner of the Touch Screen.

Frequency sets the frequency of the LFO from 00 to 99. Here you can translate frequency as the speed of the
LFO, with a setting of 99 being the fastest.

Offset sets the centre of the non-modulated point - if you want the LFO to be centered around the non-
modulated point (offset=0), above (offset=+99) or below (offset=-99). The best way to describe this is to look
in the Parameter Guide and the illustration at the top left corner on page 21. Also listen to the example at
E050: Pitch Oct Up/Dwn, and examine the P5: Edit - Common LFO. Try raising and lowering the Offset
value, and notice how the pitch changes.

Key Sync checked (on) makes the LFO start over each time you play a note. With the option unchecked (off) the
LFO starts on the firstly played note and continue to apply to each new note that is played (i.e. it never starts
from zero, it just continues to loop). Consequently - when unchecked, the settings for Delay and Fade will
be applied only when the LFO starts for the first time (i.e. only on the first note played).

Fade (00-99) lets you specify the time from when the LFO starts until it reaches the maximum amplitude (i.e.
the setting of Intensity + Offset in various pages - it goes from Intensity 0 to the value specified).

Delay (00-99) lets you specify the time that will elapse until the LFO starts after it has been triggered.

In the box Frequency Modulation you have the option to adjust the speed of the LFO, using two sources of
modulation (AMS1&AMS2). The Intensity specifies the depth and direction of the AMS1/AMS2.

The box Frequency MIDI/Tempo Sync offers three options: MIDI/Tempo Sync on/off, selection of Base Note and
Times:
MIDI/Tempo Sync checked means that the frequency (=speed) of the LFO will be synchronized to the
tempo of the program. With this option on, the settings made for the Frequency and the ones made
in box Frequency Modulation will be ignored.
Base Note and Times allows you to select the note length (Base Note) and how many times it will be
divided. For example, if Base Note is set to a quarter note (1/4) and Times at 04, the LFO will go
through a whole cycle every four beats.

To fully understand the complexity and usage of the LFO:s, were going to try a different strategy, rather than
making any changes to our own program were going to take you on a tour through some different programs, and
will try to explain what has been done to each to make it sound the way it does. So, fasten your seatbelts (Now you
are familiar with the various Program mode pages on the Triton, it should be easy for you to follow the steps
below):

1. E051: Pitch Siren. You have heard this one before, but this time well make some changes to the LFO. For your
information - this patch has LFO1 assigned to change the pitch (in P2: Edit - Pitch) +12 cents. Now, go to
P5: Edit - Common LFO. Here you see that the OSC1 LFO1 (the only LFO that is used in this patch) is
using a Sine Waveform to create the effect.
2. The Frequency (=speed) of the LFO is set to 16 - try changing this to various values to understand the
function of Frequency.
3. The Offset is set to +00 - by increasing this value, you also increase the amplitude of the waveform (i.e.
the highest point - adding to the value Y of the waveform). Try changing it to +99 and notice the
effect it has on the pitch modulation.

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 4. By adding Fade to the LFO, the LFO goes from 00 (for both Frequency and Offset) to the values
specified. This lets the LFO fade in.
5. Delay lets you choose whether or not the LFO is to start instantly (when note-on occurs) or after a
given period of time.
6. In the box Frequency Modulation (that is, modulating the speed of the LFO) the real fun begins.
Here you have the option of assigning one to two different AMS to control the speed of the LFO.
Try changing both the AMS and the Intensity to discover all your options. The LFO1 also has an
additional AMS, that isnt available for LFO2 - letting LFO2 act as an AMS for the LFO1. The
latter example can create some original and complex oscillating effects (as seen in E082: Space
Puppets. Here LFO2 effects the speed of LFO1 for OSC1 (wind) and creates a cool effect)
7. Next we have the option of synchronizing the LFO:s speed to the Tempo of the program. Its all done in
the box Frequency MIDI/Tempo Sync. Try changing this option on and off and change the Base Note
and Times to see what this function can do Also, try the E083: Frequency Frency - this patch uses
both LFO:s for both OSC:s to create a cyclic MotionSynth.

