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A: This depends on what you want to record. If you want to record midi, you`ll need a computer sequencer and a midi interface or the "to host" connection. If you want to record audio signals, you will need a computer soundcard with a line input and a computer program with audio capabilities (most modern pc sequencers have this).

In depth:

Recording midi, you are actually only recording control information, such as what keys are being played, how strongly it is hit, pitchbend/modulation control etc. The actual sound is only generated in the triton, so you will have to minitor the triton in order to hear any (or the right, at least) sound. Normally, one would connect the triton midi out to the computer midi in, and computer midi out to triton midi in. The first connection allows the triton to control the computer, while the last allows the computer to control the triton. You should also switch the triton into "local off" in ther global pages, and allow the sequencer software (in computer) to merge incoming mididata and resend it at midi out. This way, you can record your playing into the computer, and playback sequences from our computer.

Recording audio, you are recording the sound that you can hear in your headphones. The advantage is that a soundfile contains everything necessary, while a midifile depends on the right soundsource (with the right programs loaded) being hooked up at every playback. The disadvantage is, of course, that very little can be done to an audiofile. Tempo, pitch, quantization, choice of programs etc are pretty much set in stone. The triton have no digital out (the rach has), but as the D/A is very high quality, chances are that your soundcard will be the limit for soundquality. Get a good soundcard, and set the triton to its max outputlevel (volumeslider at max). Then adjust the inputgain of the soundcard as high as possible, without getting any distortion. Most softwareprograms, and some hardware units provide you with virtual/real led meters that work just like those found on a tape recorder. Just remember that digital recordings will give more distortion the less the level (opposite of tape) until a certain level (marked by red on the led), where massive, ugly digital distortion occurs.

1.1 Q: Is it possible to record the triton directly, or do I need a mixer?

A: If you only want to record the triton sound directly, you won`t need a mixer. A mixer is for adding fx, microphones or other synth tracks, or equalizer adjustments.

In depth:

Some will argue that certain mixers sound "fat" or have more or less bass/trebble etc. You may choose whatever lets you make better music and/or mixes, but principally, mixers are manufactured to color the sound as little as possible. Synths and keyboards use line-level signals, the same as recording gear and mixers. Therefore, the signal out of your triton is in the same "format" as that coming out of a mixer. However, guitars, bass, Fender Rhodes and microphones have high-impedance low-level signals that should be passed through the low-Z input of a mixer, even though they may use the same physical jack as a synth.

1.2 Q: How do I make a mp3 file of my music?

A: Assuming that you allready have a finished triton sequence loaded into the triton, heres what to do: Read Q1 carefully. You will need computer software to record the audio. I recommend Cooledit 2000 With this program you are able to record a file, edit it, and save the results as a mp3 file directly. Other options include using a recorder (cool edit pro/2000, Sound forge, Wavelab) to store the result as a *.wav file, then using an mp3 encoder (Media jukebox or similar). There are also mp3 encoders that accept soundcard line in as input.

As with any recording, you have to monitor and set recording levels carefully. This is especially important for mp3, as the algorithm needs recordings with high levels to work efficiently. You will have the option to set bit-rate and vbr/cbr. You shouldnt use anything lower than 128Kb stereo for music, 192Kb is quickly becoming the standard on the net. Vbr allows the bitrate to vary according to the audio signal, giving better quality/file size rate, although peaking bitrates might not make it a good choice for users streaming the file directly.

1.3 Q: How do I make my triton files(prog/combi/global/sequence) available on the net?

A: The triton use a dos fileformat. Therefore, all triton files can be managed in a dos/windows enviroment. Save your work to a disk, and open the disk with windos explorer. Zip the file using winzip to enshure secure upload/download. This file can be shipped as an ettachment to an e-mail, using an ftp-client, or similar. A number of sites devoted to the triton have triton programs available for download, and most would gladly make your sounds available to the public.

2. Q: How do I get the same sound in sequencer tracks as in prog mode?

A: You have to copy the fx parameters from the program you want (upper right arrow in sequencer P0), and setup the bus assignment for that track.

