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53-628: The Korg Triton line is considered the direct descendant of the earlier Korg Trinity line of workstations. The two ranges are aesthetically and functionally very similar. The Triton "Classic" followed the Trinity's naming conventions of the Pro and Pro X being designated to models featuring 76 and 88 keys respectively (that naming system actually started with previous 01/w series, also available with 61 keys (base and -FD models), 76 (01/wPro) and 88 (01/wProX). The original Triton introduced many improvements over

106-480: A PC , facilitating exchange of samples, sound programs, sequences, and other Triton-compatible files. CompactFlash and microdrive cards up to 8 GB were supported, negating the need to sample directly to RAM. The USB port also allowed control of software synths and host applications via MIDI. However, unlike the "Classic", Studio, and Rack versions, the Extreme could not be fitted with sample expansion boards due to

159-520: A Z1 -based board, cannot be fitted on the Le. The functionality of the original sequencer and arpeggiator was retained, though. It was possible to load samples via the Smartmedia slot into the onboard sample RAM without requiring the sampling board to be fitted. Marketed at a much lower price than the original Triton range, the Le was a commercial success. A special edition of Le was released featuring

212-540: A sound module rather than a complete workstation , requiring a separate keyboard to control it via MIDI , it was designed with different abilities. The oversized touchscreen was replaced with a smaller, more conventional 240x64-dot graphic LCD , with eight soft-keys under the LCD and cursor keys for user-interface navigation (essentially the same user interface later used in the Triton Le, Karma, and Korg TR keyboards), plus

265-489: A MIDI sequence and automatic triggering of the samples at their proper locations in the sequence during playback. The Triton Classic has since been re-released by Korg as a software synth (both standalone and VST), for use in digital music production, while hardware Tritons are still widely used by gigging musicians. The original Triton was released in 1999 and became known as the "Classic" or "Classic 61" as subsequent models were released. The options available to buyers included

318-574: A MOSS board, SCSI interface, two EXB-PCM expansion boards and 64MB RAM. It had a 61-key synth-/semi-weighted keyboard. The Pro was a 76-key synth-/semi-weighted workstation, while the ProX was an 88-key hammer-action/full-/piano-weighted workstation. Both were otherwise identical in specification to the Classic 61. The Triton-Rack was the rackmount version of the Triton. Since musicians would use it as

371-553: A VST plugin replicating the Korg Triton, including all factory patches & waveforms, and the full collection of EXB-PCM expansions. Korg Trinity The Korg Trinity is a synthesizer and music workstation released by Korg in 1995. It was Korg's first modern workstation and marked a significant evolution from its predecessors by offering features such as built-in digital audio recording , 32-note polyphony , an extensive internal sound library, assignable effects, and

424-507: A black body, visually similar but functionally different from the later TR. Three versions of "Le" are available : Triton Le 61 – 61 keys Triton Le 76 – 76 keys Triton Le 88 – 88 keys (RH2 Real Weighted Hammer action) The Triton Studio , released in 2002, included the features of the "Classic" with double polyphony (although oddly split, with half polyphony dedicated to original 32MB ROM samples and sample RAM, and half to all EXB-PCM expansion sample boards including

477-642: A built-in S/PDIF digital audio output (not available on the Classics). Like the Classic models, the Triton-Rack featured sampling and could also support Korg's MOSS synthesizer expansion board (EXB-MOSS), distinguishing a so-expanded Triton-Rack as the only way to obtain MOSS synthesis (essentially identical to Korg's Z1 and extremely similar to Korg's Prophecy) in rack-mounted form, with the additional benefit of

530-403: A large touchscreen for advanced control and editing functions, a feature not previously seen on any musical instrument. It also offered modular expansion for not only sounds, but also studio-grade features such as ADAT , various sound engine processors, audio recording capability, and more. The Trinity was considered one of the most comprehensive music workstations, in terms of features, at