2. E080: GHB Heartbeat - here we make use of the lessons you have learnt about PitchModulation and Filter
Modulation. The only LFO used is LFO1. The sound is based upon two multisamples (as seen in P1: Edit -
Basic) - 208: Syn Pop (=OSC1) and 341: Industry-66 RPT (=OSC2). In P2: Edit - Pitch, youll see that the
LFO1 Intensity is set to +12.00 in OSC1 P.Mod tab and to +07.00 in OSC2 P.Mod tab. This means that the
LFO1 will modulate the pitch by a maximum of 12 steps for OSC1, and 7 for OSC2. In P3: Edit - Filter, the
LFO1 is set to modify the Resonance for both Filter1 (affects OSC1) and Filter2 (affects OSC2), with a
value of -99 and the Filter1 & Filter2 lfo Mod. with a value of +99. In P4: Edit - Amp, the LFO1 affects the
volume of both OSC1 and OSC2 by a factor of +10. The settings for the actual LFO can be found in the P5:
Edit - Common LFO. As we have two oscillators (i.e. the program is set to Double in P1: Edit - Basic), we
have the option of changing LFO1 & 2 for both of the oscillators. As was mentioned above, the only LFO
active is the LFO1 of both oscillators. Looking closer at the LFO1, reveals that the settings are identical for
tab OSC1 LFO1 and OSC2 LFO1. LFO1 makes use of an Exponential Saw Down waveform, allowing the
LFO to slide between top and bottom (as illustrated), with a frequency (speed) determined by the Tempo
(notice that the MIDI/Tempo Sync is checked (=on). The Times are set to 4 for OSC1 and 2 for OSC2. The
full effect of the various modulations will not be achieved until the Fade period of the LFO has taken place
(notice that it has been set to 20). This is what happens:
3. The Pitch Modulation is affected by the LFO so that it slides down to the pitch of the note ( due to the
waveform being set to Exponential Saw Down) from a pitch of note+12 for OSC1 and note+7 for
OSC2 (NOTE: The Pitch Modulation for OSC2 and LFO1 is also controlled by the AMS of Velocity
- pressing harder on the keyboard will make the Pitch alter more (with a maximum change of pitch
by the LFO of 7+3=10).
4. The Filter is modulated in various ways (but the in same way for both OSC1 and OSC2). The
Resonance will slide from 00 to -99, while the frequency will be varied according to the values set
in tab Filter1 lfo Mod and Filter2 lfo Mod (from +99 to 00).
5. Also the volume is affected by the LFO such that it is increases by anything from +00 to +10 as the
LFO progresses through its cycle.

2. E081: Turbulence is a double oscillator program that makes use of both LFO1 (for pitch modulation) and LFO2
(for filter modulation) for both OSC1 and OSC2. Lets have a look at the pages:
3. In P1: Edit - Basic you can see that the program is using double oscillators in a polyphonic setup, and
the tab OSC Basic reveals the name of the multisamples being used, and that the pitch setting of the
oscillators are somewhat disharmonic (i.e. Tune is set to -007 for OSC1 and +007 for OSC2) - this
makes the sound much richer.
4. P2: Edit - Pitch shows that LFO1 is triggered to affect the pitch modulation of both OSC1 and OSC2
(as seen under OSC1 & OSC2 P.Mod). The modulation is also controlled by After Touch as an AMS.
If you jump to P5: Edit - Common LFO, youll see that the setting for LFO1 for both OSC1 and
OSC2 is set to cycle through a sinusoid at a speed of 70. This makes the pitch rise from +00 to

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 +00.20 for OSC1 in a cyclic manner (+00.00 to -00.20 for OSC2), using the sine as a LFO
waveform. The Joystick has also been configured to change the pitch when moving it upwards.
5. P3: Edit - Filter, youll see that LFO2 controls the level of resonance for both OSC1 and OSC2. It is
also set to modulate the frequency in tab Filter1 and Filter2 lfo Mod. Moving back to P5: Edit -
Common LFO, reveals that the settings for LFO2 differ slightly for OSC1 and OSC2, but they are
both using the same waveform (sine). The OSC1 LFO2 changes the resonance of OSC1 with up to
+38 steps and OSC2 LFO2 changes the resonance of OSC2 up to +35 steps during the cycle of the
LFO. The frequency of the filter changes at the same time with a value of +60 for OSC1 and +40
for OSC2, making the sound brighter, but with more resonance during the cyclic period of the LFO.
6. The volume is unaffected by the LFO:s.

4. Try out the different pages on the above patches, as trial and error is the best way of learning.

When done, feel free to continue to the next lesson: the arpeggiator.

Lesson#8. P6: Edit - Arpeggiator.

Now, were back on track. Go to E005: My Lesson6 (or refer to E036: Lesson6.3) and let us get on with the creation
of the Lead. As you know, the LFO1 controls the Pitch Modulation and the LFO2 controls the Frequency
Modulation of Filter1. So, no further changes are necessary to the LFO:s at this point. Were moving on to the
arpeggio-section to select an arpeggio pattern for the Lead. Remember to switch off SW1 when running the
arpeggio (sometimes Portamento isnt effective when running an arpeggio. The section about the arpeggiators can
be found in Parameter Guide p. 22-24.

In tab Arpeg. Setup you have the option to choose an arpeggiator to be used by the program. We will not go into all
the different arpeggio patterns, but will try to explain some of the basic options that are presented to you:
Arpeggio Tempo is somewhat self explanatory. What is set here will affect the overall tempo of the program
(thus a change here will change the behaviour of the LFO modulation if LFO is set to be synchronized with
Tempo).