In depth:

The triton cannot reproduce 16 channels of the sound found in program mode. The reason is that each program access nearly all of the synths total fx resources (some are removed to allow glitch-free switching between programs). In some cases, the programs that you use may use little to no fx, making a perfect duplication easy in the sequencer. In other cases, you may have to make trade-offs. The master fx are shared between aux send 1 and 2. Therefore, it might be a good choice to setup a general reverb, and dynamics/eq or chorus that many tracks may benefit from. This is also the case in most factory programs. However, the actual setting and choice of reverb algorithm will be different. For insertion fx, you will have to choose what tracks/fx are most important. By using a little time setting up the ifx routing, you may get better results.

3. Q: How do I move samples between computer and triton?

A: The only way to transfer samples to and from the triton is using files stored on floppy disks, removable media (zip disks, cd-rom) or hds. The triton will read *.wav and *.aiff files, supported by pc and mac computers. The triton sample files (*.ksf) can only be read with special computer software, such as fmjsoft`s "Awave studio".

In depth:

If possible, you should use 16bit 48KHz files, as the triton will convert any other formats anyways (you cant lower the samplerate to conserve memory). The triton can import akai samples without program parameters (filter/envelope settings). Currently, no satisfying solution exists for loading other formats than triton/trinity uncompressed samples. Be aware of this when buying sample libraries etc. For loops, and to some extent, drum samples, you might get the sound you need easily, but for other instruments, such as piano/string/brass instruments, the program design found on comrecial libraries may represent just as much work as the actual samples.

4. Q: What is this "to host" thing, and how do I get it to work?

A: The "to host" or serial connection offers exactly the same as midi. If you have a working midi setup, there are no reasnons to setup the "to host". Be aware of old driver (1993) that dont work win win2000.

5. Q: What cables do I need for the triton, where to put them, do I need monster cables?

input/output	plug	at the "other end"
Audio out 1-6, audio in l/r	mono tip-sleeve 3.5mm jack	pro: mono 3.5mm jack home: rca-plug computer: stereo mini-jack
Headphones	stereo tip-rin-sleeve 3.5mm jack	- -
"to host"	mini DIN connector	serial plug
Midi in/out/thru	5pin DIN connector, only two wires in use	5pin DIN
Scsi	scsi2 db25. comp. with scsi 1, 2, 3.	db25 or mini db50 (probably)

Cable quality is a highly subjective matter. If you want to buy a costly audio cable, do listen to it and perform blind tests. Most professional users use high-quality cables, but not esoteric insanely expensive ones. If you have some experience with a soldering iron, you may make your own cables with the benefit of lower price, better jacks (that stand a rough treatment - go for neutrik), and the ability to repair a damaged cable on the road (and cables always break when no replacements are available, and all stores are closed).

6. Q: I have a problems with pedals. (doesnt work at all, inversed sustain operation etc)

A: Remember that the sustain pedal goes into the "damper" input, while the expression pedal goes into the "pedal" input. Also, if you do not use a Korg pedal, you may have to change its polarity in the global pages.

In depth:

The Korg ds1h offers half-damping (2 different levels of sustain), using a stere phone jack. It is quite expensive, though. And half-damping is a technique most usefull for trained classical/jazz piano players that might not be satisfied with the triton factory piano sound anyways. For a guide on making a Roland dp5/6 sustain pedal compatible with all synths, without having to delve through menus, click its link tothe left.

7. Q: Should I upgrade my O.S? Can I upgrade directly to the newest version, or do I have to load all of the intermediate ones?

A: Yes, you should upgrade! Korg have a very goor record of releasing only stable and thoroughly tested triton os-es. The change from 1.x to 2.x is awesome, while the minute changes from (say) 2.0.1 to 2.0.2 are mostly small fixes that most users wont notice. You can upgrade directly from 1.0 to 2.0.3 (and from 2.0.3 to 1.0 should you want to).