583-646: A large, touch-sensitive screen for editing, allowing users to select parameter names or icons and modify values using the data entry fader, up/down buttons, the 10-key keypad, or the spinwheel. Resting a finger on the screen displays an enlarged control, which can be adjusted by dragging the finger up, down, or around the screen. It utilizes 16-bit, 48kHz PCM samples stored in 24Mb of ROM, effectively doubled to 48Mb through 2:1 data compression. The sound library comprises over 1,000 individual samples, including 374 multisamples and an extensive drum library of 258 PCM sounds. Users can create up to 12 customizable drum kits, with

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636-588: A multi-DSP architecture. The Trinity boasted the ACCESS sound generator, which included 48 MB of PCM waveforms and introduced resonant filters into Korg's workstation lineup for the first time. The Trinity's design, from its aesthetic to its operational framework, draws heavily from the Korg 'T' and ' 01 ' series, incorporating elements such as Programs, Combis, and sequencing capabilities, as well as familiar global configurations and disk operations. The Trinity utilizes

689-551: A rotary wheel and ten-key pad for data entry (like the touchscreen Tritons), while also retaining the knobs (here doing double-duty for both synthesizer and arepeggiator control) and floppy disk drive. Though not equipped with a keyboard, it had advantages over Triton Classic 61, Pro, and ProX models, including storage of up to eight (instead of only two) EXB-PCM ROM boards containing additional sampled waveforms, many extra sound Program and Combi memory locations, expandability to maximum 96MB sample RAM (instead of only 64MB) and featured

742-462: A series 24dB/octave resonant low-pass setting or else a parallel 12dB/octave high-pass plus 12dB/octave low-pass combination (which together can also be used similar to band-pass filter). Further, despite the very close similarly between the Triton and Trinity synthesis engines, PCM ROM, and effects processing, Korg programmed many of the Triton preset Programs and Combinations to appeal to the contemporary pop, dance, and hip-hop genres, making full use of

795-486: A standard S-VHS tape cartridge. Additionally, up to 16 ADATs could be connected to each other to record up to 128 tracks simultaneously with sample-accurate timing. This capability and the ADAT's low cost (it was originally introduced at US$ 3,995 ) were largely responsible for the rise of project studios in the 1990s. Alesis produced several models of ADAT recorders. The original ADAT (later referred to as Blackface ) and

848-682: A white-silver color, the Extreme was finished in dark blue, though, much like with the Korg Trinity Plus and Triton LE, there also was a Special Edition version of the Extreme with a black finish, made exclusive to only the Domestic (Japanese) Market. Like the Triton "Classic" and Studio, the Triton Extreme included a touch screen interface, along with the knob and button controls. A USB interface providing both Type A and Type B connectors enabled external storage and connectivity with

901-477: Is a basic low/high shelving EQ before the Trinity main outputs. The Trinity series launched with four different models; the base Trinity ($ 3,599/£2,395 MSRP) featured a synth-weighted 61-note keyboard with channel aftertouch. The Trinity Plus ($ 3,999/£2,700 MSRP) included the "Solo Synthesizer" board, incorporating the sound engine of the Korg Prophecy for integration into the workstation. This feature

954-693: Is a stereo 1/8'' mini headphone jack. The onboard sounds can't be edited, layered or split, and playback is mono‑timbral. On December 26, 2019, Korg released a VSTi software version of the Classic Korg Triton, complete with all of its expansion packs, then followed it up with another VSTi Version of the Korg Triton Extreme on July 28, 2021. Both are available as part of the Korg Collection of VST software meant to replicate their previous hardware synths. All models, except

1007-739: The Alesis ADAT HD24 . In 2004, recognizing the ADAT for "beginning a revolution of affordable recording tools," it was inducted into the first-ever TEC Awards TECnology Hall of Fame. Alesis announced the first ADAT model at the NAMM Show in Anaheim, California in January 1991, with the first ADAT recorders shipping over a year later in February or March 1992. This original ADAT model recorded up to 8 tracks of 16-bit digital audio on