In the box Arpeggiator Setup, you have the following options:

Pattern: lets you select the appropriate arpeggio pattern (user arpeggios can be created in P0: Global P6, but will
not be handled here).

Octave: specifies the number of Octaves the arpeggio will move within (ranging from 1 to 4).

Resolution lets you specify the timing of the arpeggio. This, and the setting of Tempo, sets the overall speed of
the arpeggio pattern.

Gate specifies the length of each note (gate time) in the arpeggio pattern (000% -> 100%, step)
Step (available when user arpeggio pattern is selected). When selected, the gate time that has been
specified (in Global P6) for each step, will be used.
The gate time can also be controlled via the GATE knob.

Velocity (001-127, Key, Step). Specifies the velocity of notes played in the arpeggio.
001-127 will cause each note in the arpeggio to play with the specified value of velocity (thus, a setting
of Velocity to 127 will cause each note to play with a velocity of 127 (i.e. no changes in velocity
between the notes).
Key: each note in the pattern will sound with the velocity that is actually played (i.e. - the harder you
hit the keys, the louder the arpeggiator will sound).
Step (again, only available when a user arpeggiator pattern is selected). This will make each step of the
arpeggio sound at a pre-set velocity (from -100% to +100%).

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 Swing shifts the timing of the odd-numbered notes of the arpeggio (i.e. first note plays as is, second shifts, third
plays as is, fourth shifts and so on - see p23 in the Parameter Guide).

Sort checked/unchecked lets you specify in which order the notes you play will be arpeggiated:
Checked - arpeggio follows the order of note pitch. This means that they will be arpeggiated from the
lowest note to the highest played, regardless of the order you played them.
Unchecked - the arpeggio will play the notes in the order you played them.

Latch
Checked - the arpeggio continues to play after you have released the notes, until you press another note.
Unchecked - the arpeggio will stop as you let go off the key(s), and will start again when you press and
hold another note.

Key sync on (checked) means that the arpeggiator starts from the beginning of the pattern whenever a key is
pressed. With the option off (unchecked), the arpeggiator keeps on running through the pattern.

Keyboard on/off lets you decide whether or not you want to be able to play with the sound as usual + arpeggio or
just arpeggiated.
Put your newly won knowledge into practice, by changing all of the above parameters/options. Remember to turn
off SW1. When done, change the lead to the following: Pattern P000:UP, Octave:2, Resolution a quarter note,
Gate 100%, Velocity key, Swing +000%, Sort and Latch on (checked), Key Sync and Keyboard off (unchecked) (- it
makes no sense to set Keyboard on, since you have selected a monophonic sound - having Keyboard on will make
the arpeggiator somewhat confused). To activate the arpeggiator, make sure the LED is lit on the on/off switch in
the Arpeggiator section (on the right hand end of Triton). Save your program as E005: My Lesson8 (or refer to
E037: Lesson8).

The tab Scan Zone in P6: Edit - Arpeggiator allows you to set the zone in which the arpeggiator will be active. For
example - if you want the arpeggio to be triggered on the whole keyboard range, you set the Bottom Key to C1 and
Top Key to G9 (this is the full range of the keyboard. Using this setting will allow the arpeggio to be triggered
anywhere on the keyboard.). Sometimes you want the arpeggio to be triggered only in the lower half of the
keyboard, and the sound to play normally in the upper parts. To achieve this, you have to set the arpeggio to be
triggered between Bottom and Top Key, i.e. Bottom Key C1 and Top Key C4. Using these setting will activate the
arpeggio whenever you press a single key or play a chord in the lower half of the keyboard, but at the same time,
anything played in the upper half of the keyboard (i.e. above C4) will play normally (i.e. unarpeggiated).
You also have the option to select the Top and Bottom Velocity of the arpeggio, and this is somewhat self
explanatory: setting the Top Velocity to 116 will cause arpeggiated notes above a velocity of 116 to be silenced.

The next step is to add effects to the program. A guide to the various effects can be found in the Parameter Guide
starting at page 146.
As the variations are huge, we will only conduct a brief guide through this page, P8: Edit - Insert Effect, and to the
P9: Edit - Master Effect.

Lesson#9. P7: Edit - Insert Effect.

Before starting - effects can do a great deal for a sound, but not everything. If you choose to chain 5 effects and
route them through 2 MFX:s youll end up listening to the effects instead of the actual sound. Always rely on the
basic programmed sound - if it sounds good, then theres little need for more than 2 effects at most. Also consider
the fact, that if you want to use the sound in the sequencer and it has been built using 5 IFX:s, youll face some
difficulties trying to work how to route the insert effects of the other sounds in the song.