8. Q:How do I get midi on my pc soundcard?

A:Most inexpensive pc soundcards has a joystick port that offers midi by means of a special cable, available in computer and music stores. Remember that the triton midi out connects to computer midi in if you want to control the computer with the triton keys. (and opposite).

In depth:

A bunch of inexpensive usb midi adaptors are appearing. From 1in/1out at a very modest price, to rackmounted 8/8 adaptors, these offer high quality, and the convenience of compatibility with desktop and laptop computers from mac as well as pcs. Some will also draw current from the usb wire. For most users this might be a better solution than soundblaster joystick-midi or "to host" solutions, although slightly more expensive.

9. Q:Whats this thing about program/combi memory? will I loose patches if I order a pcm-card? Whats special about the e,f and g- banks?

A: (note: accounts only for the triton/karma structure. The rack use an expanded memory structure, see triton-rack)

Bank	A	B	C	D	E	F	Total (rewritable sounds)
Program	128	128	128	128	128 (empty)	128(with moss board)	640
Combi	128	128	128	128	---	---	512

In addition, there are 256 gm2 compatible sounds in bank G (programs only) that cannot be used for user programs

In depth:

All programs and combis are stored in flash-ram, except the gm-bank (G). This means that you can rewrite all program/combis, or shuffle the order in any way you like. Unlike some synths from competitors that offer only a limited # of user storage banks.

Note that the expansion-boards adds no storage locations. They are strictly wave-form boards that the user migh want to use or not. When one installs a exb-pcm0x board, nothing new happens, except that you have access to a new bank of samples in the program edit menu. If and when you want to, you may load the accompanying programs found on disk into bank C or D. Most people prefer to mix the best programs from that disk with the best programs found in the triton onto a disk.

Factory setup: The factory combis are setup so that combi bank A and B use prog bank A and B only, while combi bank C and D use prog bank A,B,C and D. Therefore, using bank D for user programs will affect the least combis. Bank E is empty with the exception of a couple of vocoder presets. This bank is meant as a sample-prog bank (using ram samples), but this is up to the user. Bank F is unavailable unless you have a moss card installed.

10. Q: How does the triton sound with this mixer/recorder/soundcard

As good as with other quality gear. As long as the source (triton) is high-fidelity (and it is), plugin it into a quality device using line-outs to line-ins will work ! Some studio-monitors will color the sound, but going for those that sounds best (in a neutral sense) with a selection of cds (your owns and others works) is a good start. The relevant question is: " is this a good (sounding) mixer/recorder/soundcard.

11. Q: What storage device should I choose?

supported media	cd-rom/hd/optical/magnetical removeable
cd-r/w support	NO
Max device size (accessible to the triton)	4GB
Max # of devices	6 + triton

Adding a scsi card along with one or more storage devices will enhance speed and possibilities in certain areas of the instrument. Specifically, using the sampler seriously, you will need more space and speed than what is possible with the floppydrive. All kinds of data except os upgrades can be placed on scsi drives, and loaded typically 10-20 times faster than the built in floppy drive. For basic program and sequencer storage, the floppy drive will do in most cases.

a) Loading commercial sample libraries:

For loading akai or trinity/triton sample libraries, you will need a scsi cd-rom drive.

b) Exchanging data between computer and triton:

If you want to transfer lots of data both ways, you will probably want two removable drives. A lot of triton owners use IOmegas zip100/250MB or Orb 2.2GB drives. Be shure to get a scsi one for your triton, while the one for your computer may be scsi, ide or usb. Note that usb drives are often slower than scsi or ide ones.

If your data exchange needs are more modest, you can accomplish the same by using one scsi drive, alternating between triton and computer (provided that you have a scsi card in you comp.). If you have a cd-r/w for your computer, cd-r disks can be read by the triton, unless you have a very old cd-rom.

c) It is possible to share scsi drives in realtime between a triton and your computer. There are some precautions, however. Read this guide for info.

12. Q: What ram to choose, what studio monitors, what sequencer software?

A: Try reading up on these issues on this website, as well as reading (and participating) in all of the well-informed discussions found at Tritonhaven and Triton Central