1060-640: The Prophecy and Z1 synthesizers. This update led to the introduction of the Trinity V3 models (V3 $ 2,899/£1,899 MSRP, Pro V3, ProX V3), which were equipped with the MOSS board. The inclusion of six extra voices from the Z1 in the V3 models not only expanded the Trinity's polyphony to 38 but also allowed the workstation to leverage the Z1's modelled sounds through the Trinity's superior effects. Additionally, Korg offered

1113-591: The Triton Extreme , with many of the features of the Studio (such as the entire PCM ROM from the Studio model) plus the entire sample sets from Korg's best-selling Trance Attack, Orchestral Collection, and Vintage Archives expansion boards, as well as the most popular sounds from the Dance Extreme, Studio Essentials, and Pianos/Classic Keyboards collections. PCM data not available on any other Triton models

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1166-583: The "Classic" and Le keyboards. The X50 and MicroX, released in 2007, were oriented towards the lower end of the market and were consequently less physically robust and included fewer features. They contained the same HI synthesis engine found on the TR with the basic Triton and extended ROM: the X50 maintains the same extended ROM as the TR, while the MicroX extended ROM focused more on drum and percussion samples. Neither had

1219-548: The ADAT XT record 16 bits per sample (ADAT Type I). A later generation of machines—the XT-20, LX-20 and M-20—support 20 bits per sample (ADAT Type II). All ADAT machines use the same high-quality S-VHS tape media. Tapes recorded in the older Type I format can be read and written in the more modern machines, but not the other way around. Later generations are capable of recording at a sample rate of either 44.1 or 48 kHz , common in

1272-645: The Classic, the Triton Taktile is offered in 25- and 49-key versions, with the same semi-weighted (though without aftertouch) keyboard used on the KROME. It includes a touch pad inherited from the Kaossilator that lets you play melodies using just a single finger, velocity-sensitive trigger pads (16 on the 49-key, 8 on the 25-key) that let you generate chords in the key and scale of your choice, an arpeggiator, ribbon controller, sliders and switches. Audio output

1325-534: The MOSS-TRI board as a standalone upgrade for existing Trinity owners, providing an opportunity to retrofit the advanced synthesis capabilities of the MOSS technology in place of the original Solo board. Late 1997 saw the launch of the TR-Rack "Expanded ACCESS" synthesizer module ($ 1,599/£999 MSRP), a 1U rackmount version of the Trinity synthesizer and effects system (without sequencer or floppy disk drive) that

1378-666: The Trinity into a four-track hard disk recording and editing platform, adding SCSI , S/PDIF and analog audio inputs, and also enabling external audio procerssing through Trinity's Master Effects processors. An SCSI-TRI option (redundant if HDR-TRI installed) ($ 599/£399 MSRP) added SCSI interfacing to external high-speed mass-storage like hard and/or optical drives. The DI-TRI 4-channel ADAT -compatible digital audio interface with word clock syncronization ($ 349/£225 MSRP). The SOLO-TRI "Solo DSP Synthesizer" (monophonic) option ($ 599/£475 MSRP) compatible with Korg Prophecy soundpatches (included factory installed in "Plus"/"Pro"/"ProX" models)

1431-849: The Trinity, like 62-note polyphony , dual polyphonic arpeggiators , RPPR phrase recorder, onboard sampler with expandable RAM, greatly improved effects & routing possibilities (including the processing of external signals via the internal effects), larger synthesis modulation matrix, faster operating system , significantly faster touchscreen response, sample ROM expandability, enhanced UI including category search (ability to browse through related groups of sounds like pianos, brass, strings, etc.), additional audio output jacks, redesigned sequencer adding individual track looping and Cue List and significantly more event memory, more than doubled Program/Combination memory slots, more realtime controllers including knobs, portamento, and availability of multi-timbral MOSS synthesis expansion (whereas Trinity's MOSS expansion