In the tab Routing and the box BUS select, you have the option of selecting where the sound is going - will it go
direct to an output or will it first go through a chain of various effects, before going to an output? In All OSCs to
choose IFX1 to allow the sound to be routed through the first effect of the chain (IFX1).
The settings in the box OSC MFX Send will be available when Bus Select is set to L/R or Off. This allows you to
select how much of the OSC1 and OSC2 (when available) that shall be routed through the MasterEffect1 and 2 (as
explained below).

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Tab Insert FX lets you select the type of effect you want, gives you the ability to turn specific effects on/off and
choose whether or not you want to chain the various effects. You also have additional options as follows (look at the
rows beside the row of Insert Effect).
Chain is used to connect the different IFX in series. If you want to have a Compressor for IFX1, but also want to
add a Delay effect, you can assign a Delay to IFX2 and then chain or link IFX1 and IFX2 - this way the
sound goes through the Compressor (IFX1) and then on to the Delay (IFX2).
Pan (CC#8) lets you set the pan of the sound after it has passed through the effect(s), but is only available when
BUS Select (next to the Pan(CC#8) row) is set to L/R.
BUS Sel lets you choose where the output is going - to the L/R, 1, 2, 3, 4, or outputs (on the rear panel of
the Triton) - after the sound has passed through the effect(s).
Send1 (MFX1) and Send2 (MFX2) lets you specify the amount of the effected sound that will go through to the
Master Effects section (MFX1 and MFX2).

The options in the tabs for IFX1-IFX5 will differ a lot, depending a lot on which effect you have chosen for the
different IFX:s.

Lesson#10. P8: Edit - Master Effect.

Here you have the option of specifying the types of Master Effects and their chaining. As above, you can switch
these effects on/off and choose whether to chain them or not. The chain option needs some clarification -
If chain is selected, the default is that MFX1 will chain to MFX2 (causing the sound to effected sound go
through MFX1 to MFX2). In the box Chain Direction, you have the ability to choose in which direction the
Master Effects will be chained, from MFX1 to MFX2 or vice versa.
Chain Signal lets you specify how the signal from the first master effect will be routed through the next master
effect. L/R Mix mixes the left and right (stereo) signal of the first master effect before its routed through the
second master effect. L Only and R Only lets you specify if only the left or the right signal of the sound from
the first master effect will routed through the second master effect.
Chain Level specifies the level that is to be sent from the first master effect to the next master effect, ranging
from 000-127.

The graphical knobs for Return1 and Return2 adjusts the levels from the master effects to the L/R bus, ranging
from 000-127.

The graphical display of the three-band equalizer lets you set the gain of the effected sound just before it will be
sent to the output bus L/R. The Master EQ Gain (db) is linked to the tab Master EQ. We will jump directly to that
tab, because the tabs for MFX1 and MFX2 will differ, depending on which master effect that is selected.
In the tab Master EQ, you have the option to adjust the settings for the Master Eq Gain. Here you have the ability to
choose the frequency and gain of Low, Mid and High Cutoff, as well as the option of inserting modulation sources
in Low and High Gain Mod-Src (could be compared to AMS). It is very effective to set the Low and High Gain
Mod-Src to Velocity - in this case, tapping the keys can make the sound gain more or less bass, depending on the
settings for Low and High Gain Mod-Src.

Try the following examples of effects and arpeggio:

E084: North Pole 1and play a little with this sound. When done, move on to E085: North Pole 2 and compare
this to the other one - this is exactly the same sound, but with different assignment for the effects.
E086: Talking Tellus 1 and E087: Talking Tellus 2 are basically the same sound, but once again with different
effects assigned to the sound.

Now that you have heard what a difference the effects can make, move back to our beloved lead and assign effects to
it. In order to do this, make sure you are at E005: My Lesson8 (or refer to E037: Lesson8). And, if you havent done
it already, turn the arpeggio off. In P7: Edit - Insert Effect, its all up to you to choose between the different insert
effects and master effects. Happy hunting!

When you have completed setting up your effects, save this to E006: My Lead or check out the leads at E040
through E045, which build on the same programming, but with different Multisamples and effects selected. If you
are unhappy with your lead, just change some of the parameters in the various different pages, and you will (sooner
or later) end up with a sound that is just as you want it.

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Dont forget to submit your contribution to the ongoing Legacy-projects!
Volume two will consist of the above plus:
Part X: Making a Pad (quick tour).
Part XX: Sharps sampler/sampling tutorial.
Part XXX: Quick tour through the various patches on the PCG.
Part XXXX: User Contributed Tips.
Among the patches on Lesson.pcg there will be Templates for Pads, Basses, Pianos and so
on, just to help the beginner to get the sounds he/she wants in a faster way.

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