1484-473: The Triton Rack, X50, Micro-X, KARMA and Taktile were available in 61, 76 and 88-key configurations. They could also be upgraded with increased sample EDO RAM and expansion boards for additional sounds. Only the Triton Le did not provide this feature. The Triton "Classic", Extreme, and Studio were controlled by a touchscreen. The KARMA, Le and Rack, however, featured a more conventional display. Except for

1537-542: The Triton Taktile, all models of the Korg Triton model range have been discontinued by the manufacturer. Today, the Best Of Triton Soundbanks can be found on Korg's website as downloadable programs for the Korg Krome workstation, KORG Pa4X Professional arranger, KRONOS as well as an in app purchasable soundbank for the full version of the korg sound module for iOS. On December 26, 2019, Korg released

1590-452: The Triton joystick. Neither had the aftertouch functionality of the TR keyboard. Both included patch editor and librarian software as well as a plug-in for DAW control, allowing the import and export of Triton-compatible files. Similarly to the LE and TR, only one insert effect and two master effects could be assigned. A USB-powered controller with the 512 programs from the original factory bank of

1643-499: The Triton synthesis technology with full effects processing, two PCM ROM expansion slots, and MOSS synthesizer expansion slot, but without both Triton's sampling/audio-input functionality and touchscreen interface. It included the more specialised KARMA music system instead of Triton's two programmable arpeggiators. It was only available in a 61-key version (with a lesser quality keyboard than the Triton). The Triton Le, released in 2002,

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1696-458: The Triton's seven-total effects processors (more numerous, variable, and capable than those in Z1 or Prophecy), albeit with 6-voice polyphony compared to the Z1's 12 (or 18 with optional expansion.) The Triton-Rack also supported the EXB-DI "Digital Interface" board providing ADAT output and Word Clock, or EXB-mLAN option featuring mLAN output. The Korg KARMA , released in 2001, featured

1749-680: The ability to apply up to four effects per kit. Additionally, each drum sound can be independently panned and sent to the filter. Trinity's effects system was revolutionary at the time for the number of simultaneous effects (potentially truly multitimbral, plus overall effects), the ability of the user to assign those simultaneous effects with a great degree of freedom, the large number, variety, programmability of effects algorithms, and realtime effects control. The effects system included eight-total user-assigned "Insert Effect" "Size" processing blocks, plus two distinct "Master Effect" send/return scheme processors. The Insert effect blocks are assigned by

1802-441: The audio industry. Pitch control is available by varying the sample rate, and thus tape speed accordingly. With locate points it was possible to store sample-exact positions on tape, making it easy to find specific parts of digital recordings . Using auto play and auto record functions made it possible to punch in/out at predetermined points, rather than relying on human timing ability to start and stop recording at precisely

1855-588: The built-in piano expansion), plus the addition of S/PDIF input and output, as well as the EXB-PCM08 piano expansion board, and some operating system enhancements. Sample RAM could be expanded to a maximum 96MB and a SCSI interface was included as standard. The instrument also had space for seven EXB-PCM sample expansion boards and could be fitted with an optional hard drive , internal CD-RW drive, EXB-DI expansion board with an ADAT interface or EXB-mLAN expansion board with mLAN interface. In 2004, Korg released

1908-420: The expansion ROMs having been pre-installed. It was compatible, though, with the MOSS board and up to 96 MB of sample RAM. No SCSI , mLAN or ADAT interfaces were included but optical stereo S/PDIF inputs and outputs were installed. The USB Type A connector can be used to connect a USB thumb drive, hard drive or CD writer drive for making music CDs and loading AKAI format sample libraries. The sequencer

1961-530: The expansion option boards installed via simple sockets similar to personal computer boards, some also secured with metal brackets and screws (but soldering two wires was required with DI-TRI installation). In late 1998, Korg updated its Trinity series by replacing the Solo board in the Trinity Plus, Pro, and ProX models with the MOSS (Multi Oscillator Synthesis System) board, a technology previously utilized in

2014-427: The new dual arpeggiators and RPPR feature. All this essentially made Triton one of the best selling synths of the 2000s (its successors M3/M50 and later Krome sound engines are essentially improved Tritons with better UI and more wave ROM). Although it lost the sequencer audio tracks, digital input and output, these options were rarely installed in the Trinity, so the difference thereof was negligible. The onboard sampler

2067-551: The relatively very small (but physically scaled-up in dimensions) 20-character x 2-line non-graphic display and few control buttons (although Korg included a TR-Rack specific version of Emagic SoundDiver sound-patch editor/librarian Win/Mac PC software). Further, TR-Rack did not offer any of the Trinity's expansion options, except for the DI-TRI. Finally, the lack of floppy disk drive local storage meant that an external PC or SysEX (system exclusive data) storage device via MIDI transmission

2120-698: The same multiple expansion options. The PBS-TRI expansion board ($ 949/£625 MSRP) featured 8MB of PCM flash-ROM for loading Akai , Korg, and AIFF format samples and also included two separate S-RAM chips to be installed in sockets on the Trinity main PCB that were activated when the PBS-TRI board was installed, resulting in doubled sound-patch memory locations for Programs (adding "Banks C & D"), Combinations (adding "Banks C & D"), Drum Kits (increased to 24), and any installed Solo/MOSS DSP synthesizer (increased to 128) . The HDR-TRI upgrade ($ 899/£599 MSRP) transformed

2173-428: The sequencing or expansion capability of the TR. USB connection was available for high-speed MIDI control (and use with the included plug-in editor), but incompatibilities with the other Tritons hampered the use of libraries for those keyboards. The main difference between the two keyboards was in scale and control layout: the X50 was a 61-key keyboard with pitch and modulation wheels, while the MicroX had only 25 keys with

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2226-647: The time. In 1998, Trinity V3 models were introduced, incorporating sound engines from the Korg Z1 . The Trinity and the Korg Prophecy were both introduced on the same day, drawing significantly from the technology developed for KORG's OASYS "Open Architecture Synthesis System" synthesizer. While the OASYS was a prototype that was showcased but not released commercially, it was built on an open DSP system concept capable of loading diverse models for various synthesis types and physical modelling sound generators, utilizing

2279-1158: The user in series-chains of "Size 1" (single-block, mono-in/mono-out, 29 algorithms), and/or "Size 2" (double-block, usually stereo-in/stereo-out, 52 algorithms, including reverbs), and/or "Size 4" (quadruple-block, complex, 19 algorithms) effects, with a Program limit of total Size four or fewer blocks and three or fewer algorithms in series, or a Drum Kit limit of total Size four or fewer blocks and four or fewer algorithms in series or parallel, or multitimbral Combination or Sequencer Modes in Timbre Groups each utilizing all eight or fewer Size blocks divided into one or more series-chains with three or fewer algorithms per series for Programs and/or series-chains or parallel with four or fewer algorithms for Drum Kits (some further Size 4 algorithm placement restrictions apply). The "Master-Modulation" (six algorithms) and "Master-Reverb/Delay" (eight algorithms) mono-in/stereo-out processors (chainable in series) were routed as send/return, so in multitimbral Combination and Sequencer Modes, each Timbre or Timbre Group has independent Master send levels. Finally there

2332-545: Was a stripped-down, cost-reduced version of the original Triton. It uses a smaller non-touch screen similar to the TRITON-RACK. The ribbon controller and floppy disk drive were omitted but a Smartmedia slot was instead included. A lighter and cheaper key bed than those used on the Trinity/original Triton range was installed, and the effects bus was downscaled from five insert effects to one. The MOSS,

2385-471: Was also available separately for the base Trinity. A Trinity version 1 or 2 operating system is required to utilize an installed SOLO-TRI board and enable access to Program "Bank S" containing Solo DSP Synthesizer soundpatches. Later (replacing the SOLO-TRI on the market), the MOSS-TRI "MOSS DSP Synthesizer" (6-polyphony) option compatible with Korg Z1 soundpatches (included factory installed in "V3" models)

2438-473: Was also included such as improved pianos and acoustic guitars. The 34MB ROM of the "Classic" was upgraded to 160MB. Valve Force circuitry, using a vacuum tube and an analog ultra gain transistor to allow for warmer, guitar amp-like sounds for more extreme analog overdrive / distortion sounds was included, and proved especially useful for pad and organ sounds, as well as adding depth and realism to acoustic sounds, such as piano. Unlike previous Tritons, which were

2491-573: Was also standard in the higher-end models: the Trinity Pro with synth-weighted 76-note keyboard with channel aftertouch, and the Trinity ProX , offering an 88-note piano-weighted hammer-action keyboard eith channel aftertouch and (at least initially) the HDR-TRI 4-track digital recorder plus SCSI and digital audio interface expansion. All Trinity models were capable of being enhanced with

2544-399: Was another significant improvement, as well as the "instant sequencing" function found in the latest firmware versions of Triton Classic and all subsequent Tritons (which allows the user to convert a combi into a song where all parts (programs) are instantly set up as tracks within a song). The Triton Extreme added in-track sampling support, allowing stereo samples to be recorded in context with

2597-836: Was available separately. A Trinity version 3 operating system is required to utilize an installed MOSS-TRI board and enable access to Program "Bank M" containing MOSS DSP Synthesizer soundpatches. (Trinity featured one internal DSP synthesizer expansion socket, so only one SOLO-TRI or else one MOSS-TRI expansion board may be installed at a time.) All Trinity expansion options were designed for installation only by authorized service centers or dealers (installation labor costs not included in MSRP), not by end-users, and required accessing Trinity's main internals, exposing its power supply circuitry. Therefore, expansion option installation instructions were available only to service centers and dealers, and are not included in expansion option user manuals. In practice,

2650-640: Was fully patch-compatible with Trinity ACCESS-synthesis (but not Solo or MOSS DSP-synthesis). The "Expanded" designation effectively added a fixed PCM-ROM version of the PBS-TRI, both expanding the original 24MB PCM-ROM to 32MB (an additional 39 multisamples and 200 drum samples) and doubling the ACCESS-synthesis patch memory of Programs, Combinations, and Drum Kits. However, the 1U size of the TR-Rack meant severely cut-down and/or cumbersome front-panel synthesizer, effects, and Combination editability due to

2703-480: Was mono-timbral). In addition, the Triton US MSRP was $ 800 less than the basic Trinity. The biggest improvement of Triton was in the sound: new multisamples and better processing, combined with full availability of all five insert effects per Program (each equivalent to a Trinity "Size 2" or two "Size 1" effects). The HI Synthesis engine also provides dual filters per digital oscillator configurable to either

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2756-449: Was necessary to achieve any sound-patch data updates or backup. ADAT Alesis Digital Audio Tape , commonly referred to as ADAT , is a magnetic tape format used for the recording of eight digital audio tracks onto the same S-VHS tape used by consumer VCRs , and the basis of a series of multitrack recorders by Alesis . Although originally a tape-based format, the term ADAT later also referred to hard disk recorders like

2809-406: Was upgraded to facilitate in-track sampling. It is also seen as the keyboard of choice for Tsumugi Kotobuki in the anime K-On! . Released in 2006, the TR was similar to the Triton Le but included expanded ROM and additional programs and combinations. It also features a USB cable for data connection with a PC. The TR also features an SD card slot. The piano quality was also improved compared to

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